5e Player's Handbook - improved.pdf

PLAYER'S HANDBOOK®

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CREDITS

0&0 Lead Designers: Mike Mearls. jeremy Crawror<f Player's Handbook Lead: jeremy Cr.-wford

Rules Development: Rodne>' Thompliion, Peter Lee Writ in&: james Wyatt, Robert J

.

Schwalb. Bruce R. Cordell Editing: Michele Carter. Chris Sims, Scott Fitzgorald Gray.

Christophe-r Perkins P<Oducer. Creg Bilsland

Art Directors-: Kate lrwin. Dan Ce!on. jon Schmdehette. Mari Ko1_{kowsky. Melissa Rapier, Shauna NarCISO} Graphic DHigners: 3rcc Heiss, Emi Tanjl. Barry Craig Cover Illustrator: Tyler Jacobson

Interior Illustrators: Ste'le Argyle. Tom 8abbc:y, Daren Bader. Drew Baker, Mark Behm, Eric Belisle, Christopher Bradley, No:ih Bradley, Sam Burley, Clint Cearley, Milivoj Ceran, Sldharth Chaturvedi, jedd Chevri•r. )0, Allen Douglas, jesper Ejsing, Cra:ig Elliott, Wayne England, SCott (\<1. Fischer, Randy CJIIegos. Justin Gerard, Florian De Cesincourt, Lars Crant·West, Jon Hodgson, Rafph Horsley, ltkc Hurwitz. Ty'er jacobson. Kekai Kot>ki. Oily L•wson. Raphaellobke. Titus Lunter, Slt~womir Manialc, Brynn Metheney. Aaron \A:Uer. Christopher Moeller, Marlt \4olnar. Scott ~urphy, W1lliam O'Connor, Hec:tor Ortiz, David Palumbo. AIE-ssandra Pisano, Claudio Pozas. Rob Rey, Wayne Reynolds. Aaron

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Riley, Chris Seaman, CymhiJ Sheppard, Craig J Spearing, John Stanko. Matt Sta•Ni<ki, Aiel( Stone, Thom Tenery, Cori' Trcgo·Etdner. Beth Trott. Avtumn Rain Turkel. jose Vega. Tyle•· \V;~Ipole. Julian Kol< Joon Wen. Richard Whitters, EvJ Wldermann, Ben \>:1_{oollen, Kietan Yanner}

Additional ContributorS: Kim Mohan, M;m Sernett,

Chris Dupuis, Tom laPille, R'chard Bnker. Miranda Homer, Jennifer Clarke Wilkes, Steve Winter. Nina Hess,

Steve Townsherld, Chris Youngs. Ben Penisor, Tom Olsen ProJect Management Neil Shinkle, Kim CriihOJm, john H3y Production Services: Cynda Cal!away, BriCin Dum<Js,

jefferson Dunlap, David Gershman, Anita Willi~ms Brand and Marketing: Nathan Stew~rt. liz: Schuh.

Chris li11dsay, S~e~y \4~nzanob e, Hilary Ross. uur-a Tornrnervik, Kim bmds1rom, Trevor Kidd Based on the or-iginal game created by

E. Cary Cygax and Dave Atneson,

with BriCin Blume, Rob Kuntz, james Ward, and Oon Kaye Drawing from further development by

J. Etic Holmes, T

om Moldva)', Frank Mentzer, Aaron Allsron, Harold johnson, Roger E. Moore, David "Zeb" Cook. Ed Crtenwood, Tracy Hickman, Margaret Weis, Ooug'as Niles, JeffCrubb, Jonathan Tweet, Monte Cook. Skip Williams. RIChard Baker. Peter Adkison, Keith 81ker, Bill Sfavicsdc, Andy Collirs. and i<ob Heiosoo

Playtuting provided by

ov•r 175,000 fans ofO&D. Thank you! Additional consultation provided by

Jeff Crubb, Kenneth Hite, Kevin Kulp, Robin laws,

S. John Ross. the RPGPundit, Vincent Vet~turclla, and Zak S.

ON THE COVER

In this fiery seen• Illustrated by Tyler Jacobson, the fire giant King Snvrre. suffering no rools to livt, ca11s his hell hourtds to join him In confronting um\•ek:ome guests In tus home.

n:"f~!"'t'' Wi111r.:!soj:;;~ (o:a: i: M; rnpora}bf• /111 li!ll40II••"!Id"(IIU< nf 'f.·''niltg vp rftt jXlrry. m~V"S GPP•"'''W~' iM rl!.e mA.:tlr r.fc ruti+tf flU+! d.:lit'ljuu, ""~"';"11'1 Ji..,,tr ;,.~;,ll::q." !•(•'" lwfoboeo,., ttru-mirzrl:tjtc:t .'lc.'l oj c h11! g;·~~~~ Jltt14l+t:' ll••ir''"f a 4r.1gMtoj .:11)' -"titt(, u nrr.'"J y(J .... ~,. ~~~~ O\t1H~~. "At~:~~> ttci.'r tua?'

620A921700000l EN ISBN: 97S·0·7869·6S60·1 fir$! Print· na,: A.JS,iJSt 201 "-9376S4321

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OIJN(:tO~lrl&. OR:o\GONS. O&C. Wi:::.uch~·1_{thorC'O.f1l fO•Ct>lk'll fiea!Ms. tbO:·::;on ~T;~t~lrrd P'lylt\ l"tll•db.,<lk, '-''·~~ru lhil~>"l, O".r~('" .\f#JI~•) Ci'11 of~ af od·ct'.lo'tJ'MJ~ of} '""' C'OII\t p•o..to.rt n~'l"ec, ~nci til~ r res'Kh''e ·Ui\1'1 ~·• IN<It'l".lolk~ orw :c:rd~ of:he Co~~~ r 1kc USA ''"d <.~~1-tr ((lVf'l' r~. AI' c.•ou•~-:1en :nd thlr c: 11 n(ti ... ;ltrl"t$~J.tt p-opt•ty cfW :1rd~ o(tktr CO!~I. fi·.s, ~~~tt!if u ?t.:He~t~l! ~I'IC:tl Ill• (OP1rigf,lla,..'S oftht Vnii~O SUtt,~ of A<rfttln Any rcpnJ.d.J(tiOI'Oft;•'.illlhor 7¢Q 111e Oflkt Mllt.ri,J~;· "-'lwwktor!:: ntd ll~rtll\ ~~ proMb,t~d .,..i'lhou~ tl-~ !'9fh} w1iUM !Wfl'l'llnlon QfWiurd~ of the CoNs:.

Ptlr!C'd II d·n USA. f;20l4 Wi:~·d~ dtlte-C.oast UC, 110 Ro..-101, Rent.,.,. WA 9:!1)S1·0i07, USA. J/tl'lur.-(tti!Nf by ._hs~roSA, R~te E'Tilo:·Soid it )I, 280(1 Ot'fMort,(l.t Prp••wMII ))' Hasbr" fl ~~rc ~n .. Sc we Sw llrr P••• thhr df,t M!C;:IIc<,..'( ' Qll lET IU<

CONTENTS

PREFACE

4

PART2

171

IN

T

RODUCTION

Worlds of Adventure ... 5 lsingThis B

ook

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....

6

Ho

w

to Play ...

6

-\dventurcs ...... 7

5 CHAPTF.R

7: USING A

1\TLITY SCORES ... 173

Ability Scores and Modifiers ... 173

i\dvantag~ and Di-::.arlvaoragf: ... 1

i3

Profi<:iency Bonu$ ... 173

Ability Checks ... 17 4 Using Each Ability ... 175

PA

RT l

9 Saving Tbro\VS ... .. .... 179

CHAPTER

8: ADVENTUR

ING ... 181 CHAPTER

l: STEP-BY

-STEP CHARACTERS ... ll Time ... 1

81

Beyond 1st Level ... 15 Movement ... 181 CHAPTER 2: RACES ... I7 Choosing a Rar.e. ... : ...

17

Dwarf. ... 18

Elf. ... 21

The Environment ... 183

.So<:ial TllteracOon ...... 185 l{e•tiug ... 186

Bctwce.n Adventures ....... 186 l"la1Bin$l ...

26

CHAPTER 9: COMBAT ... 189 Hunlan ............. 29 Th• Orrl•,· of Combat ... 189 Oragonborn ... 32 T\·fovemem and Po1:ition ... 190 Gnome... . ... 35 Actions in Combat ................. 192 Half-Elf ... 38 Making an Attack ... l93 Half-Ore... . ... 40 Covcr ... 196

Tiefling ... •12 Damage and H•aliug ... 196

CHAPTER

3:

CLASSES... . ... .45

Barhat'ian .................. 46

Mount•d Combat ... l98 Underwattr Combat ... 198

Bard ... 51 Cleric ... 56

PART3

199 Druid ... 64 _{CHAPTER 10}

_{: S}

_{PELLCASTIN(; ......... 201} Fighter ... 70 Monk ... 76 Paladin ... 82 Rangu ... 89 Rogue ... 94 Sorcerer ... 99 What ls a Spell"! ... 201 Castinp; a Spell ... 202 CHAPTER 11: SPELLS ... 207 Spell Lists ... 207

Speil Descriptions ... 211

Wal"lock ... 105

Wizard ... 112

APPENDIX A

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CONDITIONS

290 Cl:l.APTER 4

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l'ERSONALITY AND BACKGROUND ... l21 Character Details ... 121

APPEN

DIX B

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GODS OF THE M

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LT!VE

RSE

293 lnspitatjOJl ............... 125

Backgrounds ... 125

APPENDIX

C:

CHAPTER 5: EQ.Uil'MBNT ... 143

THE PLANES OF EX

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STENCE

300

Sca,·ting Eq1.1ipmenl ....... 1:13 The Material Plane ... 300

Wealth. . ... 143 Dcyond the Material ... 301

Armo•· and Shieltb ... 144

VVcapons. ....................... 146

APPENDIXD:

Adventuring Gea

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_{CREATURE STATI}

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₃₀₄ Tools ... I 54 Mounts and Vehicles ... l55 ·rradc <.;oods ........................... 157 Exp~nsf:s ...... 157

APPENDix

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INSPIRATIONAL READ

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312 Trinkets ... 159

CHAPTER

6: CUS

TOMTZATTON OPTIONS ... 163

INDEX

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Mu1lic)a~sin~ ..................... 163

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PREFACE

~CL UJ'ON A'JJ~I.t:. LUNG, LO:\'GAGO. IN A realm callf':d thP. Mi<fwe~lf:l"n Uniled States- specifically the states of Miun~­ sota and Wi~comsin-tt uroup of fric.nds ~athcrcd to~cther to forever alter the history of gaming.

It wasn't their inrentrodo so. Tlley were tired of merely reading tale>; about worlds of magic. monsters, and adventure. They

wamed co play in those

worlds. rather than observe them. That they went on to invem DUNCEONS & DRAGO!\~, and thereby ignile a revolution iu gaming that continues to this day, speaks tu two things.

First. it speaks to che.ir ingenuity And genius in f1g-ul"i1,g out that game-s were the perCect way to explore worlds that could not otherwise exi:&;.r. /\lmo5t f':W'~ry modern game. whether played on a digital c.Je .. ·ice or a cablecop. o"es some debt to 0&0.

Second.

it is a testament to the inhr.:rent appeal of the game. they created. DuN<;•~O'IlS & 0RAGO~S sparked a 1hrivlng global phenomeuou.lt i•thc first rolcplayin~ u:amc. and it remains one of the be.st of its breed.

To play D&D. an

d

to play ic well. you don't need to read all (he rules. memorize every detail of the game, or mnster the fine art of rolling funny ltitiking dice. None of rho~~ rhings have any bt:ariug on what's best aUout the game.

\\'hat you need arc hvo thin,:r:s. the. fir!iit being friends wirh whom you <"..an share the

pme.

Playing games with your friends is a lot of fun. but D&D docs something mort" rhan emen:aio.

J>laying D&D is an exercise in collaborative creation. You and your friends crea1e epic $10ries lilled "'ith ten -~ ion ~nd memor~ible <lnumt. You create silly in-jokes tlwt rn\tkc you lau~h years Inter. The dice will be Cl'uel to you. but you will ~oldier <>n. Yo•n· cotlc>:cl ive cte.:niv·

ity

will build stories that you wiH tcl1 u~ain and a~ain. ranain~ from the Utterly ab~urrJ fO I he $:tUff Of ie.gend. Tfyou don'1 have (riends intercsl~d in playing. don't

,-.:orr)

·

. The

re's a special alchemy that takes place around"

D&O

cable that nothine else

can

matcb.l'lay the uarne with someone cnoul(h. and rhe two of you

f'RF. < F

art likeJy lO c:.:nd up friends. It's a cool side effect of [he uurnc. Your next gaminp; group is n~ clo~~ a~ the nearesl t:tame~tore, online forum, or gnming cotlventiou.

The second rhing yOtl need i!J a lively imagination or. more iinportantly. the willin&{ncss to use whatevet irna&;:ination you have. You don't need to be a masrer storyteller or a brilliant anist. You ju~r need to aspire to create. to ha\'e the courage of someone who is willing to build something and share ic with others.

Luckily, just as D&D can strcnathcn your friendships, it can help build in you the r.nnfidt.nce cn creote and share. D&D is a game lh~illctt<.:hc$ you to look for the clever solution. sh~trc the sudden jdca that can ove..-c(lme. u problem. and push yourself to lma~in~ what could be. rotht.r chan ~imply a.<:cepl whal i~.

The first characters and adventures you c.reare will probably be a collecti<>n of dirht':~. Th,qr•s lrue of every· one, from rhe greatest JJw1g(,:un \1astcrs in history on dov.m. Accept this reality and mo\'e on to create lhe second characrer or ach.enture. whi<'h \,Jjll be better. and chen the rhird, which will be beltcr still. Repeat that over the course of time! and soon you'll be able to create :~nything. from a chara.c1er's bAc"kKround SlOry to an epic world of f~utasy adventure.

Once you have that skill. it'syour!'i fOI'tWel'. Coumles:-; writers, arti~ts, and orhe.r creP~IOI'$ CAn l race their bcgin-nint~s co a few pages of D&D notes,

a

handful of dice. aud a kitchen table.

Abo..-e all else. D

&D

is yours. The friendships you make around the table will be unique to you. The ach· en-tures you embark on. the characters you create. the

n"'emoties

you make- these will be rours. D&D is your personal corner of the univet'S~. n ptnce where you have (rtt. •"f"ign ro do as yOtl '"ish.

Co

forth now. Read the rules of the aame and the>: ~lQry of its worlds, but alway$ rt.mt.mhel' that you are the 011~ who brings lhern to life. They arc nothina without the spark of life that you "ive them.

Mikel>!eat!s May2014

INTRODUCTION

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& DRAGONS RoU::t•LAYtxc game is about storyr~Uing in worlds of swords .and sorcery. ft sha,.es elements . WJth cht1dhood ~ames of makc-bchcve. Ltke I hose gam~s. D&D is driven by ima~ina· tiou.ll's about pic.h.JI'ing the tow~dngc.astle. • benea.rh the stormy night sky and imagining 1'1()\\" a (ant:<tSy adventure,·mighr react to th~ challenges

hat scene prcscnRi.

Dungeon Master (DM): After paS>ing through the craggy peaks, the road takes a sudden turn to the east and Castle Raven loft towers befoce ;·ou. Crumbling

towers of stone keep

a s

ilent watch over the approach. They look like abandoiled guardhouses. Beyond these, a wide chasm gapes, disappearing into the deep fog belcvJ. A lowered drawbridge spans the chasm,

eading to an arched entrance to the castle courtyard. The chains of the drawbridge creak ia the wind, their rust·eaten iron straining with the weight. From atop the high strong walls, stone gargoyles stare at you crom hollow sockets and grin hideously. A rotting wooden portcullis, green with growth, hangs in the entry tunneL Beyond chis, the main doors of Castle Ravenloft stand open, a rich warm light spilling into the courtyard.

Phillip (playing Gareth): I want to look at the gargoyles. I have a feeling they)re not just statues.

Amy (playing Riva): The drawbridge looks precarious? want to see how sturdy it is. Do I think

we can

cross t, or is it going to collapse under our weight?

l11Hke a game of ruake-believe. 0& D giv~s srr'HClot·~ the stories, a way of determining the cou:;equen('.eS ~the .advenwre.-s' action. Players roll dk~ ro r~.~olv~ thether the.ir attacks hit or miss or whether their allvcu

-.... rers can scale a cliff, 1'Q11 away frorn rhe strike of a agical H~htnin~ bolt. or pull off J;Ome other dangerOllS .ask. Anything is pos.sibl~. bur rh~. dke make some oul

-mes mor~ probable fh<111 olhers.

Dungeon Master (OM): OK. one at a time. Phillip, you're looking at the gargoyles?

Phillip: Yeah. Is there any hint they might be creatures and not decorations?

DM: Make an Intelligence check. Phillip: Does my Investigation skill apply? OM: Sure!

Phillip (rolling a d20): Ugh. Seven.

DM: They look like decorations to you. And Amy, Riva is checking out the drawbridge?

ln thl~ DUNGEONS & DRAGON:S gan1e. each pl~yer

creates an adventurer (~d.so c:.dlt~c.l a chara<.:t<.:r) and

ft':ams up with other adventurers (played by friends).

\+Votking togerhe1·. th~ gmup miglu explore. a dark dun· ~con. a ruined city. a h~umled caslle.

a

Josllemple deep in a jungle: or a lava-filled cavern beneath a mysteriou.s Ulountain. The advenw,·e.ts can solvt': puzzles. talk ·with other characte.rs. battle fantastic mon~tcrs. ~md discover fabt~low; magk. irems and other treasure.

One player. however, lakes Oil lhe rote (If lhe fh1ngr:on Ma<rer (DM), the game's lead storyteller and referee. The O.i\·f ~~reates aclvellU.H'es forth~ <:haracters, who n av-igate its hazards and dcddc which paths lO <.:xplore. lhe Dl\·f might cit':.o;crihe the ~ntrance to Castle Raven loft: and the {)layer:; decide whallhey wanllheir adventur~rs to do. Will they walk across the daugcrOuJ;ly wcalhered

drawbridge? Tie themselves to~cthcr with rope to mini· mi~e lhe chance that someone will fall if the drawbridge ~ivcs way? Or cast a ~pcl1l0 carry lhem over thc chasm?

Then the DM determines the results of [he adventur· cr.s' actious <~.nd narralc;S \vhat lhey expetiellce. Because: the DI\·1 can improvise to react to anythina the player!; alletnpl. D&D is infinil~ly fl~xihle, and ~ach advenrure can be e2<dting atltl une;'(pecred.

The game has no real cud: wheu ouc .story or que.Sl

wraps up. another one can be~in. creating an ongoin~ •tory called a campaign. M•ny peopl• who play the game ke.ep their c~tmpai~n.s going for month~ or years, mee.ling \vi{h lhelr frjends ~"~''Y wet':k or so ro pic;k up the story where they left oo·. The adventurers grow in n1ight as the campaign continues. Each mon~[er dcfcated. e.ach advenlure compl~ted. aod each 11·ea::;ur~ r~covered not only adds to the continuin~ story: but alJ;o earllS the a<lvenlm·ets newcapahiliti~s. This increase

in power is rcticetcd by an adventurer"~ kvd. There's no winning and losing in th~ DUNGEONS & DRAGONS game- at least. not lhe way those terms ~re usually understood. Tol(cther. the DM and the player. create an ~xdring $mry of bold advemure.rs who confront deadly perils. Somcti£ncs an advemurer mighl come to a gtisly t':nd. torn apart hy ferocious monsters or done in

by a nefarious: villaiu. Even so, the olher advemurets c;1n St':.arc;h for powerful magic to revive their fallen comrade. or the player might choose lO create a new characleT' to carry on. The group might fai)lO cornplctl>: an advct•tt.m:: successfully, but if everyone h~-\d a good tim<.: and crt;;:\te<l

a memorable story, they all win.

W

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LDS

OF AD

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The many worlds of the DUNGEOI<S & DRAGONS game are plac.es of m'agic and rnon~t~r'..~, of brave warriors and spectacular adventures. Th<.:y begin \Vilh a foundation of m~<fit':val faota5y and then add the creatures, places.

<~.nd magic lhatrnake thes~ world$> uniqu~.

Th<.·. world!; of the DUNGUO'JS & DRAGONS game ~xisr \\'i(hio a vast c;o~mo~ called the muJtiverse, connected

in strange and mystcriou::; ways to ouc auolher aud lO other planes of existence. such as the Elemental Plane of Fir" and the Infinite Depths of the Abyss. Within

this multi\'erse are an cndle~ variety of worlds. \1anr of 1he1n hnvr-been publishe:d us otlkiul seuiu"s for the.

D& D gam<:. The legend~ of the Forgonen !{calms. Drag-on lance, Greyhawk-Dark Sun. Mystara, and f:berron

~cttings ~-tre W1.1vcn together in the fabric of 1hc mulli· veN>e. Alongside thf'.S<.: worlds are hundreds uf thousands

more, cresued by general ions of D&D player1:i for (heir own ~ames. And «mid all the richne.~' uf the multivt.r:;c. you might CN-..atc a world of your own.

All these world~ share r.h<~.racreristic~.,., but each wo•·ld is set apart by its own history and cultures. distincrivc monsters and ract.s. fanta~tic geography, aucienr dun -gevns, and schemin~ villains. Sume races have unu$;ua1

trnirs in different worlds. The halflings of the Dark Sun serring. fo•·example, are juugle-<hvelling co.-mnlbaJ1:i. a11d the elves arc dc.c;ert nomads. Some worlds feature

race$> unknown in oTher senings, such as Ebcrron's war-forged. snldiers r,,·eatcd and imhued wirh life ro l'ight in

the Last War. Some worlds a«: dominated by one great st<>ry, like rhe War of thel.ancc that plays a central role in the DrAgonlal'lc!C seteiug. Bul they'rt ali o&n worlds. and you can use the rul<:s in this book to create a char· acler <tnd play in nny on" of thern.

Your DM mil!ht setth• campaign on one of these wurlds or on one thar he or she t.·.realed. Because. rherc is ~o tlluch rJ1,.crsiry among the worlds of D&D. you sbou!d check with rour J.)M about any hous• rules that will a f(e;:ct your play o( the game. Uhimately, the Dun·

,:(eon Master is the authority on rhe campaign and its setting. t:\·t.~n if the serliug is a pubHsh~d world.

US

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NG

Th

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BOOK

The Pi<<ycr:s Handbook is divid•d into three pal'{S. Part 1 is about crea\ina a ch~t~crer. prov-idina the rults and gnid~1n<:t: you need to make the clmracler you'll play in the aame. h includes information on th~ various races. clas:;es. backgrounds, eQuipment, atld othtr customizatinn optiOilS that you can choost: frum.

Many of the rults in part l rely on material in parts 2

and 3. Tfyou coxnc across a game couccpr in parr 1 that you don't undcrstllud. consult the book's index.

Part 2 details the rules of how to play the aarne, beyond the basic• descrihed in this intt·oduction. 1'hut part covers the kinds

or

die rolls you make (0 dctemline succes~ or failure at the task:) )'OUr t:harar.1c::C' rmernpts. and dc.scrihe~ the three hrO~i.d c.megorleSi of acrlvlty in

the game: cxpk>ration. intcractiun, and combat.

Part 3 I~ all about magic. It covers the tlatut·e of magic in the wol'lds of O&D. the rule• for spell<:asting, and the huifc variety of spells available 10 magic-usini cha rnc-t<.:rs (alld monsters) in the game.

H

ow To PL

A

Y

The play of the DuxGEO~s & Dt<AGONS game unfolds according to this basic pnuern.

1.

The OM describes the environn1ent. The 0:\1 tells the players where their atlvcnrurc.rs are <tnd wh:tt's ar()und tht=r:l'l\, pre!=>enting 1he basic scope. of uptiOtl.!:i thai present themselH:s (bow many doors 1cad our of a rOC"rru. what's una table. who'$ in the tavern. ~.tnd so <>n).

1'-1 00 l !0~

2. Tbe players describe wbat they want to do. S ome-limes on<:: player· ~peaks for rht: whole.vnny . .s~{)'jng,

·We'll take the cast tloor:· for example- Or her times. diffrrcnt aclvcnturtrs do ciHic.rcnl things: one adventurer might sear·ch a rrcasure chest while a second examiflts an esoteric symbol cngnt.vcd on a wall and a third keeps watch for monst<.:rs. The playr::ns don't not=r:d to ttl ke turns. but the OM listens to c>-.:ry player and decides how to re:sol\'e rhosc actions.

.Sornetime~. rt·solving u task is easy. Jf an adventurer wants to walk aCf'()SS a room and open

a.

door. the D"\r1 111is.thr just say that the door opens and dc~o:ocr-ii.Jc what lie• beyond. l:lut the door might he locked, the floor might hide a deadly trap, or some: othf':T' circumstance migh1 make ir challt:nging for ~m adventurer to r.otnplete. a t•sk-In those c•ses. the 0~1 dt-cide.'<" hat happens, often relyina on lhc roll <>fa die w df':ltrrnine the results of an action.

3. Tbe DM narrates tbe results of the adventurers' actions. Dc!->cl"ii.Jjng the rc~ult~ ofcen leads to another derision pOint. which bring.s the flow of the

an

me righr back to step I.

Thi$i pattcn1 holds whether the advcnturt:ns are cau tiouf01ycxplorina a ruin. talking I()

a.

devi(')us prince. or locked in rnurtal cumbat a~ain~1 a rnighly draa-on. In terrain situations., ~rticularly combat. the action is more structured and tht: player~ (and OM) do lttke turns chuosing a.nd resolving action:;. l:3ut most of 1hc time. play is Ouid and Hexiblc. adapting ro the c;rcumsrance~ of the adventure.

Orten tht action of an ad\·cnture takes plaef> in the imagination of the pla)e" and J.)M, relying on the DM's verbal desrriptinns to set the sr,.ne. Snme OMs like to use music. art, or recordecl sound eiTect!lt 10 help set th~ mood. and rHany playc.r5 and O"M::. alikt: adopt different voice!-> for the variuus advcmurers. monsters. and other chnractcrs1hey play in tht. game. Sometimes. a O.M mia:ht lay out a map and usc tokt.ns or rniniature fi~ures to represent each creature invoh·-cd in a scene to help the players keep crAck of where t.veryont. is.

GA

ME D

ICE

Tht:: ~a me uses polyhecii'UI dice with cliiTcrenl numbers of sides. You can find dice like these in Jlatuc St(')res and in lll\tnY boukstorr=.:;.

In these rule.c;.the difl'crcm dice are referred to by the !err-. d followed by lite number of sides: rl4. d6. d8. d I 0. d12. and d20. Fot· instance. a dG is a six-sided die (the 1ypieal <:11bc tha1 many game.c; u$oe).

Pcrr.eutilc tlicc. ot· (1\00, work a link differently. You gent-rate a numbel' bctwt.t.n 1 and 100 by romng two

different lt"n·side<l dice numbert-d from

0

to 9. One dit" (dcsign8(cd before you roll) gives the lcus digit. and the other gives tb~ ones digit. If you roll a 7 and a l, for e,xumple. the numbF.r rolled is 71. Two Os represent 100. S011\c ten·$icled dice are numbered in tt.ns (00. tO. 20. aud so on). makinfl it ea~icr to distinguil'Sh the tens digit from I he ones di~it. In this case. a 1'011 of 70 and 1 is 71, and 00 and

0 is 1

00.

When you need to roll <.lice, the rulos tell

you

how many dice to roll of a certain type. as w•ll as what mod -ifieN; to add. For example. -3<18-

s

·

means you roll

lhree eight-:;idt:d dice. add them to~ether, and add 5

to the total.

The same d notation appears in l.he expression:; "ld3"

and "1d2." Tosim.,Jate the roll of lt13, roll a d6 and divide the munbcr rolled by 2 (round up). To simulate the roll of ld2. roll any die and assign a 1 or 2 co the roll depending on wheth~·· it was odd or even. (Aiter.nalive)y, if rhe nun'lber rolled is more than half the number of skit~ on the die, it's a 2.)

T

__

H_Ep~2~0

___________________

__

Does an adventure1·'s sword swing ho1'£ a dtagon or ju:;t hounce off its jron-hard sc.alcs'? \Vill the o~re believe an

outrageous bluff? Can a. character swim across a raging

river? Can a chatacter avoid the. main blast of a fireball, or does he or she take full dama~e from the blaze? In cases where the outcome of an action is uncerlain, rht: DuNGI~or-.s & DRAGONS game relics on rolls of a

20-sided die, a d2.0. to determine success or failure. Every character and monste.J' in the game has ca pa-bilities d•fined by six ab!llty scores. The abilities arc

Stren.gOl.. Dexterity, Constitution, lnteHi~ence, VY1sdom,

and Charisma, anrl they typically range from 3 to 18 for mosl adventurers. (.Monsters m~~ht have scores as low as 1 or as high as 30.) ThE"" .. se ability ~COI'eS, .and lhe

ability modifiers rlerived frotn them, are the basis for

almost every d20

•

·

o

il that

a player makes on a charac· ter':; or monster's behalf.

Ability checks, attack rolls, and saving th1·ows are the thrf:~ rna in kinds of d20 rolls, fonniug the core oft he

rules of the game. AH three follow the ... -se simple steps.

1. Roll the die and add a modifier. Roll a d20 and

add the relevant modifier. This is typically the mod-ifier derived fmm one of the six ability scores. and il

sometimes indudes a proficiency bonus to reftect a. char

-acter's particular skill. {See chapter 1 fo•· details on each abHiry anrl ho\v 10 deletmine an abilily~5 modifier.)

2. Apply circumstantial bonuses and penalties. A cla:;s feat11re, a spell, a parlicular cirCuinstaucc, or some

other effect might give a bonus or penalty to the check.

l

3. Compare the total to a target number. If the total eqtt.=tls or excet·.ds the tar~ct number, the ability chec:k.

attack roJJ, or saving throw is a succ:~~$S. Otherwise, il 's

a failure. The DT\•f is HSHally th~-one whc.1 dctcrmin<.~s

tar·get numhe:,·s ~nd tells players whether their ability

checks. Mtack rolls. ~md saving throv .. •s succeed or fail. The tar~ct number for an ability ch~C'.k or .3 savjng throw is call•<i a Difficulty Class (DC). The tarl(et

n.,mber for

an

attack roll is called an Armor Class (AC). This simple rule governs the r~solurion of most tasks

in D&D play. Chapter 7 provides more detailed rule..o; for using the d20 in the ~arne.

ADVANTAGE

AN

D D

I

S

A

DVANTA

G

E

Sometimes an ability c:heck, at rack roll, or saving throw

is modified by special situations called advantage and c.lisadvanta~c. Advantage reflects the positive circmn -srance.:; sut·roonding a d20 tO H. \vhile disadvama~c reft~cts th~ opposi(e. 'When you have either advamap;e or disadvantage. you roU a second d20 when you mak~ rh~ roll. Use the higher of rh~ rn:o ro11s if you have ad van

-rage, and use (he lower roll

i

f

you have disadvantage.

For cx~unple. if you have disadvantage and 1'011 a 17 .and a 5, you use the 5. Tfyou instead have ad ... anta~e and ro11 those umnbcrs. you use the 17.

More detailed rules for advnntag~ and disad\•anlage are presemed in c:haprer 7.

SPECIFIC

BEATS

GENERAL

This book c:ontains rules, e$pecla11y in parts 2 and 3! that govern how the game plays. That said, nlany rac•al

tt·airs, dass fe:a1ures, spells, magic items. monster abili

-lies, and other game clemcms break the .generall'Uies in

some way, creating an exceprion to how 1he rest of lhe

garn~ works. Remember this: If a specific rule cont

ra-dict:; a general rule, the specific rule wins.

Exception!'-> to the rules a1·~ of1en minor. For instance, many adveuturcr!:i don't have proficiencywirh longbows, but every wood elf <foes because of a racial trait. That t•·ait crea1es

a mino

r exceplion ift the game. Other examples of rule-breaking arc more conspicuous. For

instance, an adventurer c:an'r no•·mally pass through

walls. but some spells make that possible. Magic accounts for most of rh~ major ~xc:eptions to lhe rules.

RO

UN

D DO

WN

There's on~ more g~nera1 tuleyou Heed to know at the

out~er. \¥he::n.e\rer you divide

a

llt.nnber in the game, t(Jt.uld down

if

you end up with a fraction, even if rhe

fraction is one-half or greater.

ADVENTURES

Tht DuNGEONS. & DRAGONS p;ame consi.:;t$0 of a gr·oup

of characters embarking l)n an arlvenlt.lre that the Duu

-gf:on T\·faste•· p1'esenls to them. Each character brinas

particul3r capabilities to the adventure in the form of ability scores and skills, c.lass feature!'->, radallr~its.

equipment, and magic items. Every character

is

dif -ferent: with various str~ngths and weaknesses. so the

best party of advt·.nturcrs is one in which the charac:ters

c:ompf~menr ear.h O{het and cover the \Vt:~-.kncsscs of

r~nonuc-rroN

1 heir companions. The adventurers must cooperate to successfully complete the acivenrure.

The .adventure is the he~rt of the gMne. a stoty with a. be.ginnin~. a middle, and an end. An adventure mjght be cr~ated by the Dungeon !\·laster or purchased off the shelf, tw~.aked andrnodifi~.d ro ~uit the OM's needs and desires. ln either case. an 3dvemure features a fanolstit.-: settin~, whether it's an underground dungeon, a cnu n-bling castle, a stretch of wilderness. or a bustling city.

Jt

featur~s a rich cast of character~: the adventurers created and played by the other players at the table, as well as nonplayer charactet'S (NPCs). Thos" ch ar-acters mi~ht be patrons, allies, enemies. hirelings. or

jusr background ext1·as in an advenmre. Often, one of

the NPCs is a villain \vhose agend3 ch·ives much of an adventure's action.

Ov~r the course of their adventures, the characters are confronted by a variety of Cl'eatures, objects, and situations that they must deal \Vith in some way. Some· times the adventUJ'ers and mhe.r creatures do their bc::>t to kill or capture each other in combat. Ac (II he1· times, the adventurers talk to another creature (or even a magical obje.ct) with a goal in mind. And often, the adveu(urers spendlitne lrying 10 solv~ a puzz.le, hypass an obstacle. find ::>omcthing hidden, or unravel the cur-rent situation. Nte.:111While, rhe adventHI'ers explore th~ world1 making decisions about whidt way to travel and what they'll try to do next.

Adventutes v~ty in length and complexity. A short adventure might present only 3 few challenges, a11<1 it might take no more than a single g~une se.ssiou to coJllplete. A long adventure <:an involv~ hundreds of combats, interactions, and other cha11cuge::>. and take dozens of se.ssio11s to play lhl'OHgh, stl'erching ow~1· \Necks or months of r~d time. U.sual1y, the end of an advent1l1'e is rnark~d by the adventurers heading back to civilization to rest and enjoy the spoils of 1he:it' labor'..~.

But that's not the end of the story. You c<~.u think of an adventure a;:; a single episode of a TV series, made up of nmhiplc exciting scenes. A campaign is the whole series-a string of adventures joined to~cthcr: with a consislellt group of advemul'~rs following the narrative

from start to finish.

THE

THREE

PILLARS OF

ADVENT

URE

Adventurers can try to do anything their playcrsean imagine;;, but it c""n be helpful to talk aboul rheil' activ -i[ies in three broad categories: exploration. social interaction, and combat.

Exploration includ~$> both th~-adventurer~· movement through the world and thejr imer~ction with objec1s and situations that require their attention . .Explor~nion is the give.and-rake of the play~r~ describing \Vhat they want their characters to do. and the Dungeon Master telling the playei'S what happens as a 1'esult. On a large seale, that mi~h[ invoJve the characters spending a day cross-ing a rolling plain or an hour making their way through cavents underground. On the sma:lles1. scale. i1 coukl mean one character puJling a }ever in a dungeon room to see whar happens.

Soc-iaJ interaction t<~aturc.s the adventurers ta)kiug to someone {or something) clsc.lt might mean demanding

iNTJlOJJl C rTON

that a captured scout reveal the sccrd tntram:c to thl~ goblin lair, ~etting information from a rescued prisoner, pl~flding for mercy from an ore chieftain, or persuading a talkative;; magic mirror lO $how a <lisr~nr foca1ion to the adventurer~.

The rules in chapters 7 and 8 support exploration and soci.a 1 inrera.ction, as do many dass features in chapter

3

and personality lraits in chapter 4.

Combat. the focu:; of chapter 9. il)volves character$ and other creatures swingin~ weapons. l~asting spells~ maneuvering (ot position. and so on-a II in an effort to defeat their opponents, whether that means kiUing every enemy, caking captives. o,. forcing a 1'011t. Combat is the most structured clement of a D&D session. with creawtes taking rums to l'nak~ ~ure that everyon~ gets a chance to act. F:ven in lhe con1ex1 of a pitchr:d ba1lle, there's still plenty of OIJ{)Ortunity (Or advemurers to attempt wacky stunts like surfing down a flight of S[airs on a shield, to examine the euvironment (perhaps by pullinp; a mysterious lever), and to interact with other creau.l1'es, including a Hies, en~mies, and neutral partit<> ... ~.

T

HE

WO

NDER

S

OF

M

A

GIC

F~w D&D adventures end without something magical happening. Whether holpful or hannful, magic appears fr~qut:ntly in the lif~ of an adventurer, and it is the focus

of chapters J 0 ~nd 11.

ln the worlds of DUNGEONS & DRAGONS, practitioners of magic are rare, set apart from the masses of people by 1 heir ~x:traordinaty ta leor. Common folk rnight s~e evidence of magic on a regular ba$iS, btll it's usually minor- a fantastic monster, a visibly ans\vered prayer, a wizard w~dking through lhe streets with an animated shie:lrl guardian as a bodyguard.

For adventurers. though. magic is key to their StH··

viva!. Without the healinp; ma~ic of clerics and paladins, ildvenlurt':l'-S would quickly succumh to th~ir wounds. Without the uplifling magical support of b•rds and clerics, warriors might be overwhelmed by powerful foes. \Vithot.t( the sheet magical pow~1· ann versalilil:y of wizards and druids. every tlue~d would be

mag-nifi•cl t"nfolcl.

1\'la~ic is idso a favored lOo) of villains. Ivlany adven· £111'~s at•e driven by the machimitions of spetlcasters who .are hr:Hb~nl on using magic for 5o me ill end. A cute k.ader seeks to a .. vak.en a god who sh.nnbers beneath rhesea, a hag kidnap5 youth~ to magically drain them ofthejr vigor, a mad \vizar·d labor~ to inv~s1 an army of

automaton:; with a facsimile

or

life. a dragon begins$ mystical ritual to rise up as a god of dc.struction- thcsc al'e just a few of the magical threats that adventurers might face. \>Vith magic of their own, in th~ fotm of spcHs and magic items. the adventurers mighl prevail!

PART1

C

HAPTER

1:

STEP

-

BY

-

STEP CHARACTERS

OUR !"UI.Sl'ST£PIN PLAYJKC AN ,,OVF.N'TURF.R IN Til F.

DUNGEONS & DRAGONS g~um; is tO irnagine

and create a character of your own. Your

c:haraccer is a combination of game ~tatislk:S,

rok:playing hooks. and yoor imagination. You

choose a race (such as human or halOing) and a class (such as fighrer or wizard). You also nvent the personality, appearance, and backstory of

"lur character. Once compl~t~-d, your character serves 5 your representative in the game. your avara1' in the OU~GEONS & DRAGONS world.

Before you dive into step 1 below, think about the

i:nd of adventurer you want to play. Yoo m1ght be a urageo11s fighter, a skulking rogue, a fervent cleric. or 3amboyant wizard. Or you migh( be more interested

nan unconventional character. such a~ a brawny rogue ho like~ hand-to-hand combat: or a sharpshooter who

ks ofl' enemies from afar. Do you like fantasy fiction :aturiug dwarvt':S or· elves? Try building a character of

ae of those races. Do you want your character to be lhe

,.,ghest advemurer at the table? Consider a class like ..arbarian or paladin. If you don't know where ch;e to

egin. take a look at the ilh.JSlralion~ in chis book to see

-hat catches your intcrt:~l.

Once you have a character in mind, roll ow l.hese s1eps ..,. order. making decisions that rdlcctlhe character you

am. Your conception of your character might evolve th each choice you make. What's important is that you -ome lO the table with a chal'accer you'r~ excited to play.

Throughout this chapter, we usc the l~nn character

c;heet to meao whaleve1· you us~. m track your character,

hether it's a formal character sheet (like rh~ one at the .,d of this book), some form of digital re;(~ord, or a piece notehook paper. An official D&D character sheet i~ a ·te place to st~trt until you know what information you eed and how you use it during the game.

DUILDING BRUENOR

Each step of character creation includc:.s an e.-< ample of

ttat

step, with a player named Bob buildin~ his dw~uf

-.aractcr. Drucnor.

~

. C

H

O

OSE

A RACE

... \ery character belongs to a rae~. one of the many telligcnt humanoid species in th~ D&D world. The "'I()St common player char3Cter ra<:.e$0 are <fwarvef>, elve.c;:

.a.IOin.gs. and bum~ us. Some races a l.so haw~ subraces1 "'uch as mountain dwarf or wood

el

f

.

Chapter 2 provides 'f"\Qre infotmation abom the~se races, as weU as the less

~de.c;pread races of dragon born: ~nomes, half-elves. l3lf-orcs, and tieflings.

The ra<":e-y011 <":hoose contributes to your character's entity iu an importam way, by e.!->tablishing a general ppear~ncc ~-uu.l tht: naturallalents gained from culture

nd ancestry. Your clt~uactcr's race grants particular -acial traits, such as special senses1 proficiency \vith

·rtain weapons or tools, prollciency in one 01' mor~ ... ,.Jlls. or lhe abihly co use minor sp~lls. These traits ¥Jmetimes doverail with the capabilities of certain

dasses(sces.tcp 2). f'orexample. the raciallrairs of lightfoot halflings make them exceptional rogues, and high elves rend m be powerful wizards. Somctim~

playing against rype can be fun, too. HalfMorc paladins and mouutain dwarf wizard.:;, for ~xample, can be unusual but memorable characters.

Your race also increases on~ or more of your ability sco1·es, which you determine in step

3

.

Note these

increases and remember m apply them later. Record the traits gr~mted by yOtH rat.~e on yoor character sheet. De sure to note your Slarting

langu.age.s and yo1~r base speed as well.

BUILDING BRUENOR, STEP l

Bob is sitring down to create his character. He decides that a gruff mountain dwarf fits the clHu·acrer he wants

ro play. He notes aH the raciallraits or dwarves on his

character sheet: including his speed of 25 ket and the

languages h~ knows: Common and Dwarvish.

2

.

CHOOSE

A CLASS

Every adventurer is a member of a class. Class b1·oarlly describes a charact~1·'s vocation: what special talents he or :ihe possesses, and che tactics he or she is most likely to employ when exploring a dungeon, fighting monsters,

or engaging in a tense nego1ia1ion. The chal'actel' das5es are described in chapter

3.

Your character receives

a

number of hen~fits from yOU I' choice of class. Tvtany of these benefits arc class

features-c<tpabilitics (including spellcasting) rhat set j'OHI' character aparr from members of other das~es. You also gain a number of proficiencies: armor,

weapons. ~kilb. saving lhrows, anrl ~ome-rin"l~$ mols. Your proficiencics define many of the things your

character can do panicularly well, from using certain weapons to ceiling a convincin~ lie.

On your character sheet. tecord all the featur~s that your class gives you at ltitleve1.

L!!Vli.L

'1Ypically, a charactet· srarcs at 1st level and advances

in level by adventuring aud gaining experience points

(XP). A lst-level charactor is inexperienced in the adventuring world, althou~h he or she migln have been

a soldi~r or a pirate and done dan~erous thin"s before. Statti~lg off at lf>t level marks your character's Cntry

lmo

1 he adw:nt1ll'ing life. If you're already familiar with tht: garne, or ifyoH are joining an existing D&D campaign, your DM might decide to have yOtt begin at a higher level, on the assumption that your character has already 5urvived a few harrowing adventures.

QUICk BUILD

E;i<:h c::lass description in chapter 3 inc-ludes a section offering suggcsliofls to quickly build a character of that dass., including how to assign your highest ability scores. a background suitable to the dass. and starting spells.

Record your le.vel on your characrer sheec. If you1_1'e scarfing at a hight:l' levr:l, record lhe addilional elemetH~ your class give~ you for your lcv<.:.ts past 1st. Abo record

your experience points. A lst4lcvel character has 0

XP. A hi~her~Jevel character typically begins with the minirnum amount ofXP r~quired

co

reach rhar level

(see

'

'Beyon

d

1st

L

e

v

el"

later in this chapter). HIT POINTS AND HIT DICE

Your character'5 hit poinrs define how tough your character is in combat ami other dangerous situations. Your hit points are determined by your Hit Dice (5hort

for Hit Point Dir.e).

ABILITY SCORE SUMMARY Strength

Me-asures; Natural athleiicism. bodily power

fmportant for: Barbarian, l1ghter, paladin

Racial increases: Mountain dwarf (+2) Dragonborn ("2) Dexterity

H•lf·o:c (+2) Human (+1)

Me(Jnm:s: Physic.al agility. reflexes, bJiance, poise

lmpottartt for: rv1otlk, tangcr, rogue Rac.ial fncrcases:

Elf (+2} HalOing (+2)

Constitution

Forest gnome (+1}

Human ("1)

Meosures: Health, stamina, vita! forc;e lmportam for: Evetyotle

Raciof Jncre.ascs: Dwarf (+2) Stout halfting (~1) Rock gnome (·1·1) Intelligence Half-ore (+l) Human ("1)

Measures: Mental acuity, in(o(mation (e<:all, anatytical s~ill

Important for: \)'lizard Rociallncreoses: High elf (~1) Gnome ("2) Wisdom Tiefling (+ 1) Human (+1)

Measures: Awareness. intuition. insighl

Important for: Cleric, druid

Racial ft~ueosts: Hill dwarf (+1) Wood elf(+ 1) Charisma

Human (+1)

Meos·ures: Confidence, eloquetlce, leadeiship

Important fOr: Bard. sorcerer. warlock

Raciof Jncre;ases: Half. elf (+2) Dro'v ("1) lightfoot hal fling (+1) Dragonborn (+ lj Human ("1) TieAing (+2) P.~RT 1 STF.P-lW-STff' CTiARACTIRS

At lsl level, your charact~r hal$ 1 Hit Die, and the

die type is determined by your class. You start with hit points equal to the hi~hest roll of chat die, as Jndictlled iT) your class de-~scription. (You also add yot11" Consli{tllioo modifier, which you'll de1errnine irl step 3.) This i::. also

your hit poiot

r:nax.imum.

Record your character's hit points on your cha1·acter sh~er. Also rec:o1·d th~ ryp~ of Hit Di~ your chatacler uses Hnd lhe number of I-I it Dice you have. After you re.o;;t, you can spend Hie Die~. ro regain hie points (see

"Re

s

t.i

ng

"

in

chap

t

er

·

8

)

.

PROFICIENCY BONUS

The table that appears in your class description shows your {Jroficiency bouu8, which is +2 for a l.st~lcvcl characte.r. Your proficiency bonus applies to many of the numbe1·s you'll be 1'ecor<ii1lg on your characler sheet:

Attack rolls using weapons you·,·e proficienr with Attack !'oils v;ith spells you cast

Abilily checks using skill:i you're proficient in

Ability checks usina tools you're proficient with

Saving throw·$; yoo·r~ proficient in

Saving lhrow DC~ for spell~ you cast (explained in

each spellcasting class)

Your class determines your weapon proficiencies, your savin~ throw proficiencies, and some of your skill

and tool proficiencies. (Skills ar~ described in chapter 7, tools jn chapler 5.) Your background gives you additional skiH and tool proficicncics1 and some races give

you more profici~nci~~s. Be sure to nore all of lhese

proficiencies. as well as your proficiency bonus1 on your

charac[er she..ec.

Your proficiency bonu$ can't be added to a sin~le die roll or other number more than once. Occasiona!ly, you1· profici~ncy honus rnight be modi lled {d01.1bled or halved. for example) before you apply it. lf a circumstance sugge.sts that your proficiency honus app11es mol'e than

ont'e to

tile

sam

e

roll or that it should be multiplied

more rhan once* you nevenh~less add it only once. multiply it only one~, and htllve i1 only once. BUILDING BRU.El\OR. STEP 2

Bob imagines Bruenor charging· into hatd~ wirh .an axe, one horn on hi$ helmel broken off. He makes Bruenor a fi~htcr and notes the fi~hter's proficiencies and t.sc-l~vel

class

f

ea

t

ures

OJl

his c

harac

t

er

s

heet.

As a lst-lcvd fighter. Drucnor has 1 Hit Die a d!O

-~utd starts with hit points equal to 10 +his Constitution modifier. Dob notes this1 and will record the final numher after he def~l'mines Brue.nor's Cons{ilulion score (see step 3). Bob all$0 notes the protlcicncy bonus

for a lst .. Jevel character, which is 7'2.

3

.

D

ETERMINE ABILITY SCORES

·

Much of whal your character docs inlhe game depends on his or her six abHities: Strength, Dexterity,

Constitution, Intelligence. Wisdom, ond Charisma. Each abilily has a score., \\•hich iti: a munbcr you record on your character sheet.

The six ~i.bililics and their usc in the game are

des

cr

ibed

in

chap

t

er

7.

The

A

bi

lit

y

Sc

ore

Summary

rablc provides a quick reference fur what 4\1\ditie~ ue measured by each ability, what nu;c~ increas~

',\ hich abilities, and what classes cun~idcr each ;:lbility panicuJarJy importnnt.

You gt>nerare your c:haraC"ttr's six ability scores r.~ndomly. Roll four 6·sidecl dice and record the total of ·~ hiahest three dice on il piece of scratch paper. Do

hi~

live more times. so

that you ha\·e nix numbers. Jf MJ want to save time or don't like the: idea ur ldlldumh· c'lerminina ability scores. you can usc the following ., ·•ore•in.re•d: 15. 14,13. 12. 10.8.

\0\\ take your six numbers and

wTile

each nUiober .cside one of your character's six abilities to assign

:ores to Strength. Oexterity. ConsLitulion.lmeUigeoce. ':tsdom, and Chari~ma. t\frerwardf make any changes

)Our ability scores as

a

rcl:tuh

ur

your race choice.

After assianina your ability a<:orc:.. determine JUt ability modifiers usin" the Ability Scores and todifier~ t;'lblc"!. To determint an ability modifier wifhout

•nsuhing the t«blc. subtractlO from the ability score '!d then divide the result by 2 (round down). Write the

'<XIifier

next to

each of your

scores.

6UILDINC 8RUllNOR, STEP

3

lob decide• to u•e the .randnt·d set of scores (15. 14.

3.

1

2.

1

0

,

8)

f(w Brueno,..s nbiliti-.s. Sino-. h•s

a

fightet~ ,.. puls his highest S<.:Qrc. 15, in Strcu"lh. His ucxt·

~ghcst. 14, goes in Constitution. Brucnor might be a

<ash fightet·, but

Bob

decides

he w

ants the dwarf to older. wiser. and .n good leader. so he puts decent .. ores in \¥i~dnm nnrl Chnri~ma. After Z!.pplying his

ial benelits (increftsini Brue-nor's Constitution by

- .md his Strcnjlth by 2). Drucnor·~ :tbility scores and

'!difiers look like this: Strenfith 17 (+3), D.xt.rity 10

f)). Constitution 16 (+J),lntclligcucc 8 (-1). Wisdom l:J H. Chari•m• 12 ( .. 1).

Bob fills in Drucnor's final hit points: 10 +his mstitutiOil mntiifit.r nf +3. for a total of 13 hit points.

HI ANT: CUSTOMIZING ABILITY SCORES · :-'Our JJunateon Mctstcr's option. you can use thi~

riam for determininl( your ~bility scores. The method ..-ribed here allows you tO build a charact..,. with a set

ability !->cores you r.hoo~e lndividu<1Jiy.

You have 27 points to spend

ou

your abitity

..::ore•.

T.,., cost of each score is shown on the Ability Score tnt Cmi.t tahle. For examplt.:. a score of 14 cost.c; 7 1nrs. Using this rnc:lhod, 15 is I hr. high(".SI ability score u can end up with. before applvint~ racial increm,e~. ~can't have a score lower than 8.

Thi" mP.thod of delermininllability s<:or<s enables u to create a set of three high nurnbcr::s o.md three low ""' (15. 15. 15. 8, 8. 8). a set of numbers th~t are above

ABILITY SCORE POINT COST

Score Cost Score Cost

8 0 12 4

9 1 ll 5

10 2 14 7

11 3 IS 9

ABILITY SCORES AND MODIFIERS

Score Modifier SO>re Modifier

1 -5 16-17 -3 2-3 -4 18-19 +4 4-5 -3 20-21

.s

6-7 -2 22-23 +6 8-9 -1 24-25 ~7 10-11 <{) 26-27

..

a

12-13 +1 28-29 +9 14-i5 +2 30 •10

averageandnearlyequal(l3.13.13.12.12.12),orany

set of oumbers between I hose exlremes.

4

.

DESCRIBE YOUR CHARACT

E

R

Once you ktlO"" the basic game aspects of your character. ifs time to flc.sh him or her out as a person. Your character needs a name. Spend a few nlinuces thinking abo~1t what he or she looks like and how he or she behaves in general terms.

Using the infotmation in r:hi!ple.t 4, you can flesh ou1 your character's physical appearance and personality traits. Choose your character's alignment (the moral l":ompasso that guirl~s hi~ or her rl~r:ision$0) and ideals. Cltapt~r •I also hdv• you identify the things your character holds most dear, called bonds, and the 8aws

that coukl one day undel'min~ him or h~1·.

Your character's background describes where he or ~he came from, hi::. or her odainal occupation, and the character's place in the D&D world. Your DM mi&ht offer additional baclq~roumls beyond the ones included

CHAPTER

2:

RACES

VTSTT TO ONF OF'THf: ¢RfATC1Tif.S INTHl wurl<l; uf DUNCEOI'S & 0RAC0"S Watcrdccp. the Free City of Greyhawk, or

even uncanny Sillil. rh• City of

Ooors-\~ Q\ er,vhehn:, the senses. Voices chatter in

\i-

cuuntlcss diffcrcntl~nau~l(<!s. The smells

of c:ookine in do?.tns o( different cuisines

~ingle '' ith the odors of crowded streets and poor 5allitation. BuiJdinAs in myriad archite<::IUrnl ~tylt-~ ..JJS.p1ay the divel"$e orilins of their inhabitants.

And the people thcmsci\'CS people of varying size, 'hape. and C(')lnr, d~s.c;~ in A

daulina

spec1nnn

r styles and hucs- n;prcscnt many different races,

rom diminutive halflings and ~t()Ut dwarw~~ ro maje:..tk::~lly beauti(ul elvc:s. minw:linat a mona a variety

htlman cthnicitics.

Scattered amon~ the member~ of rhe~ more common

races are the t•·ut~: ~xn1ks.: ::t hulkina dr::tg-onborn her<:, mshing hl::> way lhr<.>uUh the cr<.>wd, and a sly 6cH!n~ ~erc.lurkin~ in the shadow~ with ml~r.hlt:f in hf:r t:yes. -\group of gnon1es hHiihS as Out: <.>f th<.:m activates a

ever w<.>odcn toy that move!'t of ir~ ow11 acr.01·<1. Ha lf-·h•cs and half-om~ live nnd work Alongside humaus. 1.\ ithout r,,lly br:1ona1na to the r<tcc.Y of <.:ith<.:r of their

a rents. Ami there. well out of the sunli~ht, is a lone row a fu~itive from the subt~n·a.11t.nn ~xpnn~e: of he Underdark. tryina to make.: his way iu •~ world

at fears hi.'J kind.

C

HOO

S

IN

G

A

RAc

E

Humans c:u·e the tnO~t common pc.:oplc in the worlds of

'6.0.

but they Jive nnd work alnngside rlwarve!i. ~lve$1. IHin.gs. and r.ountle$.$ other fantastic spc.:cics.. Your aracter lx:luu11• t<> one of these peoples.

~ot every intelligt.nr rar:t. or tht muhiverse is

1ropriate fur a playcr-cuntrollcd adventurer. Dwarves. t ;cs. halflimts. nnd humnns are the m()~l c:nmmon r ~s to produce the ~rl of advt-nrurt-rs who make up

meal parries. Oragouboni.IIJIUtncs. half·d,'CS. half·

n~. and tieflings are le~~ common as Ad'<-""enturers. 1ruw. a S'Ubrace

or eh·C$. arc also uncommon.

our choice of race ;~.ffecls many different a~pec:t~ nf ur character. Jt establishc:b furtdarncrual qualities that

hl throughout your character's adventuring c:.reer. 1en makinR this decision. keep In mind rhe kincl a(

ractcr you want to play. For example, a halfling coulcl

a good choic• for a sneaky rot~ue. a dwarf makes a .... gh warrior. and an elf can be a master of arcane maaic.

\our character race nnt nnly affer.r~ j'<"Uit' abiliry sc-ores d rraits b\1( alsu proviclc$ the cues fur buildina your aractcr's story. Each rar..e·~ c1t.t;Cri('ltinn in I hi~ chap(rr ·tudes in form~tiuu tu help yuu ruJcplay a character of at race. includin~ personality, physical appea1·anr..e. aturcs of society. and rac-ia 1 a lignmt:tll te:nc1~r1Cii"!}..

hese d~lails /11'e suwa~::sliOIIl~ lO help Y0\1 think about ur character: tu.lvcntur~.;r~ cun deviate widely from the rm for their rnce. ll's W<)l'thwhile 10 con$ider why your aractcr is different. ns n ht.lpful \\'tiY to think :1bout

r character• I.H\ekgroun<l <~n<l personality.

RACIAL TRAITS

The description of each race includf" .. s racial trait~ that are common 10 members

or

that race.

The

following entries appear among the traits of most race.~

ABILITY

S

c

o

R£

lxCREAS£

£\'ery race increases one or more of a character's ability S<..-orcs.

Ac£

The ag~ entry notes the age "'hen a member of the race

is considered an adult. as well as the race·~ t.X(M'!Cit..d life-::opan. Thi~ inform;uion <'..an help y0\1 decide how old your character is at the start of the J,!ame. Ynu can choose any age for your charac1tr. which could

pmvide an ~xp1anation for soo1P. of your ability scur<.:$. For example. if you play a young or very old character. your a~c could explain a particularly low S1rt:t1g1h or Constirution ~core. while advanr:ed age could t1ccuuut for

a

high !ntclHgcncc or \Vi~dom.

A LICNMENT

Most taces have leodcn<:ies lO\v.:-trd certain ulignmcnt~. dest..rib~d iu thi~ <.'Jltry. Thcl)c ~uc not bindinr;t for plnyer ch~tr~tctcrs, but considerin~ why your dwarf ir-. r.hno1 ir..

for example, in d~fianr.e of lawful dwarf soci<:ty e~n lu;lp you be1te1· delioe your char~-tl'lt::r.

StZE

CharaClers of tnO$l race~ an; \>ledimn. a !:>izc catq(ory including creatures that arc rou~hly 4 to 8 feet ta II.

Members of a few ra<es are Small (between 2 and 4 feel

tall), which rneatt• that certain rule• oftbq{ame affect them differently. The mos.t important or th~se rl1le~ i~ thatSman characters have u·oulJie wielding hca\'y weapons. as explained in chapter 6.

SPEED

Your ~d d~l~line-.s how far you cau lliQ".'C when traveling (chapter 8) a:.d fighting (chapter 9). LAXGUAGES

By \•irtue of your race. your character can spe:t.k. read. and wrire certain languages. Chapter 4 lists the most common lauguagcs of the D&D multivcrse.

SUB RACES

Some races have sul>race~. ~1eml>ers uf a subracc have the traits of the parent race in addition tn rht. trair~ ~per.ifi~ci for thei1' subt'aC"e. Re1cuionship~ amonjl sul>racc:; vary si~nificantly from race to race and world to world. in rhe D1'agonlance campaign ~clting, for example. mountain dwarves and hill dwa1·ve::; live to~ether as diffe.rent clan::; of the same pt":oplt~:. but ;n the Forgorten Realms, 1hey live f:-:.1· .3lJttrt ir1 separal<: kingdoms and <.:all thcml:idVt:l:i l:i1Licld dw~1rvcs und ~old dwarves. respectively.

18

D

WARF

"Y~R LATE, ELF!'' CAME TW~ ~OUGH EDGE OF A l'"AMIJ..I.A'R

voice

.

Bruen or Bcrrleho

mmer

walked up

the back of

his

de

a

d

for

.

disregarding thejoct

that

th

e

htw~y

monsler l~

}'

on lop of

hi.s elu

e

nfrie

nd.

In spite oj

t

heo

dde

d

d

i

scomjorl.

the dwurj's long,

pointed, often-brok

e

n nose

and

gr

a

y

-streaked tl1ough still-fu!~)~ red beard came a.'\ a u;elcome

s

ight to Vriz;:l.

·'Kt~ew

I

'

d

.fin

d

_ve in tro

ub

l

e

i

f

I came

o

ur

on·

loo

ked

for

ye!"

- R. A. Salvatore,

The C1ystal Sh

u

rd

Kingdoms rich in ancienr grandeur, ha11~ carved lnto {he roots of mountains, the echoing of picks and hammers in deep mines and blazing forges, a comnlirmt":nt to clan and n·adition, and a burning hacred of goblins and orcs-·th~!':~ common threads 1.1nite all dwarv~.

T-ART 1 R.AC.t:.S

S

HORT AND ST

OUT

Botd and hardy, ch~'31'\le~ are known as skilled '"'ardors, miners. and wo1·kers of stone and metal. Though they stand

well under 5 feet Hd), dw.:u·ve.~ ar~ $0

broad and r.ornpact that they can weigh as much as a hom an standing nearly two feet ta11er. Their cour.ag~ and endurance are also ea$>ily a match for any of the larger folk.

Dwarvcn skin ranges fmm deep brown to a paler hue tinged with red, but the mosr common shades are li~ht brown or d~e:.p tan, like certain Lones of earth. Their hair. worn long but in $implestyk.s. is usually black, gr<Jy, or brown: though paJer dwarves often have red hair. Male dwarves value their beards hjghly <Jnd groom them carefully.

LoNO

M

EMORY,

LoN

G

G

RUDGE

S

Dwarves can live to be more than 400 years old, so the oldest living dv.rarves ofcen remember a verydifferemt

\VOrld. Por example, some of (he olde$t dwarves living in Citadel Felbarr (in the world 'of the.

r'o

rg

o

u

en

Reahns) can recall the day. more than chree centuries ago, when orcsconqueted the fortress and drove them into an exile

that la:;ted over 150 years. Thi~ lon~cvity grants them a pt:t'$1pectivc on tht~ world thaL $honer-lived races S\t(:h as human$ and halfiings lack.

Dwarves ar~ solid and enduring lik~ th~ mountains they love. weathering the pa~:;.s.agc of centuries wilh scoic endurance and little change. They respect the traditions

of their clans. tracing [h~ir ancestry back to 1 he:. founding of ch~.ir mo~t anckut strongholds in the youth of the v.;orld, and don't abandon those traditionslighdy.

Par( of chose traditions is devorion to the ~ods of the dwarves. who uphold the dwarven id~al$ of industrious labor, skill in baule, and devotion to the

f

o

rg

e

.

Individual dwarves Hre determined and loyat true to their word and decisive in ac:tion. sometimes to rhe point of stubbornness. 1vlany dwarves ha·ve a srrong sense

f jusrice, and they are slo·w to fot·g~t wrongs they have. .. uffered. A wrong d01)e lO one dv/.:trf is a Wl'Ong done 10

1e dwarf's entire clan. so \Vhat begins as one d\\'arf's

unt for vengeance can become a. full· blown clan feud.

C

L

AN

S AND

K

IN

GDOMS

~warven kit)gdoms sfl·er(';h d~ep beneath the mountains here the dwarves mine gems <t.Ild pn::.ciOu$ mel<tls nd for~c items of wonder. They love the beauty and ..nisrry of pr~dous metals and fine jewelry, and in some

.-.arve:; this love festers into av~uice. \Vhatever wealth 1eycan't find in their mountain~, th~.y gain through rade. They dislike boat$, so cnterpd$iug humans and

Wflings frequently handle [fade in dwarven goods ong water routes. Trust worthy m.embers of other races re welcome in dwarf settlements! though some arc.as re off limit~ even to th~rn.

The chief unit of dwarven society is the clan, and

·arves highly value social stand in~. Even dwarves ho live far from 1.hek own kingdoms cher1sh their clan

entities and affiliations. recognize related dwarves, "Ki invoke their ancestors' narnes in oaths and <:urs~$. - be clan less is the worst fate that can befall a dwarf.

Dwarves in mher lands are typically artisans,

..;;.-pecially we.apoo-smiths, armo1·ers, and jewel~1-s. Some ~me mercenaries or body~uards. highly sou~ht after

r their courage and loyalty.

C

o

n

s

,

GoLD, AND CLAN

f'\~~~o·arves who take up the advenrurinq life mi~ht be .otivated by a desire fot' 11·easurr:- fo1· irs own sake, for

.... pecific purpose! or even out of an altruistic desire to efp others. Other dwarves are driv~n hy the command ~inspiration of a deity, a direct callin~ or simply a esire to bring glor~· to one of the dwarf gods. Clan and

'Cestry are also important motivalor:s. A ch .. •a1·f might ::ek to restore a clan's lost honor, avenge an ancient rong [he dan suff~reci, or earn a new place \Vithin the 10 after having been exiled. Or a dwarf might search .r the axe wielded by a mighty anc•sror, lost on the field

battle centuries ago.

SLOW TO TRUST

Dwarves get along passably '.\'ell •Nith most other ra<es. "The difference between an 3cquaint.1nce .1nd a friend is about a hundred years, .. is a dwt~rf saying that might be hyperb-ole,

but <ettainly points to how diRkult it can be for a member of a short·lived race like humans to earn a dwarf's trust.

fives . .,It's not wise to depend on the elves. No telling wh.1t an elf will do next; •Nhen the hammer meets the or.c's head, they're as ~pt to start singing as to pull out a swo:d. They're flighty and frivolous. Two things to be said for them, though: They don't have many smiths, but the OrlcS they have do very

fine work. And when or<:s or goblins come streaming down out of the mount~ ins. an elf's good to have at your ba<:k. No!

as good as a dwarf. maybe, but no doubt they hate the orc::s JS much as we do.'·

Hatflings. "'Svre. they're pleas;:mt fol~. Bvt show me a

tlalfling_ hero. An empire, a triumphant army. Even a treasure for the ~ges made b>• haiAing hands. Nothing. How <:an you take them seriously?"

f-lumGns. "You take the time to ge~ to know a human, and

by then the human's on het deathbed. If you're luc~y. she's got kin- a daughter o: granddaughter. maybe- who's got

hands and heart as good as hers. That's when you <:an make a human friend. And w~t<:h them go! They set their hearts on something, they'll get it~ whether it's a dragon's hoard ot an empire's throne. You have to admire that kind of dedication. even if tt gets them in trouble more often than not!'

20

DwA

R

F

NA

MES

A dwarf's name is granted by a dan ~lder: in accordance

with lradition. Every proper dwarven il(une has been

used ~md ret,sed down through the ~cncrations. A dwarfs nam~ belongs to th~ clan. not to the illtUv.idual. A dn•arf who misuses or brings sham~ to a clan namt·.

is slrippe<l of rh~ name and forbidden by i.aw ro us~ any d·warvcu name in it$; place.

Male Names: Adrik. Alberi.ch, Bo-.rn, Barendd, Drottor.

BrueHor, Dain, Darrak, Ddg. Ebcrk. EinkH, Farg·rim,

Flint, Gardain. liarbek. Kildra k, Morgran, Orsik.

Oskar. Rangfim, Rurik, Taklinn1 Thoradiu. Thorin,

Tordek, Traubon, Travok. Ulfgar, Veit, Vondal

Female Names: Amber, Artin. Audhild. Bard•'Y"· Dagnal, Dies-3, E.ldeth, Falkrunn, Fincllcn, GunnJoda,

Gurdis. llclja. J-lliu. Katlli'O, K•·istryd, l!dc, Liftrasa, Ma1'dred, Riswynn. Sanul. 1brbera. Torgga, Vistra.

Clan Names: Rald~rk, Bartlehammcr, Brawnauvil, Dankil, Fircfor~c. Frostbeard. Gorunn, Holdcrhck.

lronllst. Loderr, Lutf4chr. Rumnalleim. Su·akeln, Torunn. Ungar{

DWARF

T

RAITS

Your dwarf clHo:acter ha~ an as..o;orcmcnt of inborn

abililies, parr and parcc1 of dwarven nahH'e..

AbiHty Score Increase. Your Constitullon score in<":reases by 2.

A~e. Dwarves mature at lh~ same r<ue as. humans, but

they're con.sidt:l'~d young until they reach lhe age (Jf 50.

On avera~c. th<:y lh·e abo1.H 350 years.

AliSnment. Most dwarv<:~ Hre lawf\1l, b~lieving firmly in the bcnefils of a well-ord~.red society. Th~y tend

towar·d good as well: with a strong sense o( fair play and

a belief that eve1'yone d~~o;;erves to share in the. benefks of

a j

l.ISf order.

Size.

Dwarv~.s .stand betv.rccn 4 and 5 feet

ca

ll

and avera~c aboul 150 pound~. Your size is Medium.

Speed

.

Your ba.sc walking speed is 25 feet. Your svc~d js 1101 l'f.<iuc~.d by we.arin~ heavy armor.

Dark vision. Accuslomed ro life under~round, you have sup~rior vision in dark and dim conditions. You

<;.an see in dim lighl \virhin 60 feet of you as

if il

\Vere

bright light. and in darkness a!:>

if

il w·ere dim light. You

can't di::;cern color in darkness, only shadt:s of gr~y.

Dwarven Resille.nc-e. You have advamagc on saving lhrov..'S against poison. and you have resistance against

poison damage (f:xplained in chapter 9).

Dwarvcn Combat Training. You have profidency with the battlcaxc. haudaxe, 1h1·owlng hammer. and warhanlmf.r.

PARI 1 R.,<\(.fS

Tool Proficiency. You gaio prolidency with the a1·1isan'5; tools of your choice: srnith"s tool.s, brewer's supplies, or ma;:;on 's tools.

Stonecunlfin4. 'V.'henev~·· you make an lntcllig~nct: (History) check related to {he ol"ig1o of stonework, you are <":on::;idered proficient in the His1ory $>kill and add doubl~ yo~n· pmfic1ency bonus to the check. instead of your normal prollcien<":y honus.

LanRuages. You can spe0:1 k, read, and write Common and n~\~arvish. Dwarvish is fuU of hard con::;onants and ~uttund sounds. and those charactcrislics spiU over imo whatev~r other lan~uage a dv .. ,a,·i might speak.

Subrace. Two main suhra<":es o( dwarvc.s populale the

worlds of D&D: hill dw<trves and moumain dwarves.

Choose one of thes~ .sub races. HILL DWARF

As a hill dwarf. you have keen s~ns.es, de.ep jnruition. <tud remal'ka.ht~. resilience. The gold ch-var\'f.:S of Faertin

in their mighly soul hem kingdom arc hill dwarvc$. as ate rh~-exiled Neidar .and the debas~rl Kla1· ofKrynn in

the Dragon-lance .serting.

Ability Score increase. Y()ur \<Visdom score increa-s~.s hy 1.

Dwar'Ven Toughness. Your hit point maxinwm increases by

1.

and jl increases hy J every time you

g;.in a l~v~.l.

MouNTAJN DwARF

As a mountaiu dwarf, you'l'e srrong and hardy.

accustomed to a difficulllife ill1'ugged terrain. You're

probably on th• tall side (for a dwar(). and tend rowal'd lighter coloration. The shield dwarves of northern

Faerun, as w•ll as the ruling llylar clan and the nohle

Daewar clan of Dragon lance, a1'e mountain dwarves. Ability Score Increase. Your Slrength scor~ increa.scs by '2.

Dwan·en Armor Train In~. You have proficiency with light and medium armor.

OUERCiAR

Jn cities deep in the Underdark live the duergar, or gray dwarves. These vicious, ste(llthy slave traders raid the surface world for cap~ives, then sen their prey to the other races of 11he Underdark. They ha"e innate magical abilities to become invisible and to temporarily g;ow to giant size.