Dragons of Stormwreck Isle - Flip eBook Pages 1-50 (2023)

Welcome to Dungeons & Dragons ........ 2 Combat ....................................................... 9 Casting Time........................................ 23
What's in This Set ................................... 2 The Order of Combat ........................... 9 Range..................................................... 23
Getting Started......................................... 2 Movement & Position......................... 11 Components ......................................... 24
Rhythm of Play......................................... 2 Actions in Combat............................... 12 Duration................................................ 2 4
Game Dice ................................................. 3 Making an Attack................................ 13 Areas o f Effect ..................................... 25
Terms to Remember................................ 3 Cover...................................................... 14 Targets................................................... 26
RangedAttacks................................... 14 Saving Throws .................................... 26
Chapter 1: Playing the Game ................. 4 Melee Attacks....................................... 14 Attack Rolls.......................................... 26
Six Abilities ............................................... 4 Damage & Healing ............................. 15 Combining Spells .................................. 26
The d20 Roll.............................................. 4 Mounted Combat................................. 17 Spell Descriptions ................................. 26
Proficiencies.............................................. 5 Underwater Combat........................... 17 Appendix: Conditions............. Back cover
Advantage & Disadvantage.................... 5
Ability Checks........................................... 5 Resting ..................................................... 17 CREDITS
Skills ........................................................ 6 Chapter 2: Equipment 18............................
Working Together ................................. 7 Lead Designer: Jeremy Crawford
Saving Throws ......................................... 7 Coins 18......................................................... Art Director: Kate Irwin
Social Interaction .................................... 7 Buying & Selling .................................... 18
Alignment .................................................. 7 Equipment Proficiencies ...................... 18 Cover Illustrator: Ilse Gort
Armor........................................................ 19 Interior lllustrators: Olivier Bernard, Linda
The Environment......................................... 8 Weapons................................................... 19
Travel ....................................................... 8 Lithen, Alex Stone, Richard Whitters,
Falling...................................................... 8 Weapon Properties............................. 19 Shawn Wood
Vision ....................................................... 8 Improvised Weapons ......................... 21 Graphic Designer: Bob Jordan
Hiding ...................................................... 8 Adventuring Gear .................................. 21
Interacting with Objects...................... 9 Chapter 3: Spells . . . 22.... .. ........... .................. Proofreaders: Judy Bauer, Makenzie De
Finding Hidden Things ....................... 9 Gaining Spells ........................................ 22 Armas, Christopher Perkins, James Wyatt
Suffocating ............................................. 9 Casting a Spell........................................ 22
Spell Level ............................................ 22 Product Manager: Natalie Egan
School of Magic................................... 23 Producer: Rob Hawkey

Based on the Player's Handbook® (2014)

TM & ©2022 Wizards.



is a cooperative game in which the characters you Instead of choosing a character, one participant
roleplay embark on adventures together in fantasy takes on the role of the DM, the game's lead story­
worlds filled with monsters and magic. This set teller and referee. The DM runs the adventure for
gives you and up to five of your friends everything the characters, who navigate its hazards and decide
you need-besides your imagination and a pencil­ which paths to explore. The DM describes the loca­
to journey in one of those worlds. tions and creatures that the adventurers face, and
the players decide what they want their characters
WHA T' S I N TH I S SET to do. Then the DM, using imagination and the
game's rules, determines the results of the adven­
This set includes the following components: turers' actions and narrates what they experience.
Because the DM can improvise to react to anything
Rulebook. This rulebook contains all the rules you the players attempt, D&D is infinitely flexible.
need to start playing D&D.
If you decide to be the DM, make sure to famil­
Adventure Booklet. The other booklet in this set iarize yourself with this rulebook, and read the ad­
contains an adventure for you to play. Only the venture booklet. You'll then be ready to gather your
person who's going to run the adventure should friends together to play.
read that booklet.
Character Sheets. Five different characters-a
cleric, a fighter, a paladin, a rogue, and a wizard­ Once the DM is ready to run the adventure and the
are provided for up to five players to choose from. players have chosen their characters, the group
The characters that your group choose will go on gathers for a session of play. In a typical D&D ses­
the adventure in the adventure booklet. sion, play unfolds in encounters-similar to how a
movie comprises scenes-and in each encounter,
Dice. All the dice you need to play are included. there are chances for the DM to describe creatures
and places and for characters to make choices.
GETTING STAR TED Here's an example of the start of an encounter:

I f this i s your first time playing D&D, start b y read­ Dungeon Master (OM): A c r u m b l i n g castle sta n d s
ing the rest of this introduction and chapter 1. They
tell you the most important rules for play. V isit among the trees, the ruins of seven towers j utting
dnd.wizards.com/starter for additional guidance.
u p from it l ike broken teeth . A n a rchway l ittered with
The next step is to decide who is
going to run the adventure-that rusted m etal gapes open at the top of a s hort fl ight of
person is called the Dungeon Mas­
ter or DM-and who's going to play steps. just i nside that openi ng, you spot two skeletal
the adventurers.
guards with glowing red eyes.
Phillip (playing Nica, the cleric): Let's send the
Each player chooses a character, an adventurer who
teams up with the other players' adventurers. This rogue up a h ead to look in and see if there are m o re
set comes with several characters to choose from,
each one printed on their own sheet. Take a look at than two guards.
each of the sheets, and choose the character who Amy (playing Diana, the rogue): OK, I ' l l s neak u p
looks the most fun to play. Whichever characters
you and the other players choose, the characters u ntil I can peer i n through t h e entrance.
are assumed to be allies as they face the dangers
of D&D together. The DM presents exciting chal­ OM: All right, let's see how sneaky you are. Make a
lenges, new friends, and handsome rewards to your
characters. The DM is not your foe but does present Dexterity check.
dangers that provide opportunities for your adven­ Amy: Usi n g my Stealth p roficiency, right?
turers to shine and then thrive.
OM: You bet.
The adventure in this set works best for four or Amy (rolling a d20): D i a n a's p retty s neaky­
five characters, so if you have fewer than four play­
ers, we recommend some of you play more than one that's a 17.
OM: There's no sign the skel etal guard s s pot you,

and you don't notice any others.


In that example, three main steps are present, and GAM E D IC E
those steps occur in every D&D encounter, whether
it's a peaceful encounter or a fight: The game uses dice with different numbers of sides.
In these rules, the different dice are referred to by
1: The DM describes the environment. The DM the letter d followed by the number of sides: d4, d6,
tells the players where their adventurers are and d8, dlO (with 0 standing for 10), dl2, and d20. For
what's around them, presenting the basic scope instance, a d6 is a six-sided die.
of options (how many doors lead out of a room,
what's on a table, who's in the tavern, and so on). When you need to roll dice, the rules tell you how
many dice to roll of a certain type, as well as what
2: The players decide what their characters do. modifiers ( positive or negative) to add. For example,
"3d8 + 5" means you roll an eight-sided die three
A character's sheet contains various things that times, add the rolls together, and add 5 to the total.
the character can do. When deciding what your
character does, you may choose something on Percentile dice, or dlOO, work differently. You
the sheet, or you may make something up. What­ generate a number between 1 and 100 by rolling a
ever you decide, describe the intended action to ten-sided die twice. The first roll gives the tens digit,
the DM and the other players. Sometimes all the and the second roll gives the ones digit. For exam­
characters do the same thing, and other times, ple, if you roll a 7 and a 1, the number rolled is 7 1,
different adventurers do different things; one and if you roll a 0 and a 5, the number rolled is 5.
adventurer might search a treasure chest while Two Os represent 100.
a second examines a symbol engraved on a wall,
for example. Outside combat, the characters don't T ERM S TO R EM EMB ER
need to take turns, but the DM listens to every
player and decides how to resolve those actions. adventure. An adventure is a series of encou nters that h e l p
In combat, everyone takes turns in order, as ex­
plained in the "Combat" section (page 9). Ei- t e l l a story and p resent the players' characters w i t h i m ­
ther way, the DM tells you what happens next.
portant choices.
3: The DM narrates the results of the action. character sheet. A character sheet i s a piece of paper o r dig­
Sometimes, resolving a task is easy. If an adven­
turer wants to walk across a room and open a ital record that bears a character's game statistics.
door, the DM might just say that the door opens creature. Any living being in the game, incl u d i n g a p l ayer's
and describe what lies beyond. But the door
might be locked, the floor might hide a deadly character, i s a creature. Each creature belongs to a type:
trap, or some other circumstance might make it
challenging for an adventurer to complete a task. Aberration , Beast, Celestial, Construct, Dragon, Elemen·
In those cases, the DM checks to see if there are
relevant rules-on a character sheet, in this rule­ tal, Fey, Fiend, Giant, H u manoid, Monstrosity, Ooze,
book, or in the adventure-and then decides what
happ ens, often relying on the roll of a die to deter­ Plant, or Undead. Some rules in the game affect creatures
mine the results of an action. Describing the re­
sults often leads to another decision point, which of certain types in d i fferent ways. For exa m p l e, the text of
brings the flow of the game right back to step 1.
the cure wounds spell s pecifies that the spell doesn't work

on a creature that has the Undead type.
dungeon. A d u ngeon i s any indoor adventure location,

whether underground, in a castle, or in a city.
encounter. An encou nter is a scene in an adventure, i ncor­

porating a fantasy location and often friends or foes.
m onster. A creature control led by the D M is a m o nster, even

if the creature is benevolent. A monster with a personal

name is someti mes cal led a n N PC (non p l ayer character),

especially if it isn't com bative.
object. A n object is a n o n l iving, d istin ct thing. Com posite

things, l ike b u i l d i ngs, com prise more than one object.
player character. A p l ayer cha racter-"character" for

short-is a n adventurer contro l led by a player.
stat block. A stat b lock contains the game statistics of a

monster. It's effectively the monster's character s heet.

If you'd l ike to delve deeper i nto D&D, check out the
fifth edition Player's Handbook, Monster Manual, and
Dungeon Master's Guide. These advanced rulebooks
introduce you to the vast m u ltiverse of D&D and i nvite
you to create characters and worlds wit h i n it.




Many of the rules refer to six abilities (described be­
low) possessed by every character and monster. You Score Modifier Score Modifier
use these abilities in many different situations, in­ +3
cluding combat, social interaction, and exploration­ -5 16-17 +4
the rules for which are presented in this chapter. +5
2-3 -4 18-19 +6
Six AB I LITI E S +7
4 -5 -3 20-21 +8
Six abilities briefly describe a creature's physical +9
and mental characteristics. These abilities appear 6 -7 -2 22-23 +10
on an adventurer's character sheet and in a mon­
ster's stat block: 8 -9 -1 24 -25

Strength, measuring physical power 10-11 +O 26 -27
Dexterity, measuring agility, reflexes, and balance
Constitution, measuring endurance 12-13 +l 28 -29
Intelligence, measuring reasoning and memory
Wisdom, measuring perceptiveness and intuition 14 -15 +2 30
Charisma, measuring force of personality
Each ability has a score, ranging from 3 tCi 18 for
most adventurers. The highest a character's score When the outcome of an action is uncertain, the
can reach is 20. Monsters can have scores as low as game relies on a d20 roll to determine success or
1 or as high as 30. failure. Ability checks, saving throws, and attack
rolls are the three main kinds of d20 rolls, and
An ability score's most important function is pro­ whenever you make one, the roll is associated with
viding an ability modifier-a positive or negative one of the six abilities. The roll follows these steps:
number added to ability checks, saving throws, and
attack rolls, as explained in the rest of this chapter. 1: Roll a d20, and add the relevant ability modifier.
The Ability Scores and Modifiers table shows the
modifier that each score provides. The rest of this rulebook specifies which ability
modifier to use for different types of d20 rolls.
2: Add your proficiency bonus if relevant. Each
character has a proficiency bonus, a number you
add when making a d20 roll that uses something
in which your character has proficiency. See the
"Proficiencies" section for more information.


3: Apply circumstantial bonuses and penalties. A A DVAN TA GE & D ISA DVAN TA GE
class feature, a spell, or another rule might give a
bonus or a penalty to the roll. Also, the roll might Sometimes a rule, such as a class feature or a
have advantage or disadvantage, explained in the spell, says you have advantage or disadvantage on
"Advantage & Disadvantage" section. an ability check, a saving throw, or an attack roll.
When that happens, roll the d20 twice when you
4: Compare the total to a target number. If the make the roll. Use the higher of the two rolls if you
total of the d20 roll and its modifiers equals or ex­ have advantage, and use the lower roll if you have
ceeds the target number, the ability check, attack disadvantage.
roll, or saving throw is a success. Otherwise, it's
a failure. The DM determines target numbers and For example, if you have disadvantage and roll a
tells players whether their rolls are successful. 17 and a 5, you use the 5. If you instead have advan­
The target number for an ability check or a saving tage and roll those numbers, you use the 17.
throw is called a Difficulty Class ( DC). The most
common DCs for ability checks are in the Typical THEY D ON'T STACK
Difficulty Classes table. The target number for an
attack roll is called Armor Class (AC), which ap­ If multiple situations affect a roll and each one
pears on a character sheet or in a stat block. grants advantage or imposes disadvantage on it, you
don't roll the d20 more than one additional time. If
TY P I CAL DI FFIC U LTY ( L A S SES \ two favorable situations grant advantage, for exam­
ple, you still roll only one additional time.
Task Difficulty DC Task Difficulty DC
20 If circumstances cause a roll to have both advan­
Very easy 5 H a rd 25 tage and disadvantage, you are considered to have
30 neither of them, and you roll the d20 once. This is
Easy 10 Very h ard true even if multiple circumstances impose disad­
vantage and only one grants advantage or vice versa.
Medium 15 Nearly i mpossible In such a situation, you have neither advantage nor
A character sheet notes the things that the character
is especially good at, which are known as the char­ When you have advantage or disadvantage and
acter's proficiencies. Here are the main proficien­ something in the game, such as the halfling's Lucky
cies, along with page references to their rules: trait, lets you reroll or replace the d20, you can
reroll or replace only one of the rolls. You choose
Ski l l s (page 6) Eq u i p ment (page 18) which one. For example, if a halfling has advantage
Savi ng Throws ( page 7) or disadvantage on an ability check and rolls a 1
and a 13, the halfling could use the Lucky trait to
reroll the 1.
Whenever you make a n ability check, a saving
throw, or an attack roll that uses one of your char­ AB I LITY CH E CK S
acter's proficiencies, you add the character's profi­
ciency bonus to the roll. The bonus appears on your An ability check tests a character's or monster's
character sheet, and this rulebook and the character innate talent and training in an effort to overcome a
sheet tell you when the bonus applies. challenge. The DM calls for an ability check when a
character or monster attempts an action (other than
A monster's proficiency bonus is already incorpo­ an attack) that has a chance of failure. When the out­
rated in the relevant numbers in the creature's stat come is uncertain, the dice determine the results.
block, so the DM doesn't need to add it.
Here are the steps for making an ability check:
Your proficiency bonus can't be added to a die roll
or other number more than once. For example, if 1: Determine the ability to use. For every ability
two rules tell you to add your proficiency bonus to a check, the DM decides which of the six abilities is
Wisdom saving throw, you nevertheless add it only relevant to the task at hand. This rulebook or the
once to the save. adventure booklet often tells the DM what kind of
check a character can make and what happens if
Occasionally, a proficiency bonus might be multi­ the check succeeds or fails. Since characters of­
plied or divided (round down) before being added. ten try unpredictable things, the adventure book­
For example, the rogue's Expertise feature doubles let also provides advice to help the DM decide
the proficiency bonus for certain ability checks. what kind of ability check to use in a situation.
Whenever used, the bonus can be multiplied only
once, divided only once, and added only once.

2: Choose a skill that applies, if any. Each ability, For example, a Dexterity check might reflect a
except Constitution, has skills associated with character's attempt to pull off an acrobatic stunt,
it, and the rules or the DM determines which of to palm an object, or to stay hidden. Each of these
those skills is relevant to a check. See the "Skills" aspects of Dexterity has an associated skill: Acro­
section below for more information. batics, Sleight of Hand, and Stealth, respectively. So
a character who has proficiency in the Stealth skill
3: Set the Difficulty Class. Each ability check re­ is particularly good at Dexterity checks related to
quires a DC, representing the difficulty of the sneaking and hiding.
task. The more difficult a task, the higher its DC.
This rulebook, the adventure booklet, and the How TO U S E SKILL P ROFICIENCIES
character sheets provide guidance on what the Sometimes, the DM might ask for an ability check
DC should be for certain checks. using a specific skill-for example, "Make a Wisdom
( Insight) check." At other times, a player might ask
4: Roll the d20. Then add the relevant ability mod­ the DM if proficiency in a particular skill applies to a
ifier, and if the check uses one of the character's check. In either case, proficiency in a skill means an
skill proficiencies, add the character's proficiency individual can add their proficiency bonus to ability
bonus too. As with other d20 rolls, apply any checks that involve that skill. Without proficiency in
bonuses and penalties, and compare the total to the skill, the individual still makes the ability check
the DC. If the total equals or exceeds the DC, the but without adding their proficiency bonus.
ability check is a success. Otherwise, it's a failure,
which means the character or monster makes no For example, if a character attempts to climb up
progress toward the objective or makes progress a dangerous cliff, the Dungeon Master might ask
combined with a setback determined by the DM. for a Strength (Athletics) check. If the character
is proficient in Athletics, the character's profi­
S KI L L S ciency bonus is added to the Strength check. If the
character lacks that proficiency, they just make a
Each of the six abilities covers a range of capabili­ Strength check.
ties, including skills that a character or a monster
can be proficient in. A skill represents a specific SKILL LIST
aspect of an ability score, and an individual's profi­ The skills related to each ability score are shown
ciency in a skill demonstrates a focus on that aspect. on the Skills table (no skills are related to Constitu­
The character sheets indicate each character's skill tion). That table also notes example uses for each
proficiencies, and a monster's skill proficiencies ap­ skill proficiency.
pear in the monster's stat block.

S KI L L S Skill Example Uses
Ability Ath l etics J u m p farther than normal, stay afloat i n rough water, or break someth i ng.
Strength Acrobatics Stay on you r feet in a tricky situation, or perform an acrobatic stunt.
Dexterity Sleight of Hand Pick someone's pocket, conceal a handheld object, or perform legerdemain.
I ntel l i gence S te a l t h Escape notice by moving silently and hiding b e h i nd t h i n gs.
Arcana Recall lore about spells, magic items, and the planes ofexistence.
Wisdom H istory Recal l lore about h i storical events, people, nations, and cultures.
I nvestigation Find obscure i nformation i n books, or ded uce cl ues about how something works.
Charisma N ature Recall lore about terrain, plants, animals, and weather.
Religion Reca l l lore about god s , rel igious ritu als, and holy symbols.
Animal Handling Intuit an animal's intentions, calm an animal, or train an animal.
Insight Discern a person's mood and i ntentions.
Medicine Diagnose an i l lness, or determine what killed the recently slain.
Perception Using a combination of senses, notice someth ing that's easy to m i ss.
S u rvival Follow tracks, forage, fi nd you r way i n the wilderness, or avoid natural hazards.
Deception Tel l a convincing lie, or wear a disguise convi ncingly.
I ntimidation Awe or th reaten someone i nto doi n g what you want.
P e rfo r m a n c e Perform m u sic, dance, acti ng, or storytel l i n g.
Persuasion Honestly and graciously convince someone of somet h i n g.



Sometimes two o r more characters team up to Characters and many monsters have an a l i gn ment,
attempt a task. The character who's leading the
effort-or the one with the highest ability modifier­ which broad ly describes their m o ra l and ethi ca l atti­
can make an ability check with advantage, reflecting tudes. Alignment is a combination oftwo factors: one
the help provided by the other characters. In com­
bat, this requires the Help action (page 12). identifies moral ity (good, evi l , o r neutral), and the

A character can provide help only if the task is one other descri bes attitudes toward society and o rder
they could attempt alone. For example, the rules
might require proficiency with thieves' tools to pick (lawfu l , chaotic, o r neutra l ) . Thus, nine d isti n ct a l i gn­
a specific locj{., so a character who lacks that profi­ ments define the possible combinations.
ciency couldn't help another character in that task.
Moreover, a character can help only when two or Creatu res that lack the capacity for rational thought
more individuals working together would actually don't have alignments-they a re unaligned. Such crea­
be productive. Some tasks, such as threading a nee­ tures are i ncapable of m aki n g moral or ethical choices
dle, are no easier with help. and act accordi n g to their natu res.

SAV IN G THR OW S These summaries of the nine alignments describe

A saving throw-also called a save-represents an the typical behavior of a creature with that alignment;
attempt to resist certain threats, such as a spell or a
trap. A rule or the DM lets·you know when it's time i ndividuals vary from that behavior:
to make a save for a creature, following these steps: .
Lawful good (LG) creatu res can be cou nted on to do
1: Determine the ability to use. The rules or the
DM determines which of the six abilities to use the right t h i ng as expected by society.
for the save. For example, the DM might say, Neutral good ( N G ) folk do the best they can to help
"Make a Dexterity saving throw to dodge the fire!"
others accord i n g to their need s.
2: Set the Difficulty Class. The DC for a saving Chaotic good (CG) creatures act as their con science
throw is determined by the effect that causes it.
For example, the DC for a saving throw allowed d i rects, with l ittle regard for what others expect.
by a spell is determined by the caster's spellcast­ Lawful neutral (LN) i nd ivid uals act in accord ance with
ing ability modifier and proficiency bonus, as ex­
plained in chapter 3. law, tradition, or personal codes.
Neutral (N) is the al ign ment of those who steer clear of
3: Roll the d20. Then add the appropriate ability
modifier. For example, you use your Dexterity moral questions, doing what seems best at the time.
modifier for a Dexterity saving throw. If the crea­ Chaotic neutral (CN) creatures follow their whi ms,
ture has the relevant saving throw proficiency
(noted on the character sheet or stat block), also hold i n g their personal freedom above all el se.
add the creature's proficiency bonus. As with Lawful evil (LE) creatu res take what they want, with i n
other d20 rolls, apply any other bonuses and pen­
alties, and compare the total to the DC. If the total t h e l i m its o f a code o f tradition, loyalty, or order.
equals or exceeds the DC, the save is a success. Neutral evil ( N E) is the align ment of those who do
Otherwise, it's a failure. The result of a successful
or failed saving throw is detailed in the descrip­ whatever they can get away with, without qualms.
tion of the effect that forced the save. Chaotic evil (CE) creatures act with a rbitrary violence,

S O C IA L IN TER A C TION spu rred by their greed, hatred, or blood l u st.

During their adventures, the player's characters In general terms, an NPC's attitude toward you is
meet people from many different walks of life and described as friendly, indifferent, or hostile. Friendly
face monsters that are more keen to talk than fight. NPCs are predisposed to help you, and hostile ones
In those situations, it's time for social interaction. are inclined to get in your way. It's easier to get what
you want from a friendly NPC.
Interaction takes on many forms. You might
need to convince an unscrupulous thief to confess Social interactions have two primary aspects:
to some wrongdoing, or you might try to flatter a roleplaying and ability checks.
dragon so that it will spare your life. The DM as­
sumes the roles·of any NPCs who are participating. ROLEP LAYI NG

Roleplaying is, literally, the act of playing out a role.
In this case, it's you as a player determining how
your character thinks, acts, and talks. Roleplaying is
part of every aspect of the game, and it comes to the
fore during social interactions. Your character's per­
sonality influences how interactions resolve.

The DM uses your character's actions and atti­
tudes to determine how an NPC reacts. A cowardly
bandit might buckle under threats of imprisonment.
A stubborn merchant refuses to let anyone badger
her. A vain dragon laps up flattery.

When interacting with an NPC, pay close atten­
tion to the DM's portrayal of the NPC's personality.
You might be able to determine an NPC's goals and
then play on them to influence the NPC's attitude.


If you offer NPCs something they want or play on V I SI O N
their sympathies, fears, or goals, you can use words
to form friendships, ward off violence, or learn a key Some of the tasks of adventuring-noticing danger,
piece of information. On the other hand, if you insult finding hidden objects, hitting an enemy in combat,
a proud warrior or speak ill of a noble's allies, your and targeting a spell, to name just a few-rely on a
efforts to convince or deceive will likely fall short. creature's ability to see. Darkness and other effects
that obscure vision can prove a hindrance, as ex­
ABI LITY C H EC K S plained below.

In addition to roleplaying, ability checks can b e key OB SCURE D A REA S
in determining the outcome of a social interaction. An area might be lightly or heavily obscured. In a
lightly obscured area, such as dim light, patchy fog,
Your roleplaying efforts can alter an NPC's atti­ or moderate foliage, creatures have disadvantage on
tude, but there might still be an element of chance Wisdom (Perception) checks that rely on sight.
in the situation. For example, your DM can call for
a Charisma check at any point during an interaction A heavily obscured area-such as darkness,
if they want the dice to play a role in determining an opaque fog, or dense foliage-blocks vision within
NPC's reactions. Other checks might be appropriate it. A creature effectively suffers the blinded condi­
in certain situations, at your DM's discretion.
tion (explained in the appen�when trying to see
Pay attention to your skill proficiencies when
thinking of how you want to interact with an NPC, something in that area.
and stack the deck in your favor by using an ap­
proach that relies on your skills. For example, if the LIGH T
group needs to trick a guard into letting them into The presence or absence of light in an environment
a castle, the rogue who is proficient in Deception is creates three categories of illumination:
the best bet to lead the discussion.
Bright light lets most creatures see normally. Even
TH E EN V IR ONM EN T gloomy days provide bright light, as do torches,
lanterns, fires, and other sources of illumination
Adventuring involves delving into places that are within a specific radius.
dangerous and full of mysteries. The rules in this
section cover some of the ways adventurers interact Dim light, also called shadows, creates a lightly
with the environment in such places. obscured area. An area of dim light is usually a
boundary between a source of bright light, such as
TRAV E L a torch, and surrounding darkness. The soft light
of twilight and dawn also counts as dim light. A
During a n ad:venture, the characters might travel full moon might bathe the land in dim light.
long distances, on trips that could take hours or
days. The DM can summarize this travel without Darkness creates a heavily obscured area. Charac­
calculating exact distances or travel times. ters face darkness outdoors at night (even most
moonlit nights), within the confines of an unlit
If you need to know how fast people can move dungeon, or in an area of magical darkness.
when every second matters, use the "Movement &
Position" rules ( page 1 1). HI DI NG

FALLI NG Adventurers and monsters often hide, whether to
spy on one another or to set an ambush. The DM-Ue­
A creature that falls takes ld6 bludgeoning dam­ cides when circumstances are appropriate for hid­
age at the end of the fall for every 10 feet it fell, to a ing. When you try to hide, make a Dexterity (Stealth)
maximum of 20d6 (see page 15 for the rules on check. Until you are discovered or stop hiding, that
taking damage). check's total becomes the DC for the Wisdom (Per­
ception) check of any creature that searches the
When the creature lands, it suffers the prone con­ area; it finds you only if the check succeeds.
dition (explained in the appendix), unless it avoids
taking any damage from the fall. WHE N CA N I H I DE?
You can try to hide if no one can see you. You can't
A creature that falls into water or another liquid hide from a creature that can see you clearly, and
can use its.reaction (see "Reactions" on page 10) to you give away your position if you make noise, such
as shouting a warning or making an attack.
make a DC 15 Strength (Athletics) or Dexterity (Ac­
An invisible creature can't be seen, so it can
robatics) check to hit the surface head or feet first. always try to hide. Signs of its passage might be
On a successful check, any damage resulting from noticed, however, and it still has to stay quiet. For
the fall is halved. more information, see the invisible condition in
the appendix.


PA SSI VE PE RCE PTION In most cases, you need to describe where you
When you hide, there's a chance someone will no­ are searching. For example, a key is hidden beneath
tice you even if they aren't searching. To determine clothes in the top drawer of a bureau. If you tell the
whether such a creature notices you, the DM com­ DM that you pace around the room, looking at the
pares your Dexterity (Stealth) check with that crea­ walls and furniture for clues, you have no chance
ture's passive Wisdom (Perception) score, which of finding the key, regardless of your Wisdom (Per­
equals 10 + the creature's Wisdom modifier, as well ception) check result. You would have to specify that
as any other bonuses or penalties. If the creature you were searching the bureau to have any chance
has advantage on Wisdom (Perception) che.cks, add of success.
5. For disadvantage on such checks, subtract 5.
For example, if a 1st-level character (with a profi­
ciency bonus of +2) has a Wisdom score of 15 (a +2 A creature can hold its breath for a number of min­
modifier) and proficiency in Perception, the charac­ utes equal to 1 + its Constitution modifier (minimum
ter has a passive Wisdom (Perception) of 14. of 30 seconds). When a creature runs out of breath
or is choking, it can survive for a number of rounds
I NTERACTI NG WIT H O BJ E C T S equal to its Constitution modifier (minimum of 1
round). At the start of its next turn, it drops to 0 hit
A character's interaction with objects in a n environ­ points and is dying, and it can't regain hit points or
ment is simple to resolve in the game. The player be stabilized until it can breathe again (see page
tells the DM that their character is doing something, 15 for the rules on taking damage).
such as moving a lever, and the DM describes what,
if anything, happens. C OMBA T

FINDING.HI DDEN THI NGS Adventurers encounter many dangerous monsters
and nefarious villains. In those moments, combat
When your character searches for a hidden object, often breaks out.
such as a secret door or a trap, the DM typically
asks you to make a Wisdom (Perception) check. If TH E O RDER OF C O MBAT
you succeed, you find hidden details or other infor­
mation and clues that you might otherwise overlook. A typical combat encounter is a clash between two
sides, a flurry of weapon swings, feints, parries,
footwork, and spellcasting. The game organizes
combat into a cycle of rounds and turns. A round
represents about 6 seconds in the game world.
During a round, each participant in a battle takes a
turn. The order of turns is determined at the begin­
ning of combat, when everyone rolls initiative. Once
everyone has taken a turn, the fight continues to the
next round if neither side is defeated.

1: Determine surprise. The DM determines

whether anyone involved in the combat encounter
is surprised.
2: Establish positions. The DM decides where all
the characters and monsters are located. Given
the adventurers' marching order or their stated
positions in the room or other location, the DM
figures out where the adversaries are-how far
away and in what direction.
3: Roll initiative. Everyone involved in the combat
encounter rolls initiative, determining the order
of combatants' turns.
4: Take turns. Each participant in the battle takes a
turn in initiative order.
5: Begin the next round. When everyone involved
in the combat has had a turn, the round ends. Re­
peat step 4 and 5 until the fighting stops.


SURPRI SE Interacting with T hings. You can interact with
Adventurers sneak up on a bandit camp, springing one object or feature of the environment for free,
from the trees to attack. A stirge swoops down from during either your move or your action. For exam­
a cavern ceiling, unnoticed by the adventurers until ple, you could open a door during your move as you
it's nearly on them. In these situations, one side of stride toward a foe, or you could draw your weapon
the battle gains surprise over the other. as part of the same action you use to attack.

The DM determines who might be surprised. If If you want to interact with a second object, you
neither side tries to be stealthy, they automatically need to take the Use an Object action (see page
notice each other. Otherwise, the DM compares the 13). Some magic items and other special objects
Dexterity (Stealth) checks of anyone hiding with the always require an action to use, as stated in their
passive Wisdom (Perception) score of each creature descriptions.
on the opposing side. Any creature that fails to no­
tice a threat is surprised at the start of the combat. The DM might require you to use an action for
any of these activities when it needs special care or
If you're surprised, you can't move or take an ac­ when it presents an unusual obstacle. For instance,
tion on your first turn of the combat, and you can't the DM could reasonably expect you to take an ac­
take a reaction until that turn ends (see the "Your tion to open a stuck door or turn a crank to lower a
Turn" and "Reactions" sections below for informa­ drawbridge.
tion on actions and reactions). A member of a group
can be surprised even if the other members aren't. Doing Nothing on Your Turn. You can forgo
moving, taking an action, or doing anything at all on
I NITIATI VE your turn. If you can't decide what to do, consider
Initiative determines the order of turns during com­ taking the Dodge or Ready action, as described in
bat. When combat starts, every participant makes the "Actions in Combat" section later in this chapter.
a Dexterity check to determine their place in the
initiative order. The check total is called a combat­ B ONUS A CTIONS
ant's initiative count, or initiative for short. The DM Various class features, spells, and other abilities let
makes one roll for a group of identical creatures, so you take an additional action on your turn called a
each member of the group acts at the same time. bonus action. The Cunning Action feature, for ex­
ample, allows a rogue to take a bonus action. You
The DM ranks the combatants in order, from the can take a bonus action only when a special ability,
one with the highestinitiative to the one with the spell, or other feature of the game states that you
lowest. This is the order in which they act during can do something as a bonus action. You otherwise
each round. The initiative order remains the same don't have a bonus action to take.
from round to round.
You can take only one bonus action on your turn,
If a tie occurs, the DM decides the order among so you must choose which bonus action to use when
tied monsters, and the players decide the order you have more than one available.
among their tied characters. The DM decides the
order if the tie is between a monster and a player You choose when to take a bonus action during
character, or the DM can have the tied characters your turn, unless the bonus action's timing is spec­
and monsters each roll a die and go in order from ified, and anything that deprives you of your ability
highest roll to lowest. to take actions also prevents you from taking a bo­
nus action.
O n your turn, you can move a distance up t o your REA CTIONS
speed and take one action. You decide whether to Certain special abilities, spells, and situations allow
move first or take your action first. Your speed­ you to take a special action called a reaction. A reac­
sometimes called your walking speed-is noted on tion is an instant response to a trigger of some kind,
your character sheet. which can occur on your turn or on someone else's.
The opportunity attack, described later in this chap­
The actions you can take are described in the "Ac­ ter, is the most common type of reaction.
tions in Combat" section later in this chapter. The
"Movement & Position" section later in this chapter When you take a reaction, you can't take another
gives the rules for your move. one until the start of your next turn. If the reaction
interrupts another creature's turn, that creature can
Communicating. You can communicate however continue its turn right after the reaction.
you are able, through brief utterances and gestures,
as you take your turn. Doing so uses neither your In terms of timing, a reaction takes place immedi­
action nor your move. Some conditions in the game ately after whatever triggered it, unless the descrip­
(see the appendix) inhibit communication. tion of the reaction says otherwise.


Combatants are often knocked down. They are then
On your turn, you can move a distance equal to your prone, a condition described in the appendix.
speed or less. Or you can decide not to move.
You can drop prone without using any of your
Your movement can include jumping, climbing, speed. Standing up takes more effort; doing so
and swimming (explained later in this section). costs an amount of movement equal to half your
These different modes of movement can be com­ speed (round down). For example, if your speed
bined with walking, or they can constitute your is 30 feet, you must spend 15 feet of movement
entire move. However you're moving, you deduct the to stand up. You can't stand up if you don't have
distance of each part of your move from your speed enough movement left or if your speed is 0.
until it is used up or until you are done moving.
C REATURE SIZE You can move through a friend's space. In contrast,
you can move through an enemy's space only if the
A creature belongs to a size category. Each size de­ foe is at least two sizes larger or smaller than you.
Remember that another creature's space is difficult
termines the width of the square space the creature terrain for you.

occupies on a map, as shown on the Size Categories Whether a creature is a friend or an enemy, you
can't willingly end your move in its space.
table. That table lists the sizes from smallest (Tiny)
If you leave an enemy's reach during your move,
to largest (Gargantuan). you provoke an opportunity attack (see page 14).

A character's size is specified on the character FLYI NG
Flying creatures have excellent mobility, but they
sshteere'st'satnatdbalomcko.nster's size is specified in the moo- must also deal with the danger of falling. If a flying
creature is knocked prone, has its speed reduced to
. O, or is otherwise deprived of the ability to move, the
creature falls, unless it has the ability to hover or it
SIZE CATEG O R I ES is being held aloft by magic.

Size Space Size Space C LI MBI NG, SWI M MI NG, A ND C RAWLI NG
Each foot of movement costs 1 extra foot (2 extra
Tiny 21/2 ft. square Large 10 ft. square feet in difficult terrain) when you're climbing, swim­
ming, or crawling. You ignore this extra cost if you
Small 5 ft. square H uge 15 ft. square have a climbing speed and use it to climb or have a
swimming speed and use it to swim.
M ed i u m 5 ft. squ are Gargantua n 20+ ft. sq u a re
At the DM's option, climbing a slippery vertical
BREA KI NG U P YOUR MOVE surface or one with few handholds might require
·You can break up your movement on your turn, us­ a successful Strength (Athletics) check. Similarly,
ing some of your speed before and after your action. gaining any distance in rough water might require a
For example, if you have a speed of 30 feet, you successful Strength (Athletics) check.
could move 10 feet, take your action, and then move
20 feet. Similarly, if you take an action that includes L ONG jUMPS
more than one weapon attack, you can break up
your movement by moving between those attacks. When you make a long jump, you cover a number of
feet up to your Strength score if you move at least 10
If a creature has more than one speed-such as a feet on foot immediately before the jump. When you
walking speed and a flying speed-the creature can make a standing long jump, you can leap only half
switch back and forth between the speeds during its that distance. Either way, each foot you clear on the
move. Whenever it switches, subtract the distance jump costs a foot of movement.
already moved from the new speed. The result de­
termines how much farther the creature can move. This rule assumes that the height of your jump
If the result is 0 or less, it can't use the new speed doesn't matter, such as a jump across a stream or
during the current move. For example, if a creature chasm. At your DM's option, you must succeed on
(such as a harpy) has a walking speed of 20 and a a DC 10 Strength (Athletics) check to clear a low
flying speed of 40, it could fly 10 feet, walk 10 feet, obstacle (no taller than a quarter of the jump's dis­
and leap into the air to fly 20 feet more. tance), such as a low wall. Otherwise, you hit it.

D IFFICULT TE RRA IN When you land in difficult terrain, you must suc­
Combatants are often slowed down by difficult ceed on a DC 10 Dexterity (Acrobatics) check to
terrain. Low furniture, rubble, undergrowth, steep land on your feet. Otherwise, you land prone.
stairs, snow, and shallow bogs are examples of diffi­
cult terrain. The space of another creature, whether
it's hostile or not, also counts as difficult terrain.

Every foot of movement in difficult terrain costs 1
extra foot, even if multiple things in a space count as
difficult terrain.


When you make a high jump, you leap into the air a TAKE THE CAST A
number of feet equal to 3 + your Strength modifier SPELL ACTION.
(minimum of 0 feet) if you move at least 10 feet on
foot immediately before the jump. When you make a HEL P
standing high jump, you can jump only half that dis­ You can lend your aid to another creature in the
tance. Either way, each foot you clear on the jump completion of a task. When you take the Help ac­
costs a foot of movement. In some circumstances, tion, the creature you aid gains advantage on the
your DM might allow you to make a Strength (Ath­ next ability check it makes to perform the task you
letics) check to jump higher than you normally can. are helping with, provided that it makes the check
before the start of your next turn.
You can extend your arms half your height above
yourself during the jump. Thus, you can reach above Alternatively, you can make it easier to hit a crea­
yourself a distance equal to the height of the jump
plus 1V2 times your height. ture within 5 feet of you by distracting the target,

ACTIONS I N C OM BAT such as with a feint. You thereby give advantage to
the next attack roll against the target that is made by
When you take your action on your turn, you can one of your allies before your next turn.
take one of the actions presented here. When you
describe an action not detailed here, the DM tells HI DE
what kind of roll you need to make, if any, to deter­ When you take the Hide action, you make a Dexter­
mine success or failure. ity (Stealth) check in an attempt to hide, following
the rules on page 8 for hiding. If you succeed, -you
ATTA C K gain the benefits described in the "Unseen Attack­
The most common action to take i n combat is the ers and Targets" section later in this chapter.
Attack action. With this action, you make one at­
tack with a weapon or an unarmed strike. See the REA DY
"Making an Attack" section for the rules that gov­ Sometimes you want to wait for a particular circum­
ern attacks. stance before you act. To do so, you take the Ready
action on your turn, which lets you act using your
CA ST A SPELL reaction before the start of your next turn.
Most spells require an action to cast. See chapter 3
for the rules on casting a spell. First, you decide what perceivable circumstance
will trigger your reaction. Then you choose the
DA SH action you will take in response to that trigger, or
When you take the Dash action, you gain extra you choose to move up to your speed in response
movement for the current turn. The increase equals to it. Examples include "If the cultist steps on the
your speed, after applying any modifiers. With a trapdoor, I'll pull the lever that opens it," and "If the
speed of 30 feet, for example, you can move up to 60 zombie steps next to me, I'll move away."
feet on your turn if you take the Dash action.
When the trigger occurs, you can either take your
DI SE NGAGE reaction right after the trigger finishes or ignore it.
If you take the Disengage action, your movement
doesn't provoke opportunity attacks (see page 14)
for the rest of the turn.

When you take the Dodge action, you focus on
avoiding attacks. Until the start of your next turn,
any attack roll made against you has disadvantage
if you can see the attacker, and you make Dexterity
saving throws with advantage. You lose this benefit
if you receive the incapacitated condition (explained
in the appendix) or if your speed is reduced to 0 by a
condition or another effect.


When you ready a spell, you cast it as normal but 1: Choose a target. Pick a target within your at- .
hold its energy, which you release with your reaction tack's range: a creature, an object, or a location.
when the trigger occurs. To be readied, a spell must
have a casting time of 1 action, and holding on to 2: Determine modifiers. The DM determines
the spell's magic requires concentration (explained whether the target has cover and whether you
in chapter 3). If your concentration is broken, the have advantage or disadvantage against the tar­
readied spell dissipates without taking effect. get. In addition, spells, special abilities, and other
effects can apply penalties or bonuses to your
SEA RCH attack roll.
When you take the Search action, you devote your
attention to finding something, and the DM might 3: Resolve the attack. Make the attack roll. On a
have you make a Wisdom (Perception) check or an hit, you roll damage, unless the particular attack
Intelligence (Investigation) check. has rules that specify otherwise. Some attacks
cause special effects in addition to or instead
U SE A MAGI C ITE M of damage.
If you have a magic item that requires an action to
use, you take the Use a Magic Item action. ATTACK ROLL S
When you make an attack, your attack roll deter­
U SE A N OBJE CT mines whether the attack hits or misses. To make
You normally interact with an object while doing an attack roll, roll a d20 and add the appropriate
something else, such as when you draw a sword modifiers. If the total of the roll plus modifiers
as part of an attack. When a nonmagical object equals or exceeds the target's Armor Class (AC), the
requires your action, you take the Use an Object attack hits.
action. You can also take this action to interact with
more than one object on your turn. When a character makes an attack roll, the two
most common modifiers to the roll are an ability
U SE A SPE CIAL ABILITY modifier and the character's proficiency bonus.
Many class features give you special ways to use When a monster makes an attack roll, it uses what­
your action. Monsters also have their own special ever modifier is provided in its stat block.
actions, as detailed in their stat blocks.
Ability Modifier. The ability modifier used for
M A KI NG AN ATTACK a melee weapon attack is Strength, and the abil­
ity modifier used for a ranged weapon attack is
When you t�ke the Attack action, you can make a Dexterity.
weapon attack. If you take the Cast a Spell action,
some spells involve making a spell attack, and the Some spells also require an attack roll. The abil­
Use a Magic Item, Use an Object, and Use a Special ity modifier used for a spell attack depends on the
Ability actions sometimes involve an item or a fea­ spellcasting ability of the spellcaster, as specified on
ture that requires an attack. the spellcaster's character sheet or in its stat block.
See chapter 3 for more information on·spellcasting.
There are two types of attacks in the game: weapon Proficiency Bonus. You add your proficiency
attacks and spell attacks. The rules tell you an bonus to your attack roll when you attack using a
attack's type and whether the type matters in a weapon you have proficiency with, as well as when
particular situation. Weapon attacks are generally you attack with a spell.
physical attacks with weapons (listed in chapter 2)
and the like. Spell attacks involve spells and other ROLLING 1 OR 2 0
forms of magic. I fa n attack roll gets a 20 on the d20, the attack hits
regardless of any modifiers or the target's AC. This
Regardless of an attack's type, it follows the rules is called a critical hit, which is explained later in
in this section, and if there's ever any question this chapter.
whether something you're doing counts as an at­
tack, the rule is simple: if you're making an attack If an attack roll gets a 1 on the d20, the at­
roll, you're making an attack. tack misses regardless of any modifiers or the
target's AC.
Whether you're striking with a melee weapon, firing U N SEE N ATTACKE RS A N D TA RGETS
a weapon at range, or making an attack roll as part When you make an attack roll against a target you
of a spell, an attack has the following structure: can't see, you have disadvantage on the roll. This is
true whether you're guessing the target's location or
you're targeting a creature you can hear but not see.
If the target isn't in the location you targeted, you
automatically miss, but the DM typically just says
that the attack missed, not whether you guessed the
target's location correctly.


When a creature can't see you, you have advan­ When you make a ranged attack, you fire a bow or
tage on attack rolls against it. a crossbow, hurl a handaxe, or otherwise send pro­
jectiles to strike a foe at a distance. Many spells also
If you are hidden-both unseen and unheard­ involve making a ranged attack.
when you make an attack, you give away your loca­
tion when the attack hits or misses. RA NGE
You can make ranged attacks only against targets
C OVER within a specified range. If a ranged attack, such as
one made with a spell, has a single range, you can't
Walls, trees, creatures, and other obstacles can pro­ attack a target beyond this range.
vide cover, making a target more difficult to harm.
As detailed in the Cover table, there are three de­ Some ranged attacks, such as those made with
grees of cover, each of which gives a different benefit a longbow or a shortbow, have two ranges. The
to a target. smaller number is the normal range, and the larger
number is the long range. Your attack roll has disad­
A target can benefit from cover only when an at­ vantage when your target is beyond normal range,
tack or other effect originates on the opposite side and you can't attack a target beyond the long range.
of the cover. If a target is behind multiple sources
of cover, only the most protective degree of cover RA NGE D ATTACKS I N CL OSE C OMBAT
applies; the degrees aren't added together. For Aiming a ranged attack is more difficult when a foe
example, if a target is behind a creature that gives is next to you. When you make a ranged attack with
half cover and a tree trunk that gives three-quarters a weapon, a spell, or some other means, you have
cover, the target has three-quarters cover. disadvantage on the attack roll if you are within
5 feet of an enemy who can see you and who isn't
COV E R Benefit to Target Offered By incapacitated.
Cover Degree
Half +2 bon us to AC Another creature of MELEE ATTAC K S

T h re e - q u a rters and Dexterity any size or an object Used i n hand-to-hand combat, a melee attack allows
you to attack a foe within your reach. A melee attack
Tot a l saving th rows that covers at least . typically uses a handheld weapon. A typical monster
makes a melee attack when it strikes with its claws,
half ofthe target its horns, its teeth, or another body part. A few
spells also involve making a melee attack.
+5 bon us to AC An object that covers
and Dexterity at least three-quar- A creature has a 5.-foot reach and can thus attack
targets within 5 feet of them when making a me­
saving th rows ters of the target lee attack. Certain creatures have melee attacks
with a reach greater than 5 feet, as noted in their
Can't be targeted An object that covers descriptions.

d i rectly the whole target OPPORTUNITY ATTACKS
Combatants constantly watch for enemies to drop
their guard. When you move heedlessly past your
foes, you put yourself in danger; doing so provokes
an opportunity attack.

Making an OpportunityAttack. You can make an
opportunity attack when an enemy that you can see
leaves your reach. To make the opportunity attack,
you use your reaction to make one melee weapon
attack against the provoking creature. The attack
occurs right before the creature leaves your reach.

Avoiding OpportunityAttacks. You can avoid
provoking an opportunity attack by taking the Dis­
engage action. You also don't provoke an opportu­
nity attack when you teleport or when someone or
something moves you without using your movement,


action, or reaction. For example, you don't provoke DAMAGE & HEALING
an opportunity attack if an explosion hurls you out
of a foe's reach or if you fall past an enemy. lnjury and death are constant threats in D&D, as
detailed in the following rules.
When you want to grab a creature or wrestle with it, HIT POI NTS
you can use the Attack action to make a special me­
lee attack, a grapple. Every creature has hit points, which represent a

Starting a Grapple. The target of your grapple combination of physical and mental durability, the
must be no more than one size larger than you, and
it must be within your reach. Using at least one free will to live, and luck. Creatures with more hit points
hand, you try to seize the target by making a grapple
check-a Strength (Athletics) check with a DC set are more difficult to kill. Those with fewer hit points
by a Stn:ngth (Athletics) or Dexterity (Acrobatics)
check the target makes in response (the target are more fragile. .
chooses the ability to use). You succeed automati­
cally if the target is incapacitated. A creature's current hit points (usually just called

If you succeed, you subject the target to the grap­ hit points) can be any number from the creature's
pled condition (see the appendix). The condition
specifies the things that end it, and you can release hit point maximum down to 0, and it never goes
the target whenever you like (no action required).
lower than 0. This number changes frequently as a
Escaping a Grapple. A grappled creature can use
its action to escape. To do so, it must succeed on a · creature takes damage or receives healing.
Strength (Athletics) or Dexterity (Acrobatics) check Whenever a creature takes damage, that damage
with a DC set by a Strength (Athletics) check you
make when it tries to escape. is subtracted from its hit points. The loss of hit

Moving a Grappled Creature. When you move, points has no effect on a creature's capabilities until
you can drag or carry the grappled creature with
you, but your speed is halved (round down) unless the creature drops to 0 hit points.
the creature is two or more sizes smaller than you.
SH OVI NG A C REATURE Each weapon, spell, and harmful monster ability
Using the Attack action, you can make a special specifies the damage it deals, if any. You roll the
melee attack to shove a creature, either to knock it damage die or dice, add any modifiers, and apply the
prone or to push it away from you. damage to your target (minimum of 0 damage).

The target of your shove must be no more than When attacking with a weapon, you add your abil­
one size larger than you, and it must be within your ity modifier-the same modifier used for the attack
reach. You make a Strength (Athletics) check with a roll-to the damage. A spell tells you which dice to
DC set by a Strength (Athletics) or Dexterity (Acro­ roll for damage and whether to add any modifiers.
batics) check that the target makes in response (the
target chooses the ability to use). You succeed auto­ If a spell or other effect deals damage to more
matically if the target is incapacitated. than one target at the same time, roll the damage
once for all of them. For example, when a wizard
If you succeed, you either knock the target prone casts thunderwave, the spell's damage is rolled once
or push it 5 feet away from you ( your choice). for all creatures caught in the blast.

Instead of using a weapon to make a melee attack, When you score a critical hit, you get to roll extra
you can use an unarmed strike: a punch, kick, head­ dice for the attack's damage against the target.
butt, or similar forceful blow. On a hit, an unarmed Roll all of the attack's damage dice twice and add
strike deals bludgeoning damage equal to 1 + your them together. Then add any relevant modifiers
Strength modifier. as normal.

You are proficient with your unarmed strikes. For example, if you score a critical hit with a
They aren't considered weapons by the rules, but dagger, roll 2d4 for the damage, rather than l d4,
they nonetheless work for melee weapon attacks. and then add your relevant ability modifier. If the
attack involves other damage dice, such as from the
rogue's Sneak Attack feature, you roll those dice
twice as well.

Every instance of damage has a type. Damage types
have no rules of their own, but other rules, such as
damage resistance, rely on the types.

The types are acid, bludgeoning, cold, fire, force,
lightning, necrotic, piercing, poison, psychic, radi­
ant, slashing, and thunder.


CLERICS AND fighter 8 hit points of healing. If the fighter has 14
PALADINS STRIVE TO current hit points and has a hit point maximum of
PROTECT ANO HEAL 20, the fighter regains 6 hit points, not 8.
A creature that has died can't regain hit points un­
DA MAGE RE SISTA N CE A N D VUL NE RABILITY til magic has restored it to life.
Some creatures and objects are exceedingly difficult
or easy to hurt with certain types of damage. If a D ROPPI NG TO 0 HIT P OINTS
creature or an object has resistance to a damage When a character drops to 0 hit points, they either
type, damage of that type is halved against it (round die outright or fall unconscious, as explained below.
down). If a creature or an object has vulnerability A monster dies when it drops to 0 hit points, unless
to a damage type, damage of that type is doubled the DM decides to treat the monster like a character.
against it.
Instant Death. Massive damage can kill a char­
After all other modifiers to damage, resistance acter instantly. When damage reduces a character
is applied and then vulnerability. For example, 25 to 0 hit points and there is damage remaining, the
bludgeoning damage is dealt to a creature that has character dies if the remaining damage equals or
bludgeoning resistance. The creature is also within exceeds their hit point maximum. For example, a
a magical aura that reduces all damage by 5. The 25 wizard with a maximum of 12 hit points currently
damage is first reduced by 5 and then halved, so the has 6 hit points. If the wizard takes 18 damage from
creature takes 10 damage. an attack, the wizard is reduced to 0 hit points, but
12 damage remains. Because the remaining dam­
Multiple instances of resistance or vulnerability age equals the hit point maximum, the wizard dies.
that affect the same damage type count as only one
_instance. For example, if a creature has resistance Falling Unconscious. If damage reduces a char­
to fire damage as well as resistance to all nonmag­ acter to 0 hit points and isn't fatal, the character falls
ical damage, the damage of a nonmagical fire is unconscious (see the appendix). This unconscious­
reduced only by half against the creature. ness ends if the character regains any hit points.
Unless it results in death, damage isn't permanent. Death Saving Throws. Whenever your character
Even death is reversible through powerful magic. starts their turn with 0 hit points, you must make a
Rest can restore a creature's hit points (see page special saving throw, called a death saving throw,
17), and magical methods, such as the cure to determine whether the character creeps closer
wounds spell, can remove damage in an instant. to death. Unlike other saving throws, this one isn't
tied to any ability score; the character is now in the
When a creature receives healing of any kind, hit hands of fate.
points regained are added to its current hit points.
A creature's hit points can't exceed its hit point Roll a d20. The save succeeds on a roll of 10 or
maximum, so any hit points regained in excess of higher. Otherwise, it fails. A success or failure has
this number are lost. For example, a cleric grants a no effect by itself. On the third success, the charac­
ter becomes stable (see below). On the third failure,
the character dies. The successes and failures don't
need to be consecutive; keep track of both until you
collect three of a kind. The number of both is reset
to zero when the character regains any hit points or
become stable.

When you make a death saving throw and roll a 1
on the d20, it counts as two failures. If you roll a 20
on the d20, your character regains 1 hit point.

Damage at 0 Hit Points. If a character takes any
damage while at 0 hit points, the character suffers
one death saving throw failure. If the damage is
from a critical hit, it's two failures instead. If the
damage equals or exceeds the character's hit point
maximum, the character dies instantly.

Stabilizing a Creature. The best way to save a
creature with 0 hit points is to heal it. If healing is
unavailable, the creature can at least be stabilized
so that it isn't killed by a failed death saving throw.

As an action, you can administer first aid to a crea­
ture with 0 hit points, which requires a successful
DC 10 Wisdom (Medicine) check. On a success, the

creature is stable, which means the creature doesn't on the turn that you mount it. In contrast, an in­
make death saving throws, even though it has 0 dependent mount retains its place in the initiative
hit points, but it does remain unconscious. The order, and it moves and acts as it wishes.
creature stops being stable, and must start making Opportunity Attacks against You. If the mount
death saving throws again, if it takes any damage. you're riding provokes an opportunity attack, the
attacker can target you or the mount.
A stable creature that isn't healed regains 1 hit
point after ld4 hours. UN DERWATER C O MBAT

KNO C KI NG A CREATURE OUT A fight underwater follows these rules:
When an attacker reduces a creature to 0 hit points
with a melee attack, the attacker can knock the crea­ Impeded Melee. When making a melee weapon at­
ture out. The attacker makes this choice the instant tack, a creature that lacks a swimming speed has
the damage is dealt. The creature suffers the uncon­ disadvantage on the attack roll unless the weapon
scious condition (see the appendix) and is stable. is a dagger, javelin, shortsword, spear, or trident.

HA RMI NG OBJECTS Reduced Range. A ranged weapon attack auto­
Creatures can damage objects with weapons and matically misses a target beyond the weapon's
spells. The DM determines an object's Armor Class normal range. Even against a target within normal
and hit points. Objects are immune to poison and range, the attack roll has disadvantage unless
psychic damage, and the DM might decide that cer­ the weapon is a crossbow or a weapon with the
tain objects have resistance or immunity to other thrown property.
types of damage (it's hard to cut a rope with blud­
geoning damage, for example). Objects always fail Fire Resistance. While fully immersed, creatures
Strength and Dexterity saving throws, and they are and objects have resistance to fire damage.
immune to effects that require other saves. When an
object drops to 0 hit points, it breaks. R E STIN G

A creature can also make a Strength check to try Creatures in the game can take short rests in the
to break an object, with a DC set by the DM. midst of a day and a long rest to end it.


A willing creature that is at least one size larger A short rest is a period of downtime-at least 1 hour
than a rider and that has an appropriate anatomy long-during which a creature does nothing more
can serve as a mount, using the following rules: strenuous than eating, drinking, and reading.

Mounting and Dismounting. During your move, A creature can spend one or more Hit Dice at the
end of a short rest, up to the creature's maximum
you can mount a creature that is within 5 feet of number of Hit Dice (noted in the character sheet or
stat block). For each Hit Die spent in this way, the
you or dismount. Doing so costs an amount of player rolls the die and adds the creature's Consti­
movement equal to half your speed (round down). tution modifier to it. The creature regains hit points
For example, if your speed is 30 feet, you must equal to the total (minimum of 0). The player can
spend 15 feet of movement to mount a horse. decide to spend an additional Hit Die after each roll.
Falling Off. If an effect moves your mount against
its will while you're on it, you must succeed on a LONG REST
DC 10 Dexterity saving throw or be dismounted,
A long rest is a period of extended downtime-at
landing prone in an unoccupied space within 5 least 8 hours long-during which a creature sleeps
for at least 6 hours and performs no more than 2
feet of it. If you're knocked prone while mounted, hours of light activity, such as reading, talking, eat­
you must make the same save. If your mount ing, or standing watch. If the rest is interrupted by a
is knocked prone, you can use your reaction to period of strenuous activity-at least 1 hour of walk­
dismount it as it falls and land on your feet. Oth­ ing, fighting, casting spells, or similar activity-the
erwise, you are dismounted and fall prone in an creature must restart the rest to gain any benefit.

unoccupied space within 5 feet it. At the end of a long rest, a creature regains all lost
hit points. The creature also regains spent Hit Dice,
Controlling a Mount. You can control a mount only up to half of the creature's total number of them
if it has been trained to accept a rider. Domesti­ (round down; minimum of one die).
cated horses, donkeys, and similar creatures are
assumed to have such training. The initiative of a A creature can't benefit from more than one long
controlled mount changes to match yours when rest in a 24-hour period, and a creature must have
you mount it. It moves as you direct it, and it has at least 1 hit point at the start of the rest to gain
only three action options: Dash, Disengage, and its benefits.
Dodge. A controlled mount can move and act even





on their journeys. This chapter describes equipment This chapter lists the prices of weapons, armor, and
that appears on a character sheet and that can be other kinds of adventuring gear. The DM lets you
added to the sheet later. Characters gain most of know if a shop has a particular item for sale and
their equipment by buying it in a shop or finding it in whether it's available for the standard price.
a dungeon. Adventurers also sometimes find magic
items, the details of which the DM provides. If you want to sell something, equipment fetches
half its cost when sold. Weapons and armor used
C O IN S by monsters are rarely in good enough condition to
sell. In contrast, gems, jewelry, and art objects re­
Characters find coins on their adventures and can tain their full value in the marketplace, a.nd in most
places, magic items are priceless and therefore diffi­
spend those coins in shops, inns, and other busi­ cult to sell.

nesses they visit. Coins come in different denomina­ E QU I PM EN T PR OFIC I EN C I E S
tions based on the relative worth of their material.
Anyone can equip the items in this chapter, but the
The Coin V�lues table lists the coins and how much following items require you to have proficiency with
the item to unlock all of the item's functionality:
they're worth relative to one another. For example, it
Armor. Anyone can don a suit of armor, but only
shows that a gold piece is worth 100 copper pieces. those proficient with it can wear it effectively.
Your character sheet lists your character's armor
A coin weighs about a third of an ounce, so fifty proficiencies. If you wear armor that you lack pro­
coins weigh a pound. ficiency with, you have disadvantage on any ability
check, saving throw, or attack roll that involves
CO I N VA L U E S Strength or Dexterity, and you can't cast spells.

Coin cp sp ep gp pp Weapons. Anyone can wield a weapon, but you
1 / 10 1/50 1/100 l / l ,000 must have proficiency with it to add your profi­
Copper (cp) l 1/5 1/10 1/100 ciency bonus to an attack roll you make with it.
Silver (sp) 10 10 2 1/2 1/ 20
1 00 20 1/10
Electrum (ep) so 10

Gold (gp) 100

Plati n u m ( p p) 1 ,000



Armor Armor Class (AC) Strength Stealth Cost Weight

Light Armor (1 minute to don or doff) Str 1 3 Disadvantage 10 gp 10 lb
Str l S Disadva ntage 4S gp 13 lb
Leather 11 + Dex modifier Str l S Disadvantage
Disadvantage 10 gp 12 lb
Studded l eather 12 + Dex modifier Disadvantage so gp 20 lb
Disadvantage so gp 4S lb
Medium Armor (5 minutes to don and 7 minute to doff) 400 gp 20 lb
7SO gp 40 1 b
Hide 12 + Dex modifier (max 2)
30 gp 40 lb
Chain shirt 1 3 + Dex modifier (max 2) 7S gp SS lb
200 gp 60 l b
Scale mail 1 4 + Dex modifier (max 2) l , SOO gp 6S lb

B reastplate 1 4 + Dex modifier (max 2)

Half plate l S + Dex modifier (max 2)

Heavy Armor ( 7 0 minutes to don and 5 minutes to doff)

Ring mail 14

Chain mail 16

Splint 17

Plate 18

Tools. Certain tools, such as thieves' tools, require Melee o r Ranged. A weapon i s classified as either
you to have proficiency with the tool to add your melee or ranged. A melee weapon is used to attack
proficiency bonus to your ability checks with it.
a target within 5 feet, whereas a ranged weapon is
made to attack at a greater distance.
The Armor table gives the key details of the various Damage. The table lists the amount of damage a
armors available. A creature can wear only one
suit of armor at a time. The table lists the cost and weapon deals when an attacker hits with it.
weight of the armor, as well as the following details: Properties. If a weapon has a property, that prop­

Category. Every type of armor falls into a category: erty is listed in the Properties column. Each prop­
light, medium, or heavy. The category determines erty is defined in the "Weapon Properties" section.
how long it takes to don or doff the armor (as
shown in the table), and armor proficiencies are WEAPON PROPERT I E S
usually tied to one or more of the categories.
Here are definitions of the properties in the Proper­
Armor Class (AC). The table's AC column tells you ties column of the Weapons table:
what your base AC is when you wear a particular
type of armor. For example, if you wear leather Ammunition. You can use a weapon that has the
armor, your AC is 11 plus your Dexterity modifier, ammunition property to make a ranged attack
whereas your AC is 16 if you wear chain mail. only if you have ammunition to fire from it. Each
attack expends one piece of ammunition. Drawing
Strength. If the table shows a Strength score in the the ammunition is part of the attack ( you need a
Strength column for an armor type, that armor free hand to load a one-handed weapon). After a
reduces the wearer's speed by 10 feet unless the fight, you can spend 1 minute to recover half the
wearer has a Strength score equal to or higher ammunition (round down) you used in the fight.
than the listed score.
· Finesse. When making an attack with a finesse
Stealth. If the table shows "Disadvantage" in the weapon, you use your choice of your Strength or
Stealth column, the wearer has disadvantage on Dexterity modifier for the attack and damage rolls.
Dexterity (Stealth) checks. You must use the same modifier for both rolls.

WEA PON S Heavy. Small and Tiny creatures have disadvan­
tage on attack rolls with weapons that have the
The Weapons table shows the game's most common heavy property.
weapons. A creature must have a weapon in hand
to wield it. The table lists the cost and weight of the Light. When you take the Attack action and attack
weapon, as well as the following details: with a weapon that has the light property, you
can use a bonus action to attack with a different
Category. Every weapon falls into a category: simple weapon that has the light property in your other
or martial. Weapon proficiencies are usually tied hand. Don't add your ability modifier to the bonus
to one of these categories. For example, you might attack's damage, unless the modifier is negative.
have proficiency with simple weapons.
Loading. You can fire only one piece of ammunition
from a loading weapon when you use an action,
bonus action, or reaction to fire it, regardless of
the number of attacks you can normally make.



Name Damage Properties Cost Weight

Simple Melee Weapons

Club l d4 bludgeoning Light l sp 2 1b
2 gp l lb
Dagger l d4 piercing Finesse, l ight, thrown (range 20/60) 2 sp lO lb
s gp 2 lb
G reatcl u b l d 8 bl udgeoning Two-handed S sp 2 lb
2 gp 2 1b
Handaxe ld6 slashing Light, t h rown (range 20/60) s gp 4 lb
2 sp 4 lb
J ave l i n l d6 piercing Th rown (ran ge 3 0/1 20) l gp 3 lb

Light hammer l d4 b l u d geoning Light, t h rown (range 20/60)

Mace l d6 bludgeoning

Q u a rterstaff l d 6 bludgeoni ng Versatile (l d8)

Spear ld6 piercing Th rown (range 20/60), versati l e ( l d 8)

Simple Ranged Weapons

Crossbow, light ld8 piercing A m m u n ition (range 80/ 320) , loading, two-handed 2S gp s lb
S cp 1/4 l b
Dart l d4 piercing Fi nesse, t h rown (ra nge 20/60)
2S gp 2 lb
Shortbow l d 6 pierci n g A m m u nition (ran ge 80/320) . two-handed l sp

Sling l d4 b l u d geo n i n g A m m u nition (range 30/1 20)

Martial Melee Weapons

Battleaxe ld8 slashing Versatile (ldlO) 10 gp 4 lb
10gp 2 lb
Flail l d8 bludgeoning 30 gp 7 lb
so gp 6 lb
G reataxe l d l 2 slashing Heavy, two-handed 20 gp 6 lb
l S gp 3 lb
G reatsword 2d6 slashing Heavy, two-handed 10 gp lO lb
lS gp 4 1b
Hal berd l d l O slashing Heavy, reach , two-handed 2S gp 2 lb
2S gp 3 lb
Longsword l d8 slashing Versat i l e ( l d l O) 10 gp 2 lb
4 lb
Maul 2d6 bludgeoning Heavy, two-handed s gp 2 lb
l S gp
Morningstar l d 8 piercing

Rapier ld8 piercing Finesse

Scimitar ld6 slashing Finesse, light
Shortsword l d 6 piercing Finesse, light

Tr i d e n t l d 6 piercing Thrown (range 20/60) , versatile ( l d 8)

Warh a m m er l d8 b l u d geoning Versatile ( l d l O)

Martial Ranged Weapons

Crossbow, hand ld6 pierci n g A m m u n ition (range 30/ 120) , l ight, load i ng 7S gp 3 lb
so gp 18 lb
Crossbow, heavy l d l O piercing A m m u nition (range 100/400) , heavy, loadi ng, two-handed so gp
2 lb
Longbow l d8 piercing A m m u nition (range l S0/600) , heavy, two-handed

Range. A weapon that can be used to make a the weapon is a melee weapon, you use the same
ranged attack has a range shown in parentheses ability modifier for that attack roll and damage
after the ammunition or thrown property. The roll that you would use for a melee attack with the
range lists two numbers. The first is the weapon's weapon. For example, if you throw a handaxe, you
normal range in feet, and the second indicates use your Strength, but if you throw a dagger, you
the weapon's long range. When attacking a target can use either your Strength or your Dexterity,
beyond normal range, you have disadvantage on since the dagger has the finesse property.
the attack roll. You can't attack a target beyond the Two-Handed. This weapon requires two hands
weapon's long range. when you attack with it.
Versatile. This weapon can be used with one or two
Reach. A reach weapon adds 5 feet to your reach hands. A damage value in parentheses appears
when you attack with it, as well as when determin­ with the property. That's the damage dealt when
the weapon is used with two hands to make a me­
ing your reach for opportunity attacks with it. lee attack.
Thrown. If a weapon has the thrown property, you

can throw the weapon to make a ranged attack. If



An improvised weapon i s an object wielded as a Here a re the rules for how m u c h a creature can ca rry.
makeshift weapon, such as broken glass, a table leg, Carrying Capacity. You r carryi ng capacity is your
or a frying pan. Even a simple or martial weapon
counts as an improvised weapon if it's wielded in Strength score m u ltiplied by 1 5. This is the weight (in
a way contrary to its design; if you use a ranged pounds) that you can carry, which is h igh enough that
weapon to make a melee attack or throw a melee most characters d on't usually have to worry about it.
weapon that lacks the thrown property, the weapon
counts as an improvised weapon for that attack. Push, Drag, or Lift. You can push, d rag, or lift a
weight in pounds u p to twice your carrying capacity (or
Here are the rules for an improvised weapon: 30 times you r Strength score). While pushing or d rag­
ging weight in excess of your carrying capacity, your
Proficiency. You don't add your proficiency bonus to speed d rops to 5 feet.
attack rolls with it.
Size and Strength. La rger creatures can bear more
Damage. On a hit, the weapon deals ld4 damage of weight, whereas Tiny creatu res can carry less. For each
a type the DM thinks is appropriate to the object. size category above Medium, double the creature's
carrying capacity and the amount it can push, drag, or
Range. If you throw the weapon, it has a normal l ift. For a Tiny creature, h alve these weights.
range of 20 feet and a long range of 60 feet.
feet, shattering it on impact. Make a ranged attack
If an improvised weapon resembles a weapon on against a target, treating the oil as an improvised
the Weapons table, the DM may say it functions as weapon. On a hit, the target is covered in oil. If the
that weapon and uses that weapon's rules. For ex­ target takes any fire damage before the oil dries
ample, the DM could treat a table leg as a club.
(after 1 minute), the target takes an additional 5
fire damage from the burning oil. You can also
Here are some special items (with their prices and pour a flask of oil on the ground to cover a 5 -foot­
weights) that adventurers find useful: square area that is level. If lit, the oil burns for 2
rounds and deals 5 fire damage to any creature
Candle (1 cp, 0 lb). For 1 hour, this candle sheds that enters the area or ends its turn there. A crea­
bright light in a 5 -foot radius and dim light for an ture can take this damage only once per turn.
additional 5 feet. Quiver (1 gp, 1 lb). This quiver holds up to 20 ar­
rows or bolts.
Disguise Kit (25 gp, 3 lb). This pouch of cosmetics Rations (5 sp, 2 lb). These rations are enough for
and props lets you create disguises. Proficiency one person for one day and include jerky, dried
with this kit lets you add your proficiency bonus to fruit, hardtack, and nuts.
any ability checks you make to create a disguise.
Rope, Hempen (1 gp, 10 lb) or Silk (10 gp, 5 lb).
Healer's Kit (5 gp, 3 lb). This kit is a pouch contain­
ing bandages, salves, and splints. It has ten uses. This rope is 50 feet long, has 2 hit points, and can
As an action, you can expend one use of the kit to
stabilize a creature that has 0 hit points, without be burst with a DC 17 Strength check.
needing to make a Wisdom ( Medicine) check.
Shield (10 gp, 6 lb). This shield is made of wood
Holy Water (25 gp, 1 lb). As an action, you can or metal. Equipping it requires an action. While
splash this water onto a creature within 5 feet of equipped, the shield increases your AC by 2 if you
you or throw it up to 20 feet, shattering it on im­ have shield proficiency. You can benefit from only
pact. In either case, make a ranged attack against one shield at a time.
a target creature, treating the holy water as an
improvised weapon. If the target is a Fiend or an Thieves' Tools (25 gp, 1 lb). This set of tools in­
Undead, it takes 2d6 radiant damage on a hit. cludes a small file, lock picks, a small mirror with
a metal handle, a set of narrow-bladed scissors,
Lantern, Bullseye (10 gp, 2 lb). This lantern casts and a pair of pliers. Proficiency with these tools
bright light in a 60-foot cone and dim light for an lets you add your proficiency bonus to any ability
additional 60 feet. It burns for 6 hours on a flask checks you make to disarm traps or open locks.

(1 pint) of oil. Tinderbox (5 sp, 1 lb). This container holds flint,
fire steel, and tinder used to kindle a fire. Using it
Lock (10 gp, 1 lb). A key is provided with this lock. to light a torch-or anything else with abundant,
A creature proficient with thieves' tools can pick exposed fuel-takes an action. Lighting any other
the lock with a successful DC 15 Dexterity check. fire takes 1 minute.

Oil (1 sp, 1 lb). This oil comes in a flask that holds Torch (1 cp, 1 lb). This torch burns for 1 hour,
1 pint. As an action, you can splash the oil onto a providing bright light in a 20-foot radius and dim
creature within 5 feet of you or throw it up to 20 light for an additional 20 feet. If you make a me­
lee attack with a burning torch and hit, it deals 1
fire damage.




often appears in the form of a magic spell. This
chapter provides the rules for casting spells, which Every spell has a level from 0 to 9, which is indi­
can create many sorts of wonders. The chapter also cated in a spell's description. A spell's level is a gen­
includes a collection of spells for use by spellcasters, eral indicator of how powerful it is. Cantrips-sim­
such as the cleric, the wizard, and the paladin. ple spells that can be cast almost by rote-are level
0. The rules for each spellcasting class (shown on
GA I N ING SPELLS the character sheet) say when members of that class
gain access to spells of certain levels.
Before a spellcaster can use a spell, they must have
the spell firmly fixed in mind or must have access to SPE LL SLOTS
the spell in a magic item. Members of a few classes Spellcasting is taxing, so a spellcaster can cast only
(such as the sorcerer in the Player's Handbook) a limited number of spells before resting. Spell slots
have a limited list of spells that are always fixed in are the main way a spellcaster's magical potential
mind. The same thing is true of many magic-using is represented, and each spellcasting class gives its
monsters. Other spellcasters, such as clerics and members a limited number of spell slots of certain
wizards, undergo a process of preparing spells. spell levels. For example, a 3rd-level wizard has four
This process varies for different classes, as detailed 1st-level spell slots and two 2nd-level slots.
in the description of their Spellcasting features.
When you cast a spell, you expend a slot of that
CA STING A SPELL spell's level or higher, effectively "filling" a slot with
the spell. You can think of a spell slot as a groove of
Whenever a creature casts a spell, the same basic a certain size-small for a 1st-level slot, larger for a
rules are followed, and the descriptions of all spells spell of higher level. A 1st-level spell fits into a slot of
are structured alike. Each spell description begins any size, but a 2nd-level spell fits only in a slot that's
with the spell's name, level, school of magic, casting at least 2nd level. So when a 3rd-level wizard casts
time, range, components, and duration. The rest of a magic missile, a 1st-level spell, that wizard spends
spell entry describes the spell's effect. The following one of four 1st-level slots and has three remaining.
sections explain each part of a spell description.
Finishing a long rest restores any expended spell
slots (see page 17 for the rules on resting).

When a spellcaster casts a spell using a slot that is
of a higher level than the spell, the spell takes on Because ofthe mental focus and precise gestures
the higher level for that casting. For instance, if a req u i red for spellcasti n g, you must be proficient with
wizard casts magic missile using a 2nd-level slot, the armor you are wearing to cast a spell (as noted i n
that magic missile is 2nd level. Effectively, the spell ch apter 2) . You a re otherwise too d istracted and physi­
expands to fill the slot it is put into. cally h a m pered by your armor for spel lcasting.

Some spells, such as magic missile and cure CASTING TI M E
wounds, have more powerful effects when cast at a
higher level, as detailed in a spell's description. Most spells require a single action to cast, but some
spells require a bonus action, a reaction, or much
C ASTI NG WITH OUT SLOTS more time to cast.
There are several ways to cast a spell without ex­
pending a spell slot: BONUS A CTION
A spell cast with a bonus action is especially swift.
Cantrips. A spell of 0 level (aka a cantrip) can be You must use a bonus action on your turn to cast
cast without a spell slot. the spell, provided that you haven't already taken a
bonus action this turn. You can't cast another spell
Rituals. Certain spells have a special tag: "ritual." during the same turn, except for a cantrip with a
Such a spell can be cast following the normal casting time of 1 action.
rules for spellcasting, or the spell can be cast as a
ritual. The ritual version of a spell takes 10 min­ RE ACTIONS
utes longer to cast than normal. It also doesn't ex­ Some spells can be cast as reactions. These spells
pend a spell slot. To cast a spell as a ritual, a spell­ take a fraction of a second to bring about and are
caster _must have a feature that grants the ability cast in response to some event. If a spell can be cast
to do so. The cleric and wizard, for example, have as a reaction, the spell description tells you exactly
such a feature. The caster must also have the spell when you can do so.
prepared, unless the character's ritual feature
specifies otherwise, as the wizard's does. LONGE R CASTI NG TIME S
Certain spells (including spells cast as rituals)
Special Abilities. Some characters and monsters require more time to cast: minutes or even hours.
have special abilities that allow them to cast spe­ When you cast a spell with a casting time longer
cific spells without a spell slot. This casting is usu­ than a single action or reaction, you must spend
ally limited in another way, such as being able to your action each turn casting the spell, and you
cast the spell a limited number of times per day. must maintain your concentration while you do so
(see "Concentration" later in this chapter). If your
Magic Items. Spell scrolls and some other magic concentration is broken, the spell fails, but you don't
items contain spells that can be cast without a expend a spell slot. If you want to try casting the
spell slot. The description of such an item speci­ spell again, you must start over.
fies how many times a spell can be cast from it.
A spell's range indicates how far away from the
Each spell is part of a magical category, which is spellcaster the spell's effect can originate, and the
called a school of magic. The schools of magic are spell's description specifies which part of the effect
listed in the Schools of Magic table. These catego­ is limited by the range. Once a spell is cast, its ef­
ries help describe spells but have no rules of their fects aren't restricted by its range, unless the spell's
own, although some other rules refer to them. description says otherwise.

S C H O OLS OF MAG IC A range typically takes one of the following forms:

School Typical Effects Distance. The range is expressed in feet.
Touch. The spell's effect originates on something
Abj u ration Prevents o r negates harmfu l effects
the spellcaster must touch, as defined in the spell.
Conj u ration Transports creatures or objects Self. A spell with a range of "Self" can be cast only

Divination Reveals thoughts, places, and times on the spellcaster.
Self (Area of Effect). A spell with a range of "Self"
Enchantment I nfluences others' m i nds
followed by an area of effect in parentheses, such
Evocation Channels magical energy to create de- as "Self ( 15 -foot cone)," creates an area of effect
that originates from the spellcaster (see "Areas of
structive o r healing effects Effect" later in this chapter).

Illusion Deceives the mind or senses

N ecromancy M a n i p u lates l i fe and death

Transm utation Transforms creatures or objects



A spell's components are the physical requirements Focus Usage Cost Weight
the spellcaster must meet in order to cast it. Each
spell's description indicates whether it requires ver­ Arcane Focuses (Wizards)
bal (V ), somatic (S), or material ( M ) components. If
the spellcaster can't provide one or more of a spell's Crystal Held 10gp 1 lb
components, the spellcaster can't cast the spell. 20 gp 3 lb
Orb Held 10gp 2 lb
VE RBAL (V) 4 lb
A verbal component is the chanting of mystic words. Rod Held 5 gp 1 lb
The words themselves aren't the source of the
spell's power; rather, the particular combination of Staff Held 10gp
sounds, with specific pitch and resonance, sets the
threads of magic in motion. Thus, a creature who is Wan d Held
gagged or in an area of magical silence can't cast a
spell with a verbal component. Holy Symbols (Clerics and Paladins)

SOMATI C (S) Amulet Held or worn 5 gp 1 lb
Spellcasting gestures might include a forceful 5 gp 2 lb
gesticulation or an intricate set of gestures. If a Emblem Held or worn 5 gp
spell requires a somatic component, the caster
must have free use of at least one hand to perform R e l i q u a ry Held or worn
these gestures.
Casting some spells requires particular materials, A spell's duration is the length of time the spell per­
as specified in parentheses in the Components en­ sists after it is cast. A duration typically takes one of
try. These materials aren't consumed by the spell, the following forms:
unless the spell's description states otherwise. The
spellcaster must have a hand free to access them, Concentration. A duration that requires concentra­
but it can be the same hand used to perform so­ tion follows the concentration rules below.
matic components, if any.
Instantaneous. A duration of "Instantaneous"
Instead of providing the materials specified in a means the spell appears only for a moment and
spell, a spellcaster can use a component pouch or a can't be dispelled.
spellcasting focus (both described below) as the ma­
terial component. This option is available only when Time Span. A duration that provides a time span
a spell doesn't consume its materials and doesn't specifies how long the spell lasts in rounds, min­
specify a cost for them. utes, hours, or the like. For example, a Duration
entry might say "1 minute," meaning the spell
Component Pouch (25 gp, 2 Jb). A component
pouch is a small, watertight leather belt pouch that ends after 1 minute has passed.
has compartments holding all of a spellcaster's free,
non-consumable material components. The pouch C ON CE NTRATION
can be used by any spellcaster. Some spells require the spellcaster to concentrate
to keep the spells' magic active. If the spellcaster
SpelJcasting Focus. Some spellcasters have the loses concentration, such a spell ends. If a spell
special ability to use an object called a spellcasting must be maintained with concentration, that fact
focus as their spells' material component. appears in its Duration entry, and the spell specifies
how long the spellcaster can concentrate on it. The
The Spellcasting Focuses table lists focuses avail­ spellcaster can end concentration at any time (no
able to wizards (arcane focuses) as well as clerics action required).
and paladins (holy symbols). The table's Usage col­
umn indicates whether the spellcaster has to hold o_z Normal activity, such as moving and attacking,
wear a focus to use it. doesn't interfere with concentration. The following
factors can break concentration:

Casting Another Concentration Spell. The spell­
caster loses concentration on a spell if they start
casting another spell that requires concentration.

Taking Damage. Whenever a spellcaster takes
damage while concentrating on a spell, they must
succeed on a Constitution saving throw to main­
tain concentration. The DC equals 10 or half the
damage taken (round down), whichever is higher.

Being Incapacitated or Killed. A spellcaster loses
concentration on a spell if they die or suffer the
incapacitated condition (see the appendix).

A cube's creator selects its point of origin, which lies
Spells such a s thunderwave cover a n area called anywhere on a face of the cubic effect. The cube's
an area of effect, which uses the special rules here. size is expressed as the length of each side.
Some other game features, such as a dragon's
breath, also use these rules. A cube's point of origin isn't included in the cube's
area of effect, unless its creator decides otherwise.
The description of a spell or another feature spec­
ifies whether it has an area of effect, which typically CYLI N DE R
has one of five different shapes: cone, cube, cylinder, A cylinder's point of origin is the center of a circle
line, or sphere. Every area of effect has a point of of a particular radius, as given in the effect's de­
origin, a location from which the effect's energy scription. The circle must either be on the ground
erupts. The rules for each shape specify how to posi­ or at the top of the effect. The energy in a cylinder
tion its point of origin. Typically, a point of origin is a expands in straight lines from the point of origin to
point in space, but some effects have an area whose the perimeter of the circle, forming the base of the
origin is a creature or an object. cylinder. The effect then shoots up from the base or
down from the top, to a distance equal to the height
An effect expands in straight lines from the point of the cylinder.
of origin. If no unblocked straight line extends from
the point of origin to a location within the area of ef­ A cylinder's point of origin is included in the cylin­
fect, that location isn't included in the area. To block der's area of effect.
one of these imaginary lines, an obstruction must
provide total cover. LI NE
A line extends from its point of origin in a straight
C ONE path up to its length and covers an area defined by
A cone extends in a direction that its creator its width.
chooses from its point of origin. A cone's width at a
given point along its length is equal to that point's A line's point of origin isn't included in the line's
distance from the point of origin. A cone's area of area of effect, unless its creator decides otherwise.
effect specifies its maximum length.
A cone's point of origin isn't included in the cone's A sphere's creator selects its point of origin, and
area of effect, unless its creator decides otherwise. the sphere extends outward from that point. The
sphere's size is expressed as a radius that extends
from the point.

A sphere's point of origin is included in the
sphere's area of effect.



A typical spell requires the caster to pick one or The spells are presented in alphabetical order. A
more targets to be affected by the spell's magic. A spell's caster is the "you" addressed in the spell's
spell's description says whether the spell targets description.
creatures, objects, a point of origin for an area of
effect, or something else. BLESS

Unless a spell has a perceptible effect, a creature 1st-Level Enchantment
might not know it was targeted by the spell. An
effect like lightning is obvious, but a more subtle Casting Time: 1 action
effect, such as an attempt to read thoughts, typically
goes unnoticed, unless a spell says otherwise. Range: 30 feet
Components: V, S, M (a sprinkling of holy water)
A CLEAR PATH TO THE TARGET Duration: Concentration, up to 1 minute
To target something with a spell, a caster must have
a clear path to it, so it can't be behind total cover. You bless up to three creatures of your choice within
range. Whenever a target makes an attack roll or a
If a spellcaster places an area of effect at an saving throw before the spell ends, the target can
unseen point and an obstruction, such as a wall, roll a d4 and add the number rolled to the attack roll
is between the caster and that point, the point of or saving throw.
origin comes into being on the near side of that
obstruction. At Higher Levels. When you cast this spell using
a spell slot of 2nd level or higher, you can target one
TARGETING YOURSELF additional creature for each slot level above 1st.
If a spell targets a creature of your choice, you can
choose yourself, unless the creature must be hostile COMMAND
or specifically a creature other than you. If you are
in the area of effect of a spell you cast, you can tar­ 1st-Level Enchantment
get yourself.
Casting Time: 1 action
SAVING TH ROWS Range: 60 feet
Components: V
Many spells specify that a target must make a sav­ Duration: 1 round
ing throw to avoid some or all of a spell's effects.
The spell specifies the ability that the target uses for You speak a one-word command to a creature you
the save and what happens on a success or failure. can see within range. The target must succeed on
a Wisdom saving throw or follow the command on
Spell save DC = 8 + your proficiency bonus + its next turn. The spell has no effect if the target is
Undead, if it doesn't understand your language, or if
your spel lcasting ability modifier your command is directly harmful to it.

ATTACK ROLLS Some typical commands and their effects follow.
You might issue a command other than one de­
Some spells require the caster to make an attack scribed here. If you do so, the DM determines how
roll to determine whether the spell hits a target. the target behaves. If the target can't follow your
command, the spell ends.
Spell attack modifier = your p roficiency bonus +
Approach. The target moves toward you by the
your spel lcasting ability modifier shortest and most direct route, ending its turn if it
moves within 5 feet of you.
Drop. The target drops whatever it is holding and
The effects of different spells add together while then ends its turn.
their durations overlap. In contrast, the effects of
the same spell cast multiple times don't combine. Flee. The target spends its turn moving away
Instead, the most potent effect-such as the highest from you by the fastest available means.
bonus-from those castings applies while their du­
rations overlap. Or the most recent effect applies if Grovel. The target falls prone and then
the castings are equally potent and their durations ends its turn.
overlap. For example, if two clerics cast bless on the
same target, that character gains the spell's benefit Halt. The target doesn't move and takes no ac­
only once; the target doesn't receive two bonus dice. tions. A flying creature stays aloft, provided that it is
able to do so. If it must move to stay aloft, it flies the
minimum distance needed to remain in the air.

At Higher Levels. When you cast this spell using
a spell slot of 2nd level or higher, you can affect one
additional creature for each slot level above 1st. The
creatures must be within 30 feet of each other when
you target them.




C OMPREH E N D LANGUAGES For the duration, you sense the presence of magic
within 30 feet of you. If you sense magic in this way,
1st-Level Divina tion (Ritual) you can use your action to see a faint aura around
any visible creature or object in the area that bears
Casting Time: 1 action magic, and you learn its school of magic, if any.
Range: Self
Components: V, S, M (a pinch of soot and salt) The spell can penetrate most barriers, but it is
Duration: 1 hour blocked by 1 foot of stone, 1 inch of common metal,
a thin sheet of lead, or 3 feet of wood or dirt.
For the duration, you understand the literal mean­
ing of any spoken language that you hear. You also FLAMING SPHERE
understand any written language that you see, but
you must be touching the surface on which the 2nd-Level Conjuration
words are written. It takes about 1 minute to read
one page of text. Casting Time: 1 action
Range: 60 feet
This spell doesn't decode secret messages in a Components: V, S, M (a bit of tallow, a pinch of
text or a glyph, such as an arcane sigil, that isn't
part of a written language. brimstone, and a dusting of powdered iron)
Duration: Concentration, up to 1 minute
A 5 -foot-diameter sphere of fire appears in an unoc­
1st-Level Evocation cupied space of your choice within range and lasts
for the duration. Any creature that ends its turn
Casting Time: 1 action within 5 feet of the sphere must make a Dexterity
Range: Touch saving throw. The creature takes 2d6 fire damage
Components: V, S on a failed save, or half as much damage on a suc­
Duration: Instantaneous cessful one (round down).

A creature you touch regains a number of hit points As a bonus action, you can move the sphere up to
equal to ld8 + your spellcasting ability modifier. 30 feet. If you ram the sphere into a creature, that
This spell has no effect on Undead or Constructs. creature must make the save against the sphere's
damage, and the sphere stops moving this turn.
At Higher Levels. When you cast this spell using
a spell slot of 2nd level or higher, the healing in­ When you move the sphere, you can direct it over
creases by ld8 for each slot level above 1st. barriers up to 5 feet tall and jump it across pits up
to 10 feet wide. The sphere ignites flammable ob­
DETECT MAGIC jects not being worn or carried, and it sheds bright
light in a 20 -foot radius and dim light for an addi­
1st-Level Divina tion (Ritual) tional 20 feet.

Casting Time: 1 action At Higher Levels. When you cast this spell using
Range: Self a spell slot of 3rd level or higher, the damage in­
Components: V, S creases by ld6 for each slot level above 2nd.
Duration: Concentration, up to 10 minutes


1st-Level Evocation 2nd-Level Illusion

Casting Time: 1 action Casting Time: 1 action
Range: 120 feet Range: Touch
Components: V, S Components: V, S, M (an eyelash encased in
Duration: 1 round
gum arabic)
A flash of light streaks toward a creature of your Duration: Concentration, up to 1 hour
choice within range. Make a ranged spell attack
against the target. On a hit, the target takes 4d6 ra­ A creature you touch becomes invisible until the
diant damage, and the next attack roll made against spell ends. Anything the target is wearing or car­
this target before the end of your next turn has ad­ rying is invisible as long as it is on the target's
vantage, thanks to the mystical dim light glittering person. The spell ends for a target that attacks or
on the target until then. casts a spell.

At Higher Levels. When you cast this spell using At Higher Levels. When you cast this spell using
a spell slot of 2nd level or higher, the damage in­ a spell slot of 3rd level or higher, you can target one
creases by 1d6 for each slot level above 1st. additional creature for each slot level above 2nd.


1st-Level Evocation 2nd-Level Abjuration

Casting Time: 1 bonus action Casting Time: 1 action
Range: 60 feet Range: Touch
Components: V Components: V, S
Duration: Instantaneous Duration: Instantaneous

A creature of your choice that you can see within You touch a creature and can end either one disease
range regains hit points equal to 1d4 + your spell­ or one condition afflicting it. The condition can be
casting ability modifier. This spell has no effect on blinded, deafened, paralyzed, or poisoned.
Undead or Constructs.
At Higher Levels. When you cast this spell using
a spell slot of 2nd level or higher, the healing in­ Evocation Cantrip
creases by 1d4 for each slot level above 1st.
Casting Time: 1 action
HOLD PERSON Range: Touch
Components: V, M (a firefly or phosphorescent moss)
2nd-Level Enchantment Duration: 1 hour

Casting Time: 1 action You touch one object that is no larger than 10 feet in
Range: 60 feet any dimension. Until the spell ends, the object sheds
Components: V, S, M (a small, straight piece of iron) bright light in a 20-foot radius and dim light for an
Duration: Concentration, up to 1 minute additional 20 feet. The light can be colored as you
like. Completely covering the object with something
Choose a Humanoid that you can see within range. opaque blocks the light. The spell ends if you cast it
The target must succeed on a Wisdom saving throw again or dismiss it as an action.
or be paralyzed for the duration. At the end of each
of its turns, the target can make another Wisdom If you target an object held or worn by a hostile
saving throw. On a success, the spell ends on creature, that creature must succeed on a Dexterity
the target. saving throw to avoid the spell.

At Higher Levels. When you cast this spell using MAGE A RMOR
a spell slot of 3rd level or higher, you can target
one additional Humanoid for each slot level above 1st-Level Abjuration
2nd. The Humanoids must be within 30 feet of each
other when you target them. Casting Time: 1 action
Range: Touch
Components: V, S, M (a piece of cured leather)
Duration: 8 hours

You touch a willing creature who isn't wearing ar­
mor, and a protective magical force surrounds it un­
til the spell ends. The target's base AC becomes 13
+ its Dexterity modifier. The spell ends if the target
dons armor or if you dismiss the spell as an action.


MAGE HA N D • You create an instantaneous, harmless sensory
effect, such as a shower of sparks, a puff of wind,
Conjuration Cantrip faint musical notes, or an odd odor.

Casting Time: 1 action • You instantaneously light or snuff out a candle, a
Range: 30 feet torch, or a small campfire.
Components: V, S
Duration: 1 minute • You instantaneously clean or soil an object no
larger than 1 cubic foot.
A spectral, floating hand appears at a point you
choose within range. The hand lasts for the duration • You chill, warm, or flavor up to 1 cubic foot of non­
or until you dismiss it as an action. The hand van­ living material for 1 hour.
ishes if it is ever more than 30 feet away from you or
if you cast this spell again. • You make a color, a small mark, or a symbol ap­
pear on an object or a surface for 1 hour.
You can use your action to control the hand. You
can use the hand to manipulate an object, open an • You create a nonmagical trinket or an illusory
unlocked door or container, stow or retrieve an item image that can fit in your hand and that lasts until
from an open container, or pour the contents out the end of your next turn.
of a vial. You can move the hand up to 30 feet each
time you use it. If you cast this spell multiple times, you can have
up to three of its non-instantaneous effects active
The hand can't attack, activate magic items, or at a time, and you can dismiss such an effect as
carry more than 10 pounds. an action.


1st-Level Evocation 1st-Level Abjuration

Casting Time: 1 action Casting Time: 1 action
Range: 120 feet Range: Touch
Components: V, S Components: V, S, M (holy water or powdered sil-
Duration: Instantaneous
ver and iron, which the spell consumes)
You create three glowing darts of magical force. Duration: Concentration, up to 10 minutes
Each dart hits a creature of your choice that you can
see within range. A dart deals 1d4 + 1 force damage Until the spell ends, one willing creature you touch
to its target. The darts all strike simultaneously, and is protected against certain types of creatures:
you can direct them to hit one creature or several. Aberrations, Celestials, Elementals, Fey, Fiends,
and Undead.
At Higher Levels. When you cast this spell using
a spell slot of 2nd level or higher, the spell creates The protection grants several benefits. Creatures
one more dart for each slot level above 1st. of those types have disadvantage on attack rolls
against the target. The target also can't be charmed,
MISTY STE P frightened, or possessed by them. If the target is
already charmed, frightened, or possessed by such
2nd-Level Conjuration a creature, the target has advantage on any new sav­
ing throw against the relevant effect.
Casting Time: 1 bonus action
Range: Self RAY OF FROST
Components: V
Duration: Instantaneous Evocation Cantrip

Briefly surrounded by silvery mist, you teleport up to Casting Time: 1 action
30 feet to an unoccupied space that you can see. Range: 60 feet
Components: V, S
P RE STIDIGITATION Duration: Instantaneous

Transmutation Cantrip A frigid beam of blue-white light streaks toward a
creature within range. Make a ranged spell attack
Casting Time: 1 action against the target. On a hit, it takes 1d8 cold dam­
Range: 10 feet age, and its speed is reduced by 10 feet until the
Components: V, S start of your next turn.
Duration: Up to 1 hour
The spell's damage increases by 1d8 when you
This spell is a minor magical trick that novice spell­ reach 5th level (2d8), 11th level (3d8), and 17th
casters use for practice. You create one of the follow­ level (4d8).
ing magical effects within range:


RAY OF SICKNESS A sudden loud ringing noise, painfully intense,
erupts from a point of your choice within range.
1st-Level Necromancy Each creature in a 10-foot-radius sphere centered on
that point must make a Constitution saving throw. A
Casting Time: 1 action creature takes 3d8 thunder damage on a failed save,
Range: 60 feet or half as much damage on a successful one. A crea­
Components: V, S ture made of inorganic material such as stone, crys­
Duration: Instantaneous tal, or metal has disadvantage on this saving throw.

A ray of sickening greenish energy lashes out to­ A nonmagical object that isn't being worn or car­
ward a creature within range. Make a ranged spell ried also takes the damage if it's in the spell's area.
attack against the target. On a hit, the target takes
2d8 poison damage and must make a Constitution At Higher Levels. When you cast this spell using
saving throw. On a failed save, it is also poisoned a spell slot of 3rd level or higher, the damage in­
until the end of your next turn. creases by 1d8 for each slot level above 2nd.

At Higher Levels. When you cast this spell using SHIELD
a spell slot of 2nd level or higher, the damage in­
creases by 1d8 for each slot level above 1 st. 1st-Level Abjuration

SACRED FLAME Casting Time: 1 reaction, which you take when
you are hit by an attack or targeted by the magic
Evocation Cantrip missile spell

Casting Time: 1 action Range: Self
Range: 60 feet Components: V, S
Components: V, S Duration: 1 round
Duration: Instantaneous
An invisible barrier of magical force appears and
Flame-like radiance descends on a creature that you protects you. Until the start of your next turn,
can see within range. The target must succeed on you have a +5 bonus to AC, including against the
a Dexterity saving throw or take 1d8 radiant dam­ triggering attack, and you take no damage from
age. The target gains no benefit from cover for this
saving throw. magic missile.

The spell's damage increases by 1d8 when you SHIELD OF FAITH
reach 5th level (2d8), 1 1th level (3d8), and 17th
level (4d8). 1st-Level Abjuration

SANCTUARY Casting Time: 1 bonus action
Range: 60 feet
1st-Level Abjuration Components: V, S, M (a small parchment with a bit

Casting Time: 1 bonus action of holy text written on it)
Range: 30 feet Duration: Concentration, up to 10 minutes
Components: V, S, M (a small silver mirror)
Duration: 1 minute A shimmering field appears and surrounds a crea­
ture of your choice within range, granting it a +2
You ward a creature within range against attack. bonus to AC for the duration.
Until the spell ends, any creature who targets the
warded creature with an attack or a harmful spell SHOCKING GRASP
must first make a Wisdom saving throw. On a failed
save, the creature must choose a new target or lose Evocation Cantrip
the attack or spell. This spell doesn't protect the
warded creature from area effects, such as the ex­ Casting Time: 1 action
plosion of a fireball. Range: Touch
Components: V, S
If the warded creature makes an attack, casts a Duration: Instantaneous
spell that affects an enemy, or deals damage to an­
other creature, this spell ends. Lightning springs from your hand to deliver a shock
to a creature you try to touch. Make a melee spell
S H AT T E R attack against the target. You have advantage on the
attack roll if the target is wearing armor made of
2nd-Level Evocation metal. On a hit, the target takes 1d8 lightning dam­
age, and it can't take reactions until the start of its
Casting Time: 1 action next turn.
Range: 60 feet
Components: V, S, M (a chip of mica) The spell's damage increases by 1d8 when you
Duration: Instantaneous reach 5th level (2d8), 1 1th level (3d8), and 17th
level (4d8).



1st-Level Enchantment Transmutation Cantrip

Casting Time: 1 action Casting Time: 1 action
Range: 90 feet Range: 30 feet
Components: V, S, M (a pinch of fine sand, rose pet­ Components: V
Duration: Up to 1 minute
als, or a cricket)
Duration: 1 minute You manifest a minor wonder, a sign of supernatural
power, within range. You create one of the following
This spell sends creatures into a magical slumber. magical effects within range:
Roll 5d8; the total is how many hit points of crea­
tures this spell can affect. Creatures within 20 feet • Your voice booms up to three times as loud as nor­
of a point you choose within range are affected in mal for 1 minute.
ascending order of their current hit points (ignoring
unconscious creatures). • You cause flames to flicker, brighten, dim, or
change color for 1 minute.
Starting with the creature that has the lowest cur­
rent hit points, each creature affected by this spell • You cause harmless tremors in the ground
falls unconscious until the spell ends, the sleeper for 1 minute.
takes damage, or someone uses an action to shake
or slap the sleeper awake. Subtract each creature's • You create an instantaneous sound that originates
hit points from the total before moving on to the from a point of your choice within range, such as
cr�ature with the next lowest hit points. A creature's a rumble of thunder, the cry of a raven, or omi­
hit points must be equal to or less than the remain­ nous whispers.
ing total for that creature to be affected.
• You instantaneously cause an unlocked door or
Undead and creatures immune to being charmed window to fly open or slam shut.
aren't affected by this spell.
• You alter the appearance of your eyes
At Higher Levels. When you cast this spell using for 1 minute.
a spell slot of 2nd level or higher, roll an additional
2d8 for each slot level above 1st. If you cast this spell multiple times, you can have up
to three of its 1-minute effects active at a time, and
SPIRITUAL WEAPON you can dismiss such an effect as an action.

2nd-Level Evocation TH U N D E RWAV E

Casting Time: 1 bonus action 1st-Level Evocation
Range: 60 feet
Components: V, S Casting Time: 1 action
Duration: 1 minute Range: Self (15-foot cube)
Components: V, S
You create a floating, spectral weapon within range Duration: Instantaneous
that lasts for the duration or until you cast this spell
again. When you cast the spell, you can make a me­ A wave of thunderous force sweeps out from you.
lee spell attack against a creature within 5 feet of Each creature in a 15-foot cube originating from you
the weapon. On a hit, the target takes force damage must make a Constitution saving throw. On a failed
equal to 1d8 + your spellcasting ability modifier. save, a creature takes 2d8 thunder damage and is
pushed 10 feet away from you. On a successful save,
As a bonus action on your turn, you can move the the creature takes half as much damage (round
weapon up to 20 feet and repeat the attack against a down) and isn't pushed.
creature within 5 feet of it.
In addition, unsecured objects that are completely
The weapon can take whatever form you choose. within the area of effect are automatically pushed 10
Clerics of deities who are associated with a partic­ feet away from you by the spell's effect, and the spell
ular weapon (as St. Cuthbert is known for his mace emits a thunderous boom audible out to 300 feet.
and Thor for his hammer) make this spell's effect
resemble that weapon. At Higher Levels. When you cast this spell using
a spell slot of 2nd level or higher, the damage in­
At Higher Levels. When you cast this spell creases by 1d8 for each slot level above 1st.
using a spell slot of 3rd level or higher, the dam­
age increases by 1d8 for every two slot levels
above the 2nd.


A CONDITION TEMPORA RILY A LTERS A CREATURE'S the purpose of hiding, the creature is heavily
capabilities. The definitions on this page specify obscured. The creature's location can be detected
what happens to a creature while it is affected by a by any noise it makes or any tracks it leaves.
condition. • Attack rolls against the creature have disad­
vantage, and the creature's attack rolls have
Duration. A condition lasts either until it is coun­ advantage.
tered (the prone condition is countered by standing
up, for example) or for a duration specified by the PA RA LYZE D
effect that imposed the condition. • A paralyzed creature is incapacitated (see the con­

No Stacking. If multiple effects impose the same dition) and can't move or speak.
condition on a creature, each instance of the condi­ The creature automatically fails Strength and
tion has its own duration, but the condition's effects Dexterity saving throws.
don't get worse. A creature either has a condition Attack rolls against the creature have advantage.
or doesn't. • Any attack that hits the creature is a critical hit if
the attacker is within 5 feet of the creature.
• A blinded creature can't see and automatically P OI SONE D
• A poisoned creature has disadvantage on attack
fails any ability check that requires sight.
Attack rolls against the creature have advantage, rolls and ability checks.
and the creature's attack rolls have disadvantage.
C HA RME D • A prone creature's only movement option is to
A charmed creature can't attack the charmer or
target the charmer with harmful abilities or magi­ crawl, unless it stands up and thereby ends the
cal effects. condition.
The charmer has advantage on any ability check • The creature has disadvantage on attack rolls.
to interact socially with the creature. • An attack roll against the creature has advantage
if the attacker is within 5 feet of the creature. Oth­
DEA FE NE D erwise, the attack roll has disadvantage.
• A deafened creature can't hear and automatically
fails any ability check that requires hearing. • A restrained creature's speed becomes 0, and it

FRIGH TE NE D can't benefit from any bonus to its speed.
A frightened creature has disadvantage on ability • Attack rolls against the creature have advantage,
checks and attack rolls while the source of its fear
is within line of sight. and the creature's attack rolls have disadvantage.
The creature can't willingly move closer to the • The creature has disadvantage on Dexterity sav­
source of its fear.
ing throws.
• A grappled creature's speed becomes 0, and it STUN NE D
• A stunned creature is incapacitated (see the con­
can't benefit from any bonus to its speed.
• The condition ends if the grappler is incapacitated dition), can't move, and can speak only falteringly.
• The creature automatically fails Strength and
(see the condition).
• The condition also ends if an effect removes the Dexterity saving throws.
• Attack rolls against the creature have advantage.
grappled creature from the reach of the grappler
or grappling effect, such as when a creature is U N C ONSCIOUS
hurled away by the thunderwave spell. An unconscious creature is incapacitated (see the
condition), can't move or speak, and is unaware of
INCA PACITATE D its surroundings.
• An incapacitated creature can't take actions, bo­
• The creature drops whatever it's holding and
nus actions, or reactions. falls prone.
The creature's concentration is broken.
• The creature automatically fails Strength and
INVI SIB LE Dexterity saving throws.
• An invisible creature is impossible to see
• Attack rolls against the creature have advantage.
without the aid of magic or a special sense. For • Any attack that hits the creature is a critical hit if

the attacker is within 5 feet of the creature.

2Running the Adventure .................... Entering the Caves 17......................... Appendix A: Magic Items .............. 36
Overview 2................................................. Interacting with 17Myconids ............ Using a Magic Item 36...........................
Getting Started 2..................................... Seagrow Caves 18Locations ............ Item Descriptions 36..............................
EndingThis Chapter 21.........................
Number of Players 2............................ Gain a Level... 2 1................................... B: 37Appendix
2The Forgotten Realms ........................ Creatures...................
3Adventure Background ....................... Ch. 3: Cursed Shipwreck............... 22
Shipwreck Overview 22......................... 37Creature Stat Blocks ........................
Adventure Outline 3.............................
Adventure Maps 3................................ 23Shipwreck Features ...................... 39Creature Descriptions ......................
The Dungeon Master 4................. .......... 23RunningThis Chapter. .....................
DMTips 4............................................... CREDITS
23Shipwreck Locations ...... ..............
Ch. 1: Dragon's Rest 6........................... Harpy's Return 27............................... Lead Designer: James Wyatt
6Welcome to Dragon's Rest ................. 27EndingThis Chapter ........................ Designers: Sydney Adams, Makenzie
Gain a Level... 27..................................
Drowned Sailors 7............................... De Armas, Dan Dillon
7Meeting the Inhabitants .................. Ch. 4: Clifftop Observatory ........... 28 Rules Developers: Jeremy Crawford, Ben
10Dragon's Rest Locations ............... 28Observatory Overview ......................
Cloister Quests 12.................................... Petrisor
14Exploring the Island .......................... 29Observatory Features ................... Art Director: Kate Irwin
14Additional Encounters ................... 29RunningThis Chapter. ..................... Cover Illustrator: Karl Kopinski
Interior Illustrators: Olivier Bernard,
2: 16Ch. 29Approaching by Land ....................
Seagrow Caves ...................... 29Approaching by Water .................. Christopher Burdett, Conceptopolis,
Sparkrender's Kobold Allies ....... 29 Caroline Gariba, Ilse Gort, Suzanne
Caves Overview 16................................... 30Observatory Locations ................. Helmigh, Daniel Landerman, Linda
34Sparkrender's Ritual ........................ Lithen, Brynn Metheney, David Auden
Seagrow Caves Features 16.............. 35Ending the Adventure....................... Nash, Hector Ortiz, Ryan Pancoast, Jenn
Ravenna, Alex Stone
17RunningThis Chapter....................... Cartographer: Mike Schley
Graphic Designer: Bob Jordan
Approaching at Sea Level 17.............
Editors: Judy Bauer, Michele Carter
Approaching from Above 17.............. Product Manager: Natalie Egan
Producer: Rob Hawkey

TM & ©2022 Wizards.



contains a complete DUNGEONS & DRAGONS adven­ The Forgotten Realms is a world of high fantasy,
ture, as well as descriptions for the magic items and populated by elves, dwarves, halflings, humans, and
creatures in the adventure. It also teaches you how other folk-one of many such worlds in the vast mul­
to run a D&D game. tiverse of the D&D game. In the Realms, fighters
dare the crypts of the fallen dwarf kings of Delzoun,
The rulebook that accompanies this booklet con­ seeking glory and treasure. Rogues prowl the dark
tains the rules for handling the situations that arise alleyways of teeming cities such as Neverwinter and
during the adventure. Baldur's Gate. Clerics in the service of gods wield
mace and spell, defending against the terrifying
O V E RV I EW powers that threaten the land. Wizards plunder the
ruins of the fallen Netherese empire, delving into
A D&D adventure is a collection of locations, quests, secrets too sinister for the light of day.
and challenges that inspire you to tell a story. The
outcome of that story is determined by the actions The roads and rivers of the Realms carry min­
and decisions of the adventurers-and the luck of strels and peddlers, merchants and guards, soldiers
the dice. and sailors. Bold adventurers follow tales of strange,
glorious, faraway places. Good maps and clear trails
Dragons ofStormwreck Isle draws the characters can take even an inexperienced youth with dreams
into the midst of an ancient war among dragons of glory far across the world, but these paths are
as they explore an island that has long been a bat­ never safe. Travelers in the Realms face fell magic
tlefield in that conflict. Here's an overview of what and deadly monsters. Even farms and freeholds a
you'll find in this booklet: day's walk from a city can fall prey to monsters, and
no place is safe from the wrath of a dragon.
Running the Adventure. The booklet starts with an
overview of the adventure. Then it takes a look at This adventure takes place on Stormwreck Isle,
the role of the Dungeon Master in a game of D&D, a small island in a region called the Sword Coast.
and some tips to help you in this role. This region is a place of adventure, where daring
souls delve into ancient strongholds and explore the
Adventure Sites. The four chapters of the adven­ ruins of long-lost kingdoms. Amid a lawless wilder­
ture describe locations on Stormwreck Isle where ness of jagged, snow-capped peaks, alpine forests,
characters can explore, interact with various crea­ bitter winds, and roaming monsters, the coast holds
tures, and pursue their goals. The first site, Drag­ renowned bastions of civilization such as the city of
on's Rest, serves as the characters' home base Neverwinter, in the shadow of the fuming volcano
during the adventure, where they can rest and get known as Mount Hotenow.
supplies between their visits to the other sites.
Magic Items and Monsters. Two appendixes
describe rules for magic items and monsters You can run Dragons ofStorm wreck Isle for one to
that characters might find in the course of the five p l ayers. If you have four o r five fri e n d s ready to
adventure. p l ay with yo u , each p e rson can take one of the ch ar­
acters provided in the box. Five players wi l l fi n d the
GETTI NG STARTED e n co u nters a little easier t h a n four p l ayers wil l , but the
adventure works fi n e a s written for gro u p s of fo u r or
To get started, have each player choose one char­ five p l ayers.
acter to play. Five characters printed on separate
sheets are included in the box. Tell the players to I f you h ave fewer than four p l ayers, you can h ave
read over the character sheets; give their characters some p l ayers take on the ro l e of two ch aracters so the
names; and invent the details of their characters' gro u p has at least fo u r characters. A p l ayer with two
personality and appearance. Encourage the players ch aracters s h o u l d treat one of them as their m a i n char­
to write on the character sheets to make these char­ acter a n d the other as a sid e k ick, there to h e l p out but
acters their own. probably not engaging i n a lot of d i alogue.



According to legend, two families of dragons came I n Dragons ofStormwreck Isle, the characters expe­
into being in the very first days of the world's cre­ rience the magical scars left behind by the death of
ation. Bahamut, the noble Platinum Dragon, made dragons. Faced with the evil schemes of one living
the metallic dragons-gold, silver, bronze, brass, dragon and the righteous anger of another, they'll
and copper. Cruel, five-headed Tiamat made the have the chance to explore whether peace between
chromatic dragons-red, blue, green, black and the feuding dragon families is possible-or if they
white. The metallic and chromatic dragons share a must resort to violence to resolve the conflict on
mutual animosity that originates in the enmity be­ this isle.
tween Bahamut and Tiamat.
This adventure has four chapters:
The origin of Dragon's Rest is rooted in that ani­
mosity. Ages ago, a fire-breathing red dragon called Chapter 1, "Dragon's Rest," introduces Runara's
Sharruth rampaged up and down the Sword Coast. cloister and its inhabitants and provides the char­
Three metallic dragons joined forces to battle Shar­ acters the opportunity to learn about the problems
ruth and imprisoned her beneath the ocean floor, facing the island. It also describes additional
believing seawater would quench her fire and keep encounters you can use in the course of the adven­
her bound forever. But Sharruth's fury, legend says, ture, including a magical hot spring with mysteri­
caused the undersea volcanic activity that formed ous guardians at the site of a brass dragon's death.
Stormwreck Isle.
Chapter 2, "Seagrow Caves," describes how the
In all likelihood, Sharruth is long dead and en­ grave of Sharruth spawns magical connections to
tombed beneath the island, but chromatic dragons the Elemental Plane of Fire that threaten a com­
whisper that she still lives and will one day emerge munity of mushroom-like myconids.
from her prison. One fact is undeniable: the pow­
erful magic embodied in such an ancient dragon Chapter 3, "Cursed Shipwreck," details a ship that
has left a permanent mark on Stormwreck Isle. crashed alongside the bones of a gold dragon and
That magic has drawn other dragons to the island the horrible curse within the ship's hold.
throughout the centuries, making it a recurring
battlefield in the conflict between chromatic and Chapter 4, "Clifftop Observatory," brings the char­
metallic dragons. Several of these dragons have acters to the site where Runara killed a blue
died there, each leaving behind a spiritual scar that dragon-and where that blue dragon's grandson
causes unpredictable magical effects. has made his lair. There they'll also find a bronze
wyrmling who rejected Runara's teachings of
A hundred years ago, a blue dragon tried to har­ peace, now held prisoner in the blue dragon's lair.
ness this destructive magic. A bronze dragon named
Runara pleaded with him to abandon his schemes. ADVENTURE MAPS
When he refused, Runara killed him, adding one
more dragon grave to the island. The maps i n this booklet are for the DM's eyes only.
These maps show secret doors and other elements
Runara has grown weary of strife, and Storm­ the players aren't meant to see.
wreck Isle's wounds are a constant reminder to
her of the cost of such conflict. Devoting herself to When the characters arrive at a location marked
peace and reconciliation, she established the clois­ on a map, describe it to give them a clear mental
ter of Dragon's Rest as a safe haven from violence. picture of the location. You can also draw what they
Living in human guise, Runara now serves as the see on paper, copying what's on your map while
leader of a tiny group of hermits and ascetics. omitting secret details. It's not important that your
hand-drawn map perfectly match what's in the
But the ageless conflict between chromatic and printed adventure. Try to get the basic shape and
metallic dragons threatens to disrupt the serenity dimensions correct and leave the rest to the players'
of Dragon's Rest-and this is where the adven­ imaginations.
ture begins!

TH E D UNGEON MASTER Text t h at a p pears i n a b o x l i ke t h i s i s meant t o be

The Dungeon Master has a special role in read aloud or parap hrased to the pl ayers when their
D&D games.
characters first arrive at a location or u n d er a s pecific
The DM is a storyteller. The DM presents the
challenges and encounters that the characters must circ u m s t a n ce, a s d es cribed i n the text. I t u s u a l ly de­
overcome. The DM is the players' interface to the
D&D world, who reads (and sometimes also writes) scribes locatio ns or presents scripted dialogue, so the
the adventure and describes what happens in re­
sponse to the characters' actions. players know what's up and have a sense of what their

The DM is a referee. When it's not clear what characters' options are.
ought to happen next, the DM decides how to apply
the rules and keep the story going. You don't have to reveal every aspect of a situation
or hazard in one go. Boxed text typically describes
The DM is a roleplayer. The DM plays the mon­ everything the characters see, hear, or smell at first
sters in the adventure, choosing their actions and glance. As characters search rooms, make Wisdom
rolling dice for their attacks. The DM also plays (Perception) or Intelligence (Investigation) checks,
all the other people the characters meet, including open drawers and chests, and generally examine
helpful ones. things more closely, give players more details about
what their characters find.
Creature Stat Blocks. Whenever the adventure
The most important part of being a good DM is facil­ text presents a creature's name ip. bold type, that's a
itating the fun of everyone at the table. Keep these visual cue directing you to the creature's stat block
tips in mind to help things go smoothly: in appendix B. Those stat blocks are intended for
your eyes only. However, as the characters fight
Embrace the shared story. D&D is about telling a monsters, you can reveal certain information to help
story as a group, so let the players contribute to them make smart choices in combat:
the outcome through the words and deeds of their
characters. If some players are reluctant to speak Hit Points. You can give players a sense of how
up, ask them what their characters are doing. well they're doing against a creature by describ­
ing, in narrative terms, how hurt the creature is.
It's not a competition. The DM isn't competing For example, if the creature has fewer than half
against the player characters. Your job is to its hit points remaining, you can describe it as
referee the rules, run monsters, and keep the being badly wounded. Such information gives the
story moving. players a sense of progress and might spur them
to press the attack. On the other hand, if the char­
Be fair and flexible. Treat your players in a fair, im­ acters aren't damaging the creature much, let the
partial manner. The rules help you do this, but you players know that the creature looks like it can
can make your own rulings to ensure everyone is take a lot more punishment. That might encour­
having fun. age the players to change their plan.

Modify the adventure to suit your tastes. The ad­ Abilities, Strengths, and Weaknesses. As they
venture has no prescribed outcome. You can alter fight a creature, characters should learn more
any encounter to make it more interesting and fun about the creature's abilities. Share information
for your players. with the players as it becomes apparent. For ex­
ample, if the wizard casts flaming sphere (a spell
Keep a notepad handy. Use it to track details such that deals fire damage) against a fire snake (a crea­
as the characters' and monsters' initiative order. ture that's immune to fire damage), let the wiz­
ard's player know the spell doesn't seem to bother
SHARING I NFORMATION the creature at all. Players might correctly guess
that a fire snake probably isn't harmed by fire; feel
As Dungeon Master, one of your most important free to subtly confirm their guesses (perhaps smil­
tasks is figuring out how much to tell the players ing and saying, "That sounds reasonable").
and when. All the information the players need to
make choices comes from you. Within the rules of StoryInformation. A location description might
the game and the limits of the characters' knowl­ include important information not in boxed text.
edge and senses, tell players everything they Often you're meant to reveal such information when
need to know. the characters examine particular areas or interact
with creatures.




As the DM, you roleplay the creatures that the The adventure often tells you what ability checks
characters encounter. The adventure offers guid­ characters might try in certain situations and the
ance to help you decide what these creatures know Difficulty Class (DC) of those checks. But some­
and how willing they are to share information with times characters try things that the adventure can't
the characters. Beyond that, improvise and bring anticipate. In that case, you decide how to handle it.
these creatures to life as best you can. For exam­
ple, the adventure describes Runara (the disguised Ability checks are for situations where a charac­
bronze dragon who leads the cloister of Dragon's ter's success or failure isn't guaranteed. If anyone
Rest) as wise and peace-loving, but you get to decide can easily accomplish a task, don't ask for an abil­
what her voice sounds like and how she reacts to a ity check. Just tell the player what happens. And if
given situation. You can also ignore what the text there's no way anyone could accomplish the task,
says and roleplay Runara or any other creature as just tell the player it doesn't work.
you see fit.
When you decide an ability check is required, con­
Treasure. When characters find treasure, tell sult the "Ability Checks" section of the rulebook and
them how many coins they find and how much the table of Typical Difficulty Classes. Most of the
any gems and art objects are worth. Sometimes time, choose a DC that is easy (DC 10), moderate
treasure includes magic items, whose names are (DC 1 5), or hard (DC 20).
presented in italic type. Appendix A describes these
items and their properties, as well as the rules for
how characters figure out what a magic item does.


Dungeon Masters are fallible, just like everyone
else, and even experienced DMs make mistakes.
If you overlook, forget, or misrepresent something,
correct yourself and move on. No one expects you
to memorize every part of this adventure and all the
rules in the rulebook. As long as your players are
having fun, everything will be just fine.




THE ADVENTURE BEGINS AT A TINY CLOISTER CALLED A l a rge, o p e n - a i r te m p l e comes i n to view, perched
Dragon's Rest, a haven where world-weary people on the e d ge of a cliff h i g h above yo u . The ship d rops
come to seek peace, reconciliation, and enlighten­ anchor at the mouth of the harbor, and two sailors
ment. There, the characters learn about the dangers row you ash ore. Yo u have p l e nty of time to a d m i re the
facing Stormwreck Isle. towering statue at the center of the tem p l e , depicting
a wize n ed m a n su r ro u n ded by seven songb i rd s . A
Each character has a specific reason for coming l o n g path w i n d s u p t h e s i d e of the c l i ff to t h e te m p l e ,
to the cloister, as shown on the character sheets. dotted a l o n g the way with doorways cut i nto the rock.
You can also let players invent their own reasons for
their characters to seek out Runara's wisdom and The sailors set you ashore on a rickety dock, where
assistance. a l a rge rowboat is neatly t i e d . They point to the base
of the path and wish you good luck before they row
WELC OME TO DRAGON'S RE ST back to the s h i p. Yo u r visit to Dragon's Rest begi n s !

Read the following text when you're ready to start: Before continuing with the adventure, encourage
the players to introduce their characters to each
Yo u r jo u rney was u n eventfu l , b u t t h e i s l a n d now other if they haven't done so already. They might
v i s i b l e off the bow promises rare won d e r s . Seaweed want to discuss their reasons for visiting Dragon's
s h i m m ers i n countless b r i l l i a nt col o rs b e l ow you, a n d Rest, or they might prefer to keep their reasons se­
cret for now. If they have any questions about what
rays o f s u n l i ght d efy the overcast sky t o i l l u m i n ate t h e they can see of the cloister from the boat, use map

l us h grass a n d d a r k b a s a l t rock o f t h e i s l a n d . Avo i d ­

i n g t h e rocks jutt i n g u p fro m t h e oce a n , your s h i p
m a kes i t s way toward a c a l m h a r bo r o n t h e i s l a n d's
north side.


2 (on page 1 1) and the information in "Dragon's the creature off, but it refuses to stop moving!" On
Rest Locations" to answer them. the flip side, any time a zombie takes radiant dam­
age (such as from the cleric's sacred flame cantrip),
Ask the players to give you the party's marching you might describe the creature howling in agony.
order as they start toward the cloister. Who's in This can help the players realize that radiant dam­
front, and who's bringing up the rear? Make a note age is a way to get around Undead Fortitude. If the
of this marching order. players ask whether their characters know anything
about fighting zombies, have them make DC 10 In­
When you're ready, continue with the "Drowned telligence checks. Those who succeed might recall
Sailors" section. that a particularly powerful blow (a critical hit) or
radiant damage can help finish off a zombie.
Runara's Aid. In the unlikely event that the zom­
Read the following text to start the encounter: bies defeat the adventurers, Runara comes to their
rescue. The characters wake up in the temple (area
As yo u ' re about to leave t h e beach a n d start yo u r AS in Dragon's Rest). Runara explains that she
heard the sounds of combat and arrived just in time
c l i m b, y o u h e a r a ruckus o f s p l a s h i n g a n d a wet, g u r­ to prevent the zombies from dragging the characters
into the sea.
g l i n g moan b e h i n d you. Th ree fi g u res a re s h a m b l i n g
Avoiding the Zombies. If the characters decide
u p fro m the water's edge, a b o u t t h i rty feet away. not to fight the zombies, they easily escape from the
slow, shambling monsters. The zombies don't follow
They're d ressed as s a i l ors, but t h e i r s k i n is gray a n d them up the path toward Dragon's Rest. The char­
acters will have another opportunity to deal with
t h e y look d rowned. Sea water d rools from t h e i r s l ack the zombies later (see "Cloister Quests" later in this
mouths as they l u rch toward you.
The three shambling sailors are zombies, the ani­
mated corpses of sailors who died in a recent ship­ Read this text when the characters first climb the
wreck. The characters face a choice: they can turn path to Dragon's Rest:
and fight the zombies, or they can continue up the
path and leave the slow, shambling zombies behind. Your a rrival q u i c k l y d raws the atte ntion of the entire

If the characters turn and fight, this is the first po p u l ation of the pl ace-which co n s i sts mostly of
combat encounter in the adventure. Here are the
steps you should follow to run it: kobo l d s . These s m a l l , repti l i a n fo l k eye yo u c u r i o u s l y

1 . Review the zombie stat block in appendix B. w h i l e a couple o f h u m a n s watch fro m a d i stance. A l l
2. Use the initiative rules in the rulebook to de­
t h e cloister's resi d e nts a re d ressed i n s i m p l e clothes,
termine who acts first, second, third, and so
on. Keep track of everyone's initiative count on and no one carries a visible weapon. One of the ko­
your notepad.
3. On the zombies' initiative count, they move to­ bolds pipes up with, "What's you r name?"
ward the characters. If they get close enough, they
make melee attacks. The zombies' stat block con­ At that, all t h e ko bo l d s begin b a r raging you with
tains the information you need to resolve these
attacks. If all the characters are more than 20 feet quest i o n s-"Where a re you fro m ?" "What's that?"
away, the zombies use the Dash action so they
can move farther. For more information on what "Why a re you h e re?" a n d more that a re lost i n the d i n .
the zombies can do on their turn, see "Combat" in
the rulebook. Visitors to the cloister are rare, and the kobolds' cu­
4. The zombies fight until they're all defeated. riosity is insatiable; they keep asking questions until
the characters insist they stop.
Tip: Undead Fortitude. The zombies' Undead
Fortitude trait reflects how hard it is to kill these When the characters quiet the kobolds (or if the
walking corpses. When this trait prevents a zombie players start showing signs of exasperation), the
from dying, give the players a hint about what hap­ leader of the cloister approaches to welcome the
pened. You might say, "That should have finished characters. Read the following text:


The ch atte r i n g kobolds fa l l s i l e n t as a new fi g u re Runara's mission is to help those whose lives have
been shaped by violence find new paths forward in
co mes i nto view, d esce n d i n g gracefu l ly from t h e peace. Ultimately, she would like to see chromatic
and metallic dragons find a peaceful way to coexist
u p p e r p a rt o fthe cloi ster. S h e's a n e l d e r l y h u m a n in the world. In the meantime, she finds comfort in
helping humans and other people escape from cy­
woman with weathered brown skin, white hair in tight cles of violence.

braids, and kindly h azel eyes, dressed in a simple Runara maintains a secret lair in a cave accessed
by an undersea tunnel, a short distance from the
wh ite robe. She smiles as she draws near and extends cloister and not shown on the map of Dragon's Rest.
She is careful not to enter or leave the cave when
her arms i n greeting. anyone might spot her, and she enters and emerges
from the water in the open ocean, out of sight of the
"We lcome to D ragon's Rest," s h e says. " M ay B a h a ­ cloister. The other residents of the cloister think she
lives in the temple at the top of the island (area AS),
mut's g u i d a nce lead you to whatever you see k." or they simply laugh away queries about her accom­
modations, explaining that she's always in the tem­
This is Elder Runara, the leader of Dragon's Rest. ple, or in the library, or checking on the rest of the
If the characters defeated the zombies at the beach, residents-she never seems to sleep!
she thanks them for their service to the cloister.
Even if they did not fight the zombies, she tells them KOBOLDS
they're welcome to stay at Dragon's Rest as long as
they wish, sleeping either in one of the monastic Kobolds are small reptilian Humanoids who believe
cells (area Al) or in the temple (area AS) and eating they are descended from dragons and gravitate to
with the rest of the community in the dining room the service of dragons. Over the centuries, many
(area A3). Runara says nothing about payment of bands of kobolds have been drawn to Stormwreck
any kind. If the characters offer to give money or Isle by the lingering draconic magic that suffuses
perform services around the cloister in exchange for the island. Nine kobolds utterly devoted to Runara
her hospitality, she accepts these gifts. now live at Dragon's Rest.

Throughout this adventure, Dragon's Rest serves The kobolds of Dragon's Rest are lawful good,
as a home base for the characters. All the places sharing Runara's ideals of justice and compassion.
they'll explore on the island are within a few miles Since they are sensitive to sunlight, they work at
of the cloister, and they can return here whenever night and avoid moving about during the day. Unless
they wish to rest, heal, and get information they otherwise noted, the kobolds are initially friendly
need for the next part of their adventures. In addi­ toward the adventurers.
tion, they can buy any of the equipment described in
the rulebook from Myla (see "Kobolds"). The kobolds are summarized below. They can
provide comic relief, offer a down-to-earth perspec­
During their time at Dragon's Rest, the characters tive, or be a way for you to pass hints to the players
can interact with any of its residents. All the resi­ if they're having trouble putting things together. But
dents but Runara live in the small monastic cells cut don't feel like you need to bring all nine of these
into the cliff face (area Al on the cloister map). kobolds to life! Pick one or two of these kobolds that
you and the characters like the most and let them
ELDER RU NARA be the focus of the characters' interactions with
the kobolds:
Elder Runara is the leader of Dragon's Rest. She
appears as a human woman, but she is actually an Agga speaks little and has no patience for non­
adult bronze dragon disguised in human form. She sense. She keeps the rest of the kobolds organized
guides the residents of the cloister in their contem­ and in line. She is indifferent toward visitors, but
plation and study. The cloister's inhabitants know if the characters show respect for the cloister and
Runara's true identity, but they do not speak of it help keep the more rambunctious kobolds in line,
to visitors. her attitude improves to friendly.

Runara's initial attitude toward the characters is Blepp has a sharp danger sense and is convinced
indifferent (see "Social Interaction" in the rulebook). he's supernaturally lucky. His prized possession is
She becomes friendly as soon as the characters an ordinary dagger he claims is magical.
demonstrate that they care about the cloister's
safety, such as by fighting the zombies at the beach Frub has limitless energy and desperately needs
or undertaking any of the quests she offers them help finding productive directions to channel it.
(see "Cloister Quests" later in this chapter). If the He loves to ask questions about everything other
characters harm any of the residents of Dragon's people are doing.
Rest, she becomes hostile and insists the characters
make amends for the harm they did before she is
willing to deal with them in any way.


H A ND L E MYLA'S ALC H E M IC A L F I RE. Tarak is a human man in late middle age. He
has pale skin tanned darker with many freckles,
Kilnip has terrible insomnia and sleeps only a few auburn hair and a beard that is mostly gray, and
hours each day. She is always tired but an eager gray-blue eyes. Faded tattoos in an abstract design
conversationalist. peek up the side of his neck from beneath his dirt­
stained robes.
Laylee has a curious mind and a talent for tools and
building. She serves as Myla's helper. An avid botanist, Tarak tends the cloister's garden
plots, growing flowers, herbs, and vegetables. He is
Mumpo is so audaciously courageous that he stole a soft spoken and helpful, eager to share his knowl­
copper piece from Runara's hoard. He's convinced edge of herbalism. But his kindly demeanor belies
she has no idea. (He is wrong, but Runara finds his past as a ruthless poisoner for a thieves' guild.
the situation amusing and lets Mumpo continue to After his work led to the death of his lover, he fled
believe in her ignorance.) the guild and plans to spend the rest of his life aton­
ing for his past evils.
Myla (lawful good kobold tinkerer) is a winged
kobold whose brothers, Mek and Minn, now fol­ Tarak is initially friendly toward visitors, but if a
low Sparkrender, the blue wyrmling in Clifftop character pries into his past, his attitude shifts­
Observatory (see chapter 4). When Myla's wings first to indifferent, then to hostile if the character
were badly injured in an attack by stirges (which continues to push. When he's hostile, his demeanor
she describes as "hungry, icky, blood-sucking, bat­ becomes cold and clipped, and he avoids the charac­
things"), Runara helped in her recovery. Now Myla ters if he can.
spends her time experimenting with alchemy, en­
gineering, and magic. A gold hangman's noose is worked into the design
of Tarak's visible tattoos. A character who studies
Rix is pious and tends to the temple, acting as the tattoos and succeeds on a DC 1 5 Intelligence
Runara's assistant. She adores puns. Rix recently (History) check recognizes the mark as a symbol
witnessed a ship crashing on the rocks to the associated with the Gilded Gallows, a thieves' guild
north (see "Cloister Quests" later in this chapter). that operates in a country far to the southeast called
Elturgard. A character with the criminal back­
Zark is rude and fond of colorful insults. His fa­ ground automatically succeeds on this check. Tarak
vorites are "Eat my sword, bugbear breath!" and does not willingly discuss the details of his past
"Your father was a gas spore!" He is indifferent with anyone but trusted friends.
toward visitors.
Tarak frequently visits the sea caves on the south
side of the island to acquire heart cap mushrooms
from the myconids that live there. He uses the
mushrooms to make potions ofhealing. But the my­
conids have installed a fearsome guardian at their
caves-a fungus-covered octopus monster-that has
turned him away on his latest visits, and he is wor­
ried (see "Cloister Quests").


Varnoth is a human woman whose frame, once
tightly muscled, has thinned with age. Her black
hair is cropped close to her scalp, and her light
brown skin bears many scars-one of which runs
across her left eye, which is milky and blind. An ele­
gant prosthetic made from wood and metal replaces
her right leg below the knee.

Varnoth was a feared general at the head of a mer­
cenary company called the Azure Wolves. Age and
battle have taken a toll on her, and she is spending
her twilight years in reflective contemplation at
Dragon's Rest. Her demeanor is gruff, but she is ob­
servant and empathetic. Above all, Varnoth believes
in second chances and redemption.

Varnoth has a set of mason's tools that she uses to
maintain the temple and other areas of the cloister.


While working in the temple recently, she witnessed A2 : WINCH HOUSE
a ship change course and crash into the rocks to the
north (see "Cloister Quests"). A s m a l l , free-stand i n g b u i l d i n g h a lfway u p the path
has a peaked roof and a weathered wooden door. A
Varnoth is indifferent to visitors, but a character stu rdy wooden pallet wrapped with rope h a n gs be­
can shift her attitude to friendly by engaging her in neath t h e b u i l d i n g on a n i ron c h a i n , lying flat agai nst
conversation on her favorite topics: history, ethics, the cliff face.
and the impact of individual actions on the world.
Inside the building is a winch that allows the
A character who learns Varnoth's name and pallet to be lowered down to the water, 50 feet
succeeds on a DC 1 5 Intelligence (History) check below. When boats deliver supplies to the cloister,
recalls hearing of General Varnoth Wender and the the residents use this pallet to haul goods both
Azure Wolves, which was a mighty force in the east up and down.
about a decade ago. A character with the soldier
background succeeds on this check automatically. A lever locks the winch in place. If a character
pulls the lever, the pallet falls down to the water and
D RAGON'S R E ST LO C ATIONS floats there. As an action, a character can operate
the winch to pull the pallet back up 10 feet.
The following locations are keyed to map 2, which
shows the layout of Dragon's Rest. A3 : KITCHEN

Al : PATH A N D MONASTIC CELLS A doorway in the rock o p e n s i nto a d i n i n g room with
a long t a b l e . Two benches run t h e l e n gth of the t a b l e ,
A l o n g path leads fro m t h e rocky s h o re up t h e s i d e and a single chair sits at the table's head. A short hall­
way co n n ects t o a s m a l l , t i d y kitc h e n .
o ft h e c l i ff, w i t h occa s i o n a l s t a i r s t o ease the ascent.
The cloister residents share three daily meals here.
H e re and t h e re a l o n g t h e lower p a rt of the path, They take turns cooking and cleaning up after
meals. Nobody says it out loud, but the days when
we l l -tended garden p l ots hold fl owers, herbs, a n d Tarak cooks are everyone's favorite.

vegetables. A4 : LIBRARY

About t h i rty feet above the bay, the p a t h w i d e n s i nto Of a l l t h e doo rways cut i nto the cliff face, only o n e

a l o n g p l aza . H a lfway a l o n g the p l aza, a sto n e stat u e h a s a n actual door. T h i s entry's door is m a d e of
stu rdy oak with iron bands, and it swings open easily
of a d ragon gazes serenely down the path. Six open to reveal a s pacious l i brary. Bookshelves line every
wa l l , with th ree free-sta n d i n g she lves in the west
doo rways a re c u t i nto the cliff s i d e . h a l f of the roo m . I n the east h a l f i s a t a b l e with two
benches, writing i m ple ments, book stands, and glass­
Statue. The star-in-a-circle symbol on the map shielded lamps.
represents the dragon statue. A character who
examines the statue and succeeds on a DC 10 In­ The cloister library holds books and scrolls cover­
telligence (Arcana) check recognizes that it depicts ing a variety of topics, but focused on theology and
a bronze dragon-a member of the metallic family. history. Runara spends nearly half her time in here,
If characters ask Runara about the statue, she tells studying, copying, and annotating the library's col­
them it depicts Astalagan, who died on these cliffs lection. Tarak and Varnoth also come here to read
centuries ago. She doesn't tell them that Astalagan and discuss various works. Many of the kobolds visit
was her father. as well, but mostly for the quiet; only Myla could be
described as studious.
Cells. The doorways lead into simple monastic
cells occupied by the cloister residents. Each cell
is furnished with a bed, a nightstand, a small desk,
and a chair.

The westernmost cell is vacant, and it is available
to the characters if they don't mind sharing the
space. Next to it is Tarak's cell, then Varnoth's. The
fourth cell is Myla's, cluttered with junk and tools.
The fifth and sixth cells are strung with hammocks,
offering space for the other eight kobolds to sleep.

M A P 2: DRAGO N'S REST Depressions in the statue's pedestal at the four
cardinal directions hold offerings of incense made
A5: TEMPLE OF BAHAMUT to Bahamut. Runara spends about half her time
here, tending and maintaining the temple, offering
The highest point of the cloister is crowned by an prayers and incense, or in quiet contemplation.
o p e n - a i r te m p l e that overhangs the c l i ff, s u p po rted Other residents of the cloister help her, most often
by arched sto n e struts a n chored to the c l i ff face. The Varnoth and the kobold Rix.
north wa l l of the te m p le is carved d i rect l y i nto t h e
rock, w h i l e t h e rest is open to t h e sea a i r. Heavy p i l l a rs The feeling of serenity that pervades the temple
m a r k the th ree o p e n s i des, s u p po rt i n g the woo d e n is the result of protective magic. A non-evil creature
roof. In the center of the tem pl e stands a sto ne statu e who makes a saving throw within the temple can
of a kind-looking old man with canaries perched on roll a d4 and add the number rolled to the saving
h i s hands, s h o u l d ers, and head. A fee l i n g of seren ity throw. If a character casts detect magic in the tem­
suffuses the p l ace. ple, the spell reveals a faint aura around the statue.
Runara is the only inhabitant of Dragon's Rest who
The temple is very simple, with the statue (repre­ knows that this is a lingering effect of the death of a
sented by the star-in-a-circle symbol on the map) as dragon on this site-her father, Astalagan.
its only furnishing. The statue depicts Bahamut, the
Platinum Dragon, in mortal disguise, surrounded About Bahamut. Known as the Platinum Dragon,
by seven canaries that represent gold dragons who Bahamut is the patron and progenitor of metallic
accompany him on his travels. A character who dragons. Adventurers and dragons alike pray to
examines the statue and succeeds on a DC 10 In­ Bahamut to uphold honor and justice, or when they
telligence (Religion) check recognizes Bahamut, need courage to face a great threat. He seldom in­
and any resident of Dragon's Rest identifies the terferes in the affairs of mortal creatures, though he
god if asked. makes exceptions to help thwart the machinations
of Tiamat the Dragon Queen and the evil dragons
that serve her.


CLOISTER QUESTS If the characters talk to Runara about the zom­
bies, she tells them she suspects a wrecked ship off
As the characters explore Dragon's Rest, the resi­ the rocks to the north is the source of these mon­
dents talk with them about the problems the cloister sters, and she asks the characters to investigate the
is facing. These conversations are opportunities for site (see "Shipwreck" below).
you to introduce the players to the adventures that
await them in the sea caves, the shipwreck, and the MORE ZOMBIES
ancient observatory.
If the characters defeated the zombies when they
This adventure is designed to be flexible and give first arrived on the island, you can use this encoun­
the players the sense that they're in charge of their ter at any point during the adventure to add a little
destiny on Stormwreck Isle. Ideally, the characters extra combat spice to the characters' lives. If the
will spend time at Dragon's Rest and then explore characters have already reached 2nd level, you can
both Seagrow Caves (described in chapter 2) and use from four to six zombies to give them a good
the wreck of Compass Rose (chapter 3). They can challenge.
choose where to go first. After they've explored
both of those sites, they should be ready to face SEA C AV E S
Sparkrender in the Clifftop Observatory (chapter 4).
Tarak is eager t o reestablish contact with the myco­
Each character sheet includes a personal goal for nids of the sea caves. He asks the characters to visit
that character. Some of those goals are concrete­ the caves, find out what's wrong with the myconids,
the wizard, for example, is eager to learn the secrets and bring him back some heart cap mushrooms. He
of Clifftop Observatory. Others are more general warns them about the fungal octopus the myconids
and might be fulfilled gradually over the course have created as a guardian and tells them they'll
of the adventure-both the paladin and the fighter probably have to fight the creature to gain access to
gaining a better understanding of their role in the the caves. He also gives them a foul-smelling sack of
world, for example. Use those goals (described un­ food scraps they can give the myconids as a gesture
der "Individual Quests" below) to help the players of friendship. Finally, he gives them two potions of
bring their characters to life as they interact with healing (described in appendix A).
Runara and the other residents of Dragon's Rest.
Several ships have recently crashed on the rocks
If the adventurers did not fight the zombies when north of Dragon's Rest and sunk with no survivors,
they first arrived on the island, the zombies cause and a few days ago both Varnoth and the kobold Rix
trouble later. After the characters have spent some witnessed the most recent wreck. They saw the ship
time at the cloister, they hear cries for help. Read abruptly veer off course and crash into the rocks,
the following text: and they suggest the characters might help the is­
land by discovering what caused the crash. If the
Two res i d ents of D ragon's Rest a re r u n n i n g for t h e i r characters ask Runara about it, she suggests that
the answer is likely to be found on an older wreck­
l ives u p t h e l ower p a t h , t h e i r fi s h i n g e q u i p m e n t d i s ­ the wreck of Compass Rose.

carded b e h i n d t h e m . B l ood a n d d i rt stain t h e i r ro bes. INDIVIDUAL U E STS

T h re e fi g u res s h a m b l e after them-bloated corpses As described on the character sheets, the characters
have their own reasons for visiting Dragon's Rest.
d ressed as s a i lors, m o a n i n g and g u rg l i n g .
The characters have another opportunity to fight
the three zombies, this time with the lives of two The cleric was led here by a recurring dream involv­
new acquaintances-Blepp the kobold and Tarak ing the shadow of death. If the character talks to
the human gardener-hanging in the balance. See Runara about the dream or their quest, Runara lis­
"Drowned Sailors" for help getting the encoun­ tens closely, then pauses to think. "Well," she says,
ter started. "I am no expert on interpreting dreams, but perhaps
the zombies you fought are the 'hunger of death'
Blepp has 2 hit points left after a zombie hit him, you spoke of." She points the character toward the
and he is convinced that his good luck and his "mag­ wreck of Compass Rose (see "Shipwreck" above) to
ical" dagger saved him from certain death. Tarak is investigate further.
unarmed, and the zombies overpower both him and
Blepp if the characters don't help.


THE FIGHTER was to assassinate a traitor, who was his lover. The
two tried to flee Elturgard together, but his lover was
The fighter has come to Dragon's Rest in the hope killed by another assassin. Tarak escaped, but no
that Runara can help the character understand the treasure was involved. If the rogue asks him about
sense of destiny that weighs on their shoulders. If it, he explains he has left the life of crime-and sug­
the character talks to Runara about this on first gests perhaps it's time for the rogue to do the same.
arriving at the cloister, Runara invites the character
to consider how their reaction to the zombies on the THE WIZARD
beach might reflect their destiny-or not. If the char­
acter talks to Runara after having completed one or The wizard carries a letter from a colleague about
more of the adventure's quests, she encourages the lost knowledge held in the Clifftop Observatory (see
character to consider whether their heroic actions chapter 4). If asked about the observatory, Runara
might be the first manifestations of that destiny says, "Many have sought the knowledge contained
taking shape. At the end of the adventure, Runara in that place. I can direct you there, but first you
encourages the character to continue on their path: need to show me you are worthy." She promises
"If your destiny is not clear to you yet, I'm confident to direct the wizard to the observatory after the
it soon will be." characters help deal with the other problems on
the island.
Disillusioned with the corruption of Neverwinter,
the paladin comes to Dragon's Rest seeking rest When the characters have proven themselves trust­
and new resolve. Runara welcomes the character worthy and competent by dealing with the zombies,
and encourages them to talk to Tarak and Varnoth, the myconids, and the shipwreck, Runara decides
who both know about escaping lives of corruption it's time to confide in them. She summons them to
and violence. She also encourages the paladin the temple (area AS). Read the following text when
to spend time in the temple of Bahamut. At the the characters arrive:
end of the adventure, she asks the paladin if they
have learned anything about how to live in a world E l d e r R u n a ra s m i l es as you a p p roach . " I have some­
plagued with such corruption. If the character has
no answer, she suggests, "Perhaps your adven­ thing to s h ow y o u ," s h e says . T h e re's a A a s h l i ke a
tures here have shown you a way to combat evil on
your own terms. Perhaps other such adventures s i l ent stroke of l ightning, and the h u man woman
await you."
is gone. In her place is a n enormous d ragon with
bronze-co l o red scales. " N ow you see me as I truly
The rogue comes to Dragon's Rest in search of a
lost fortune supposedly secreted away on the island a m ," she says, tilting her head with a n expression that
by a member of the Gilded Gallows. The thieves'
guild member in question is Tarak, who did in fact m ight be a smile on her scaled face.
betray the guild, though the story has been twisted
in the retelling. Tarak's last assignment for the guild "As you have d iscovered, this i s l a nd has m a ny old

RU NARA SAV E S TH E DAY! wo u n d s . And I ' m afra i d the cyc le of violence i s sta rt­

R u n a ra is a powerful d ragon, b u t s h e is d e d i cated to i n g a g a i n . I have one m o re favor to ask you."
the cause of peace. S he's not i nterested in fi ghti n g the
battles that the characters m ight get themselves into, Runara outlines the history summarized in the "Ad­
but she keeps an eye on them , and she can rescue venture Background" section and explains that each
t h e m if things go badly for t h e m on the i s l a n d . site the characters visited is linked to the death of a
dragon. Then she tells them that a bronze wyrmling
I f any e n co u nter o n the i s l a n d e n d s with a l l t h e named Aidron came to the island a few months ago
characters u nconscious, you can have the characters and studied with her at Dragon's Rest. Five days
awaken i n the tem ple (area AS), with some of the ko­ before the characters' arrival, he argued with her,
bolds ten d i n g to thei r wo u n d s . R u n a ra p refers not to angrily rejected her teaching of peace, and stormed
explain how she rescued the characters. away from the cloister. She fears he went to the an­
cient observatory on the southeast side of the island,
If this h a p pe n s m o re than once, the c h a racters might which is another dragon's final resting place. She
need extra assistance. If you haven't a l ready, con sider suspects some evil has arisen there, but says she
a s k i n g one or m o re p l ayers to p l ay a n additional char­ dares not go there herself, lest her presence reopen
acter as a sid ekick. Yo u can expl a i n that these a d d i ­ old wounds. She gives them a moonstone key-a
t i o n a l characters h ave j u s t arrived a t Dragon's Rest 3-inch-long, 1-inch-wide hexagonal prism made
and a re eager to h e l p . from moonstone, with a dragon's head engraved on
one end-and explains that they'll need it to access
.. .. the observatory.


EXPLORING THE ISLAND spore mushroom's cap, it releases a small cloud
of spores. For 1 hour, the creature doesn't need
This adventure presents Dragon's Rest and three to breathe, as the spores provide it with oxygen. A
adventure locations in detail, but Stormwreck Isle wind spore is worth 30 gp, and at any given time
holds the possibility of excitement and danger 2d4 wind spores are ready to be harvested.
beyond those sites. While the characters travel
between locations on the island, or if they set out THERE , THERE , 0 WLBEAR
to explore the island, they might stumble across
fantastical creatures and locations that provide an This encounter poses a medium challenge for 3rd­
extra challenge on their journey. level characters and a difficult challenge for 2nd­
level characters. Use it if your group enjoys combat
ADDITIONAL E N C OU NTERS or the players need a chance to practice using their
characters' new abilities after gaining a level. It's
Place these encounters wherever you want to on the particularly appropriate if the characters are travel­
island, or use them as inspiration as you begin to ing across the island rather than following the coast.
craft your own adventures.
A d i scord a n t sou nd-half a low growl, h a l f a piercing
screech-rips t h ro u g h t h e a i r. Abru ptly, a h u l ki n g
This encounter poses a simple challenge for charac­
ters of 2nd level or higher, or a harder challenge for creature comes i nto v i ew. A m i x o f p u r p l e feathers a n d
1 st-level characters. It's particularly appropriate if
the characters are rowing around the island or mak­ d ee p b rown fu r covers i t s b e a r l i ke body, a n d i t s l a rge
ing their way along the coast at sea level.
eyes stare h u ngrily at you from its owl ish head.
B i l lowi n g clouds of ste a m emerge from the rocks
This owlbear is hostile toward the characters. It
a h e a d , a n d the a i r grows t h i cker with m o i st u re . As views them as intruders in its territory, though its
goal is to drive them away rather than kill them.
you ro u n d a b e n d , you see a cove w h e re a hot s p r i n g Originally a part of a performing troupe, the owl­
bear was stranded here after the ship carrying the
b u rbles u p from t h e rocks a n d s p i l l s i nto a p o o l before troupe crashed on the northern rocks.

draining into the ocean. The turquoise water is l u m i ­ Any character within 5 feet of the owlbear notices
a small wooden whistle hanging around its neck.
nescent, a n d t h e gray basalt edges o ft h e s p r i n g a re This whistle was (and still can be) used to train
and command the owlbear. A character within 5
l i n e d with v i b rantly colore d m u s h rooms, which occa­ feet of the owlbear can use their action to attempt
to grab the whistle. If the character succeeds on
s i o n a l l y b u rst in a s h ower of rain bow spores. a DC 1 2 Strength check, the whistle comes free.
With the whistle in hand, a character can take an
Not immediately visible to the characters are the action to blow into it and make a DC 1 0 Wisdom
guardians of the spring: three fume drakes. These (Animal Handling) check. On a success, the owlbear
mischievous creatures are initially indifferent to the calms and immediately becomes friendly toward
characters and ignore their arrival, but if anyone the whistle holder and indifferent toward the other
attempts to gather mushrooms or enter the water characters. However, it won't leave the area it now
of the hot spring, the fume drakes become hostile, considers its territory, and any attempt to force it to
emerging from the water to attack the group. A leave makes it hostile again.
character who examines the water and succeeds on
a DC 1 0 Wisdom (Perception) check spots the shim­ KOBOLD RENEGADES
mering outlines of the fume drakes in the water.
This encounter is a difficult challenge for 1st-level
Spring Waters. The spring is the site of a brass characters and can be scaled up for 2nd- or 3rd-level
dragon's death, and life-giving magic persists at the characters as noted below. It's appropriate whenever
site. A character who spends 10 minutes bathing characters are traveling around the island by land.
in the waters of the spring can roll one of their Hit
Dice (noted on each character sheet) and regain hit A group of kobolds tries to ambush the charac­
points equal to the roll plus their Constitution mod­ ters. They're hiding in the rocks and light foliage,
ifier. A character can benefit from bathing in the hot hoping to get the jump on the adventurers. Make
spring at most once per day. a Dexterity (Stealth) check for the kobolds, rolling
once for all of them and using the Dexterity modifier
Treasure. A character who examines the mush­ (+2) of the wingless kobolds. Compare the result
rooms lining the spring and succeeds on a DC 1 5 to the characters' passive Wisdom (Perception)
Intelligence (Nature) check identifies these mush­ scores. Any character whose score is lower than
rooms as wind spores-a rare fungus with a unique
magical property. When a creature squeezes a wind


the kobolds' check result is surprised and loses WHAT LIES B E N E ATH
their turn during the first round of combat (see
"Surprise" in the rulebook). Read this text when the As described in the "Adventure Background"
kobolds attack: section in the introduction, Stormwreck Isle was
formed from magic-fueled volcanic activity in the
l A y i p p i n g sound e r u pts aro u n d you as a ngry kobolds l tomb of a monstrous red dragon named Sharruth.
e m erge from t h e i r h i d i n g p l aces a n d attack! Some legends and rumors suggest Sharruth is
not actually dead, merely imprisoned beneath the
Four kobolds and one winged kobold (all lawful island, and the activity in Seagrow Caves suggests
evil) participate in this ambush. These cruel, vicious that all is not well beneath Stormwreck Isle.
kobolds reject both the peaceful teaching of Runara
and the tyrannical rule of Sparkrender, and they You can devise your own adventures around char­
prey on travelers who stray away from Dragon's acters investigating Sharruth's tomb. Characters
Rest. They haven't had much success and are des­ might scour the island until they find hidden vents
perate, so they're hostile and fight to the death. they can use to access winding tunnels leading deep
into the earth. More fume drakes and fire snakes
Their desperation means that they can easily be might lurk below. Perhaps there's even a group of
persuaded to stop fighting with an offer of money or kobolds who serve mighty Sharruth.
food. Otherwise, they're not interested in conversa­
tion or negotiation. Such an adventure is yours to devise, and you
can put your unique spin on what the characters do
2nd-Level Characters. If the characters are 2nd and discover there. Of course, if you're not ready
level, use six kobolds and two winged kobolds. to craft an expedition into the caverns beneath the
island, then the characters simply don't discover
3rd-Level Characters. If the characters are 3rd those subterranean passages no matter how much
level, use eight kobolds and three winged kobolds. they search.


CHAPTER 2 caves and is poisoning the myconids, twisting their
gardens, and even laying low their leader, Sinensa.
SEAGROW CAVES The source of the blight is the tomb of the red
dragon Sharruth deep beneath the island. Noxious
Turs CHAPTER ASSUMES THE CHARACTERS COME fumes from the dragon's tomb normally filter up
here before going to the wreck of Compass Rose, through the rock and vent to the surface through a
and they are still 1 st level. It also includes sim­ cavern at the back of Seagrow Caves that the myco­
ple instructions to scale up the danger in combat nids avoid, but the vent has become blocked, and the
encounters if the characters complete chapter 3, fumes have spilled into the myconids' caves.
"Cursed Shipwreck," before coming here, and are
now 2nd level. Besides this insidious poison, visitors to Seagrow
Caves must face one additional threat: the stirges
C AV E S OVERVIEW that nest in the caves. These blood-sucking mon­
sters aren't much of a threat individually and don't
The sea caves on the southwest side of Storm­ bother the bloodless myconids, but they can be
wreck Isle are inhabited by an unusual colony of deadly in large numbers.
myconids-fungus people who normally live deep
underground. Though they can't abide sunlight, SE AGROW C AV E S FEATUR E S
these myconids used to welcome visitors now and
then. In particular, they traded with Tarak from The caves have the following features:
Dragon's Rest, giving him rare fungi that grow in
their caves in exchange for food scraps and other Ceilings. Unless noted otherwise, the ceilings in the
waste from the cloister, which nourished the fungi caverns are 20 feet high, and the tunnels connect­
in the caves. Recently, though, the myconids have ing the caverns are 1 5 feet high.
rejected Tarak's visits and placed a monstrous
guardian at the entrance to their caves that keeps Light. The interior caves are illuminated by biolumi­
all visitors away. nescent fungi, which provide dim light throughout
the area. See "Vision" in the rulebook.
The reason for this sudden shift in the myconids'
behavior is that a blight has spread through the


Walls. The cave walls are formed from hexagonal E NTERING THE C AV E S
columns of dark gray basalt-volcanic rock origi­
nating from Sharruth's undersea tomb. The walls At high tide, the 40-foot-high tunnel (area B l) is
provide hand- and footholds, so climbing the walls flooded all the way to area B2. The natural stair­
doesn't require an ability check. ways, which are not shown on the map of Seagrow
Caves, descend the cliffs into the sea. The charac­
Fumes. Toxic volcanic fumes from deep below the ters can either wait for low tide or row or swim into
island are slowly poisoning the fungi in the caves. the tunnel. At low tide, a 5-foot-wide pathway is
A faint smell of sulfur pervades the place, grow­ exposed along the base of the cliffs and the edge of
ing stronger the closer one gets to area B6. If the the tunnel.
characters take a long rest inside the caves before
opening the vent in B6, each character must suc­ The tides shift every 6 hours, as summarized on
ceed on a DC 1 3 Constitution saving throw or be­ the Tides table.
come poisoned (see "Conditions" in the rulebook).
The lesser restoration spell ends this effect, as TI D E S Tide
does finishing a long rest in fresh air. Time
RUN N I N G THI S C HAPTER M i d n ight to s u n rise H i gh
S u n ri se to noon Low
Once the characters decide to visit Seagrow Caves, N oon to su nset High
they have two options for reaching the site: Su nset to midn ight

By Boat. Dragon's Rest has a rowboat the charac­ I NTERACTING WITH MYC ONID S
ters can take around the western end of the is­
land. (This is Tarak's preferred method.) The trip The myconids' initial attitude toward outsiders is
to Seagrow Caves is 5 miles, which takes about 3 hostile (see "Social Interaction" in the rulebook).
hours and 20 minutes to row. They aren't malicious, though, and they don't resort
to violence immediately. Adults use their Rapport
Along the Coast. Walking around the coast of the Spores to telepathically warn visitors to leave. (See
island is a little easier than rowing, even though "Rapport Spores" below for details about this form
it's farther because the characters have to walk of communication.) Sprouts flee toward the nearest
around the bays instead of rowing across them. adults to warn them of intruders. If the characters
The 7-mile trip takes only 2 hours and 20 minutes attack, the myconids defend themselves.
at a normal walking pace. The characters can
choose whether they want to walk on the cliffs To convince a hostile myconid to converse or to
high above the sea or pick their way among the allow the characters to do anything other than leave
tide pools at the base of the cliffs. The lower route the caves, a character must succeed on a DC 20
is available only at low tide (see the Tides table). Charisma check. Depending on the character's ap­
proach, the Deception, Intimidation, or Persuasion
APPROACH I N G AT S E A LEVEL skill can apply to the check. Mentioning Tarak's
name or presenting the offering he sent the myco­
If the characters arrive at Seagrow Caves at sea nids grants advantage on this check.
level, read the following text:
An indifferent myconid is willing to explain what
A c l i ff of d a r k gray stone towers two h u n d red feet is going on in Seagrow Caves. The sprouts know
only that their leader, Sinensa, has fallen ill-and
a bove the cras h i n g waves, which rush in and out of a that a nasty smell pervades their caves. Adult my­
coriids know that the "crystal cave" (area B6) is the
yaw n i n g cave m o u t h . A swi r l i n g s l i c k of co l o rs d a n ces source of the foul odor and that Sinensa fell ill after
going into that cave to investigate the issue. The
on the water's s u rface, em a n at i n g from the cave. myconids normally avoid that cave because sunlight
filters into it by way of the vent at the western end of
APPROAC H I N G F RO M A B OV E the cave, and even diffuse sunlight is unpleasant to
these cave-dwelling creatures.
If the party approaches from above, read this text:
An o p e n i n g g a p es in the c l i ff face two h u n d red feet
A myconid's Rapport Spores ability allows all in­
below you , l i ke a mouth d ri n ki n g in the cras h i n g telligent creatures in the area to communicate tele­
pathically with each other. The characters and the
waves. Two n at u r a l stai rways fo r m ed o f sto n e col­ myconids are effectively speaking thoughts at each
other. This effect doesn't allow any creature to probe
u m n s offer ways down the c l i ffs.


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