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realm called the Midwestern United. States—specifically the states of Minne sota and Wisconsin—a group of friends gathered together to forever alter the. scottyjstone.4 Download PDF. Publications: 3; Followers: DnD 5e Player Handbook. DnD 5e Player Handbook. View Text Version Category: Gaming. dungeons & dragons - player's handbook 5e. p. 1 / Embed or link this publication. Description. d&d next player book.
That's true of every- one, from the greatest Dungeon Masters in history on down. Your Oexterity score increases by 2. Instead of taking the gear given to you byyour elass and background, you can purchase your starting equipment. The players don't need to take turns, but the DM listens to every player and decides how to resolve those actions. Accept this rea! Vou have 27 points to spend on your ability scores. Drow Magic.
This material is protected under the copyright laws or the United States of America. Any reproduction or unaulhorized use ofthe material or artwork contained herein is prohibited without the express written permission ofWizards of the Coast.
Printed in the USA. Elf 38 Half-Orc 40 Tiefling. They were tired of merely reading tales about worlds of magic, monsters, and adventure. They wanted to play in those worlds, rather than observe them.
First, it speaks to their ingenuity and genius in fig- uring out that games were the perfect way to explore worlds that could not otherwise exist. Second, it is a testament to the inherent appeal of the game they created. None of those things have any bearing on what's best about the game. What you need are two things, the first being friends with whom you can share the game.
Vou and your friends create epic stories filled with ten- sion and memorable drama. Vou create silly in-jokes that make you laugh years later.
The dice will be cruel to you. Your collective creativ- ity will build stories that you will tell again and again. If you don't have friends interested in playing, don't worry.
It's a cool side effect of the game. Your next gaming group is as close as the nearest game store, on! The second thing you need is a lively imagination or, more importantly, the willingness to use whatever imagination you have. Vou don't need to be a master storyteller or a brilliant artist.
Voujust need to aspire to create, to have the courage of someone who is willing to build something and share it with others.
That's true of every- one, from the greatest Dungeon Masters in history on down. Accept this rea! Repeat that over the course of time, and soon you'lI be able to create anything, from a character's background story to an epic world of fantasy adventure. Once you have that skill, it's yours forever. The friendships you make around the table will be unique to you.
The adven- tures you embark on. Go forth now. Read the rules of the game and the story of its worlds, but always remember that you are the one who brings them to! They are nothing without the spark of!
Mike Mearls May 5. Oungeon Master OM: After passing through the craggy peaks, the road takes a sudden turn to the east and Castle Ravenloft towers before you.
Crumbling towers of stone keep a silent watch over the approach. They look like abandoned guardhouses. Beyond these, a wide chasm gapes, disappearing into the deep fog below. A lowered drawbridge spans the chasm, leading to an arched entrance to the castle courtyard. The chains of the drawbridge creak in the wind, their rust. From atop the high strong walls, stone gargoyles stare at you from hollow sockets and grin hideously. A rotting wooden portcullis, green with growth, hangs in the entry tunnel.
Beyond this, the main doors ofCastle Ravenloft stand open, a rich warm light spilling into the courtyard. Phillip playingGareth: Iwant to look at the gargoyles.
I have a feeling they're not just statues. Amy playingRival: The drawbridge looks precarious? Iwant to see how sturdy it is. Do I think we can cross it, or is it going to collapse under our weight? Players roll dice to resolve whether their attacks hit or miss or whether their adven- turers can scale a cliff, roll away from the strike of a magicallightning bolt, or pull off some other dangerous task.
Anything is possible, but the dice make some out- comes more probable than others. OK, one at a time. Phillip, you're looking at the gargoyles? Make an Intelligence check. Does my Investigation skill apply? Phillip rolling a d They look likedecorations to you. And Amy, Rivais checking out the drawbridge? Working together, the group might explore a dark dun- geon, a ruined city, a haunted castle. The adventurers can solve puzzles, talk with other characters, battle fantastic monsters, and discover fabulous magic items and other treasure.
One player, however, takes on the role of the Dungeon Master DM. The DM creates adventures for the characters, who nav- igate its hazards and decide which paths to explore. The DM might describe the entrance to Castle Ravenloft, and the players decide what they want their adventurers to do.
WilI they walk across the dangerously weathered drawbridge? Tie themselves together with rope to mini- mize the chance that someone will fali if the drawbridge gives way? Or cast a spell to carry them over the chasm? Then the DM determines the results of the adventur- ers' actions and narrates what they experience. The game has no real end; when one story or quest wraps up, another one can begin, creating an ongoing story called a campaign.
Many people who play the game keep their campaigns going for months or years. The adventurers grow in might as the campaign continues. Each monster defeated, each adventure completed, and each treasurc recovered not only adds to the continuing story, but also earos the adventurers new capabilities. This increase in power is reflected by an adventurer's leveI.
Together, the DM and lhe players create an exciting story of bold adventurers who confront deadly perils. Sometimes an adventurer might come to a grisly end, toro apart by ferocious monsters or done in bya nefarious villain. Even so, the other adventurers can search for powerful magic to revive their fallen comrade, or the player might choose to create a new character to carry on.
The group might fail to complete an adventure successfully, but if everyone had a good time and created a memorable story, they ali win. They begin with a foundation of medieval fantasy and then add the creatures, places, and magic that make these worlds unique. The legends of the Forgotten Realms, Drag- onlance, Greyhawk, Dark Sun, Mystara, and Eberron settings are woven together in the fabric of the multi- verse.
And amid ali the richness of the multiverse, you might create a world of your own. Ali these worlds share characteristics, but each world is set apart by its own history and cultures, distinctive monsters and races, fantastic geography, anciem dun- geons, and scheming villains.
Some races have unusual traits in different worlds. The halflings of the Dark Sun setting, for example, are jungle-dwelling cannibals, and the elves are desert nomads. Some worlds feature races unknown in other settings, such as Eberron's war- forged, soldiers created and imbued with life to fight in the Last War.
Some worlds are dominated by one great story, like the War of the Lance that plays a central role in the Dragonlance setting. Your DM might set the campaign on one of these worlds or on one that he or she created. Ultimately, the Dun- geon Master is the authority on the campaign and its setting, even if the setting is a published world. Part 1 is about creating a character, providing the rules and guidance you need to make the character you'lI play in the game.
It includes information on the various races, classes, backgrounds, equipment, and other customization options that you can choose from.
Many of the rules in part 1 rely on material in parts 2 and 3. If you come across a game concept in part 1 that you don't understand, consult the book's indexo Part 2 details the rules of how to play the game, beyond the basics described in this introduction.
That part covers the kinds of die rolls you make to determine success or failure at the tasks your character attempts, and describes the three broad categories of activity in the game: Part 3 is ali about magic. The DM describes the environment. The DM tells the players where their adventurers are and what's around them, presenting the basic scope of options that present themselves how many doors lead out of a roam, what's on a table, who's in the tavern, and so on. The players describe what they want to do.
Some- times one player speaks for the whole party, saying, "We'lI take the east door," for example. Other times, different adventurers do different things: The players don't need to take turns, but the DM listens to every player and decides how to resolve those actions. Sometimes, resolving a task is easy. If an adventurer wants to walk across a roam and open a door, the DM might just say that the door opens and describe what lies beyond.
But the doar might be locked, the floor might hide a deadly trap, or some other circumstance might make it challenging for an adventurer to complete a task. In those cases, the DM decides what happens, often relying on the roll of a die to determine the results of an action.
The DM narrates the results ofthe adventurers' actions. Describing the results often leads to another decision point, which brings the flow of the game right back to step 1. This pattern holds whether the adventurers are cau- tiously exploring a ruin, talking to a devious prince, or locked in mortal combat against a mighty dragon.
In certain situations, particularly combat, the action is more structured and the players and DM do take turns choosing and resolving actions.
But most of the time, play is fluid and flexible, adapting to the circumstances of the adventure. Often the action of an adventure takes place in the imagination of the players and DM, relying on the DM's verbal descriptions to set the scene. Some DMs like to use music, art, ar recorded sound effects to help set the mood, and many players and DMs alike adopt different voices for the various adventurers, monsters, and other characters they play in the game.
Sometimes, a DM might lay out a map and use tokens ar miniature figures to represent each creature involved in a scene to help the players keep track of where everyone is.
Vou can find dice like these in game stores and in many bookstores. In these rules, the different dice are referred to by the letter d followed by the number of sides: For instance, a d6 is a six-sided die the typical cube that many games use.
Percentile dice, ar d, work a little differently. Vou generate a number between 1 and by rolling two different ten-sided dice numbered from Oto 9.
One die designated before you roll gives the tens digit, and the other gives the ones digit. If you roll a 7 and a 1, for example, the number rolled is Two Os represent Some ten-sided dice are numbered in tens 00, 10, 20, and so on , making it easier to distinguish the tens digit from the ones digit.
In this case, a roll of 70 and I is 71, and 00 and Ois When you need to roll dice, the rules tell you how many dice to roll of a certain type, as well as what mod- ifiers to add.
The same d notation appears in the expressions "ld3" and "ld2. To simulate the roll of Id2, roll any die and assign a I or 2 to the roll depending on whether it was odd or even. Alternatively, if the number rolled is more than half the number of sides on the die, it's a 2.
THE D20 Does an adventurer's sword swing hurt a dragon or just bounce off its iron-hard scales? Will the ogre believe an outrageous bluff? Can a character swim across a raging river? Can a character avoid the main blast of a fireball, or does he or she take full damage from the blaze?
Every character and monster in the game has capa- bilities defined by six ability scores. The abilities are Strength, Dexterity, Constitution, Intelligence, Wisdom, and Charisma, and they typically range from 3 to 18 for most adventurers. Monsters might have scores as lowas I or as high as These ability scores, and the ability modifiers derived from them, are the basis for almost every d20 roll that a player makes on a charac- ter's or monster's behalf.
Ability checks, attack rolls, and saving throws are the three main kinds of d20 rolls, forming the core of the rules of the game. AIl three follow these simple steps. Roll the die and add a modifier. Roll a d20 and add the relevant modifier. This is typically the mod- ifier derived from one of the six ability scores, and it sometimes includes a proficiency bonus to reflect a char- acter's particular skill. See chapter I for details on each ability and how to determine an ability's modifier.
Apply circumstantial bonuses and penalties. A class feature, a spell, a particular circumstance, ar some other effect might give a bonus or penalty to the check. Compare the total to a target number. If the total equals or exceeds the target number, the ability check, attack roll, or saving throw is a success. Otherwise, it's a failure. The DM is usually the one who determines target numbers and tells players whether their ability checks, attack rolls, and saving throws succeed or fai!
The target number for an attack roll is called an Armor Class AC. Chapter 7 provides more detailed rules for using the d20 in the game. Advantage reflects the positive circum- stances surrounding a d20 roll, while disadvantage reflects the opposite. When you have either advantage or disadvantage, you roll a second d20 when you make the roll. Use the higher of the two rolls if you have advan- tage, and use the lower roll if you have disadvantage.
For example, if you have disadvantage and roll a 17 and a 5, you use the 5. If you instead have advantage and roll those numbers, you use the More detailed rules for advantage and disadvantage are presented in chapter 7. That said, many racial traits, class features, spells, magic items, monster abili- ties, and other game elements break the general ruIes in some way, creating an exception to how the rest of the game works.
Remember this: Exceptions to the rules are often minor. For instance, many adventurers don't have proficiency with longbows, but every wood elf does because of a racial trait. That trait creates a minor exception in the game. Other examples of rule-breaking are more conspicuous. For instance, an adventurer can't normally pass through walls, but some spells make that possible. Magic accounts for most of the major exceptions to the rules. Whenever you divide a number in the game, round down if you end up with a fraction, even if the fraction is one-half or greater.
Each character brings particular capabilities to the adventure in the form of ability scores and skills, class features, racial traits, equipment, and magic items. The advenlurers musl coopera te to successfully complete the adventure. The adventure is the heart of the game, a story with a beginning, a middle, and an end.
An adventure might be created by the Dungeon Master or purchased off the shelf, tweaked and modified to suit the DM's needs and desires. In either case, an adventure features a fantastic selting, whether it's an underground dungeon, a crum- bling castle, a stretch of wilderness, or a bustIing city. It features a rieh cast of characters: Those char- acters might be palrons, allies, enemies, hirelings, or just background extras in an adventure.
Often, one of the NPCs is a villain whose agenda drives much of an adventure's action. Over the course of their adventures, the characters are confronted bya variety of creatures, objects, and situations that they must deal with in some way. Some- times the adventurers and other creatures do their best to kill or capture each other in combat. At other times, the adventurers talk to another creature or even a magical object with a goal in mind.
And often, the adventurers spend time trying to solve a puzzIe, bypass an obstacle, find something hidden, or unraveI the cur- rent situation.
Meanwhile, the adventurers explore the worId, making decisions about which way lo traveI and what they'1I try to do next. Adventures vary in length and complexity. A short adventure might present only a few challenges, and it might take no more than a single game session to complete.
A long adventure can involve hundreds of combats, interactions, and other challenges, and take dozens of sessions to play through, stretching over weeks or months of real time. Usually, the end of an adventure is marked by the adventurers heading back to civilization to rest and enjoy the spoils of their labors.
Sut that's not the end of the story. Vou can think of an adventure as a single episode of a TV series, made up of multiple exciting scenes. A campaign is the whole series-a string of adventures joined together, with a consistent group of advenlurcrs following the narrative from start to finish.
ExpIoration includes both lhe adventurers' movement through the worId and their interaction with objects and situations that require their altention.
Exploration is the give-and-take of the players describing what lhey wanl their characters lOdo, and the Dungeon Master telling the players whal happens as a result. On a large scale, that might involve lhe characters spending a day cross- ing a rolling plain or an hour making lheir way through caverns underground.
On the smallest scale, il could mean one characler pulling a lever in a dungeon room lo see what happens. Social interaction features the advenlurers talking to someone or something else.
The rules in chapters 7 and 8 support exploration and social interaclion, as do many c1ass features in chapler 3 and personality traits in chapter 4. Combat, the focus of chapter 9, involves characters and other creatures swinging weapons, casting spells, maneuvering for position, and so on-all in an effort to defeat their opponents, whether that means killing every enemy, laking captives, or forcing a rout.
Even in the contexl of a pitched battIe, there's still plenty of opportunity for adventurers to altempt wacky stunts like surfing down a lIight of stairs on a shield, to examine the environment perhaps by pulling a mysterious lever , and lOinteract with other creatures, including allies, enemies, and neutral parties.
Whether helpful or harmful, magie appears frequently in the life of an advenlurer, and it is the focus of chapters 10 and Common foIk l11ightsee evidcnce of magic on a regular basis, but it's usually minor-a fantastic monster, a visibly answered prayer, a wizard walking through the streets with an animated shieId guardian as a bodyguard.
For adventurers, though, magic is key to their sur- viva. Without the healing magie of c1erics and paladins, adventurers would quickly succumb to their wounds.
Wilhout the uplifting magieal support of bards and c1erics, warriors might be overwhelmed by powerful foes. Withoul the sheer magieal power and versatility of wizards and druids, every threat would bc mag- nified tenfold.
Magic is also a favored tool of villains.
Many adven- tures are driven by the machinations of spellcaslers who are hellbent on using magic for some ill end. A cult leader seeks to awaken a god who slumbers beneath the sea, a hag kidnaps youths to magically drain them of lheir vigor, a mad wizard labors to invest an army of automatons with a facsimile of life, a dragon begins a mystical ritual to rise up as a god of destruction-these are just a few of the magical threats that adventurers might face. With magic of their own, in the form of spells and magic items, the adventurers might prevail!
RA 9 Your character is a combination of game statistics, roleplaying hooks, and your imagination. Vou choose a race such as human or halfling and a class such as fighter or wizard.
Vou also invent the personality, appearance, and backstory of your character. Before you dive into step 1 below, think about the kind of adventurer you want to play. Vou might be a courageous fighter, a skulking rogue, a fervent cleric, or a flamboyant wizard.
Or you might be more interested in an unconventional character, such as a brawny rogue who likes hand-to-hand combat, or a sharpshooter who picks of[ enemies from afar. Do you like fantasy fiction featuring dwarves or elves? Try building a character of one of those races. Do you want your character to be the toughest adventurer at the table?
Consider a class like barbarian or paladin. Once you have a character in mind, follow these steps in order, making decisions that reflect the character you want. Your conception of your character might evolve with each choice you make. What's important is that you come to the table with a character you're excited to play. Throughout this chapter, we use the term character sheet to mean whatever you use to track your character, whether it's a formal character sheet like the one at the end of this book , some form of digital record, or a piece of notebook paper.
The most common player character races are dwarves, elves, halflings, and humans. Some races also have subraces, such as mountain dwarf or wood elf. Chapter 2 provides more information about these races, as well as the less widespread races of dragonborn, gnomes, half-elves, half-orcs, and tieflings. The race you choose contributes to your character's identity in an important way, by establishing a general appearance and the natural talents gained from culture and ancestry. Your character's race grants particular racial traits, such as special senses, proficiency with certain weapons or toois, proficiency in one or more skills, or the ability to use minor spells.
These traits sometimes dovetail with the capabilities of certain classes see step 2. For example, the racial traits of lightfoot halflings make them exceptional rogues, and high elves tend to be powerful wizards. Sometimes playing against type can be fun, too. Half-orc paladins and mountain dwarf wizards, for example, can be unusual but memorable characters. Your race also increases one or more of your ability scores, which you determine in step 3.
Note these increases and remember to apply them later. Record the traits granted by your race on your character sheet. Be sure to note your starting languages and your base speed as well.
He decides that a gruff mountain dwarf fits the character he wants to play. He notes ali the racial traits of dwarves on his character sheet, including his speed of 25 feet and the languages he knows: Common and Dwarvish.
Class broadly describes a character's vocation, what special talents he or she possesses, and the tactics he or she is most likely to employ when exploring a dungeon, fighting monsters, or engaging in a tense negotiation. The character classes are described in chapter 3. Your character receives a number of benefits from your choice of class. Many of these benefits are class features-capabilities including spellcasting that set your character apart from members of other classes. Vou also gain a number of proficiencies: Your proficiencies define many of the things your character can do particularly well, from using certain weapons to telling a convincing lie.
On your character sheet, record ali the features that your class gives you at 1st leveI.
A 1st-levei character is inexperienced in the adventuring world, although he or she might have been a soldier or a pirate and done dangerous things before. Starting of[ at 1st levei marks your character's entry into the adventuring life.
Charisma Measures: Confidenee, eloquenee, leadership Importantfor: Bard, soreerer, warloek Raciallncreases: Dexterity Measures: Physieal agility, reflexes, balance, poise Important for: Monk, ranger, rogue Raciallncreases: Constitution Measures: HeaJth, stamina, vital force Important for: Wisdom Measures: Awareness, intuition, insight Important for: Clerie, druid Racial Jncreases: Much of what your character does in the game depends on his ar her six abilities: Each ability has a score, which is a number you record on your character sheet.
The six abilities and their use in the game are described in chapter 7. The Ability Score Summary 3. He makes Bruenor a fighter and notes the fighter's proficiencies and 1st-leveI c1ass features on his character sheet. Bob notes this, and will record the final number after he determines Bruenor's Constitution score see step 3.
Your proficiency bonus applies to many of the numbers you'lI be recording on your character sheet: Attack rolls using weapons you're proficient with Attack rolls with spells you cast Ability checks using skills you're proficient in Ability checks using tools you're proficient with Saving throws you're proficient in Saving throw DCs for spells you cast explained in each spellcasting c1ass Your c1ass determines your weapon proficiencies, your saving throw proficiencies, and some of your skill and tool proficiencies.
Skills are described in chapter 7, tools in chapter 5. Your background gives you additional skill and toa I proficiencies, and some races give you more proficiencies. Be sure to note ali of these proficiencies, as well as your proficiency bonus, on your character sheet.
Your proficiency bonus can't be added to a single die roll ar other number more than once. Occasionally, your proficiency bonus might be modified doubled ar halved, for example before you apply it. If a circumstance suggests that your proficiency bonus applies more than once to the same roll ar that it should be multiplied more than once, you nevertheless add it only once, multiply it only once, and halve it only once.
At 1st levei, your character has 1 Hit Die, and the die type is determined by your c1ass. Vou start with hit points equal to the highest roll of that die, as indicated in your c1ass description. You also add your Constitution modifier, which you'lI determine in step 3. This is also your hit poiot maximum. Record your character's hit points on your character sheet. After you rest, you can spend Hit Dice to regain hit points see "Resting" in chapter 8. Also record your experience points.
A 1st-levei character has O XP. A higher-Ievel character typically begins with the minimum amount of XP required to reach that levei see "Beyond 1st Levei" later in this chapter. Intelligenee Measures: Mental aeuity, information reeall, analytieal skill Important for: Wizard Raciallncreases: Natural athletieism, bodily power Important for: Barbarian, fighter, paladin Raciallncreases: Vou generate your character's six ability scores randomly.
Roll four 6-sided dice and record the total of the highest three dice on a piece of scratch paper. Do this five more times, so that you have six numbers. If you want to save time or don't like the idea of randomly determining ability scores, you can use the following scores instead: Now take your six numbers and write each number beside one of your character's six abilities to assign scores to Strength, Dexterity, Constitution, Intelligence, Wisdom, and Charisma.
Afterward, make any changes to your ability scores as a result of your race choice. After assigning your ability scores, determine your ability modifiers using the Ability Scores and Modifiers table.
To determine an ability modifier without consulting the table, subtract 10 fram the ability score and then divide the result by 2 round down. Write the modifier next to each of your scores. Since he's a fighter, he puts his highest score, 15, in Strength. His next- highest, 14, goes in Constitution.
Bruenor might be a brash fighter, but Bob decides he wants the dwarf to be older, wiser, and a good leader, so he puts decent scores in Wisdom and Charisma. After applying his racial benefits increasing Bruenor's Constitution by 2 and his Strength by 2 , Bruenor's ability scores and modifiers look like this: Bob fills in Bruenor's final hit points: The method described here allows you to build a character with a set of ability scores you choose individually.
Vou have 27 points to spend on your ability scores. The cost of each score is shown on the Ability Score Point Cost table.
For example, a score of 14 costs 7 points. Using this method, 15 is the highest ability score you can end up with, before applying racial increases. Vou can't have a score lower than 8. Your character needs a name. Spend a few minutes thinking about what he or she looks like and how he or she behaves in general terms. Using the information in chapter 4, you can f1esh out your character's physical appearance and personality traits. Choose your character's alignment the moral compass that guides his or her decisions and ideaIs.
Chapter 4 also helps you identify the things your character holds most dear, called bonds, and the ftaws that could one day undermine him or her. Your DM might offer additional backgrounds beyond the ones included 13 A background gives your character a background feature a general benefit and proficiency in two skills, and it might also give you additionallanguages or proficiency with certain kinds of tools.
Record this information, along with the personality information you develop, on your character sheet. A very strong character with low Intelligence might think and behave very differently from a very smart character with low Strength. For example, high Strength usually corresponds with a burly or athletic body, while a character with low Strength might be scrawny or plump. A character with high Dexterity is probably lithe and slim, while a character with low Dexterity might be either gangly and awkward or heavy and thick-fingered.
A character with high Constitution usually looks healthy, with bright eyes and abundant energy. A character with low Constitution might be sickly or frai!. A character with high Intelligence might be highly inquisitive and studious, while a character with low Intelligence might speak simply or easily forget details. A character with high Wisdom has good judgment, empathy, and a general awareness of what's going on.
A character with low Wisdom might be absent-minded, foolhardy, or oblivious. A character with high Charisma exudes confidence, which is usually mixed with a graceful or intimidating presence. His high Strength and Constitution suggest a healthy, athletic body, and his low Intelligence suggests a degree of forgetfulness. Bob decides that Bruenor comes from a noble line, but his elan was expelled from its homeland when Bruenor was very young. He grew up working as a smith in the remote villages of Icewind Dale.
But Bruenor has a heroic destiny-to reelaim his homeland-so Bob chooses the folk hero background for his dwarf. He notes the proficiencies and special feature this background gives him. Bob has a pretty elear picture of Bruenor's personality in mind, so he skips the personality traits suggested in the folk hero background, noting instead that Bruenor is a caring, sensitive dwarf who genuinely loves his friends and allies, but he hides this soft heart behind a gruff, snarling demeanor.
He chooses the ideal of fairness from the list in his background, noting that Bruenor believes that no one is above the law. Given his history, Bruenor's bond is obvious: Record this equipment on your character sheet. Ali such items are detailed in chapter 5. Instead of taking the gear given to you byyour elass and background, you can purchase your starting equipment.
Vou have a number of gold pieces gp to spend based on your elass, as shown in chapter 5. Extensive lists of equipment, with prices, also appear in that chapter. If you wish, you can also have one trinket at no cost see the trinket table at the end of chapter 5.
Your Strength score limits the amount of gear you can carry. Try not to purchase equipment with a total weight in pounds exceeding your Strength score times Chapter 7 has more information on carrying capacity.
Things that contribute to your AC inelude the armor you wear, the shield you carry, and your Dexterity modifier. Not ali characters wear armor or carry shields, however. If your character wears armor, carries a shield, or both, calculate your AC using the rules in chapter 5. Record your ACon your character sheet.
Your character needs to be proficient with armor and shields to wear and use them effectively,and your armor and shield proficiencies are determined by your elass. There are drawbacks to wearing armor or carrying a shield if you lack the required proficiency, as explained in chapter 5. Some spells and elass features give you a different way to calculate your AC. If you have multiple features that give you different ways to calculate your AC,you choose which one to use.
WEAPONS For each weapon your character wields, calculate the modifier you use when you attack with the weapon and the damage you deal when you hit. When you make an attack with a weapon, you roll a d20 and add your proficiency bonus but only if you are proficient with the weapon and the appropriate ability modifier.
For attacks with melee weapons, use your Strength modifier for attack and damage rolls. A weapon that has the finesse property, such as a rapier, can use your Dexterity modifier instead. For attacks with ranged weapons, use your Dexterity modifier for attack and damage rolls.
A weapon thal has the thrown property, such as a handaxe, can use your Strength modifier inslead. His starting equipment includes chain mail and a shield, which combine to give Bruenor an Armor Class of For Bruenor's weapons, Bob chooses a battleaxe and two handaxes. His battleaxe is a melee weapon, so Bruenor uses his Strength modifier for his attacks and damage. Each character plays a role within a party, a group of adventurers working together for a common purpose. TaIk to your fellow players and your OM lo decide whether your characlers know one another, how they mel, and what sorls of quesls lhe group might undertake.
A character who reaches a specified experience poinl tolal advances in capabilily. This advancemenl is called gaining a leveI.
When your characler gains a leveI, his or her c1ass often granls addilional features, as delailed in the c1ass description. Some of these fealures allow you lo increase your abilily scores, eilher increasing lwo scores by I each or increasing one score by 2.
You can't increase an ability score above In addilion, every characler's proficiency bonus increases at certain leveIs. Each time you gain a leveI, you gain I additional Hit Oie. Roll lhal Hit Oie, add your Conslitulion modifier to lhe roll, and add the total to your hit point maximum. Alternatively, you can use lhe fixed value shown in your c1ass enlry, which is the average resull of lhe die roll rounded up.
When your Conslilution modifier increases by I, your hit poinl maximum increases by I for each leve! His hil point maximum lhen increases by 8. The Character Advancement lable summarizes the XP you need to advance in leveIs from leveI 1 lhrough leveI 20, and lhe proficiency bonus for a characler of thal leveI. Consull the informalion in your character's c1ass description to see what olher improvements you gain at each leveI.
The tiers don't have any rules associated wilh them; they are a general descriplion of how the play experience changes as characters gain leveIs.
In lhe first lier leveIs , characters are effeclively apprentice adventurers. They are learning lhe features that define lhem as members of parlicular classes, including lhe major choices that flavor their c1ass features as lhey advance such as a wizard's Arcane Tradition or a fighter's Marlial Archetype.
The threats they face are re! In the second tier leveIs , characlers come into lheir own. Many spellcaslers gain access to 3rd-Ievel spells aI lhe start of this tier, crossing a new threshold of magical power with spells such as fireball and lightning bolt. At lhis lier, many weapon-using classes gain the abilily lOmake mulliple attacks in one round.
It contains rules for character creation and advancement, backgrounds and skills, exploration and combat, equipment, spells, and much more. Explore ancient ruins and deadly dungeons. Battle monsters while searching for legendary treasures. Gain experience and power as you trek across uncharted lands with your companions. ENnie Awards: The winners of the ENnie Awards, an annual fan-based celebration of excellence in tabletop roleplaying gaming, were announced at this year's Gen Con.
Origins Awards: Golden Geek: Player's Handbook Errata. Fantasy Roleplaying Tabletop Game. Release Date: See Details. Skip to main content.
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