DnD 5E - Players Handbook

d 100 Trinket d100 Trinket 51 A dead scarab beetle the size of your hand 79 An invitation to a party where a murder happened 52 Two toy soldiers, one with a missing head 80 A bronze pentacle with an etching of a rat's head 53 A small box filled with different-sized buttons in its center 54 A candle that can’t be lit 81 A purple handkerchief embroidered with the name of 55 A tiny cage with no door a powerful archmage 56 An old key 82 Half of a floorplan for a temple, castle, or some other 57 An indecipherable treasure map structure 58 A hilt from a broken sword 83 A bit of folded cloth that, when unfolded, turns into 59 A rabbit’s foot a stylish cap 60 A glass eye 84 A receipt of deposit at a bank in a far-flung city 61 A cameo carved in the likeness of a hideous person 85 A diary with seven missing pages 62 A silver skull the size of a coin 86 An empty silver snuffbox bearing an inscription on 63 An alabaster mask the surface that says “dreams’’ 64 A pyramid of sticky black incense that smells very bad 87 An iron holy symbol devoted to an unknown god 65 A nightcap that, when worn, gives you pleasant dreams 88 A book that tells the story of a legendary hero's rise and fall, with the last chapter missing 66 A single caltrop made from bone 89 A vial of dragon blood 67 A gold monocle frame without the lens 90 An ancient arrow of elven design 68 A 1-inch cube, each side painted a different color 91 A needle that never bends 69 A crystal knob from a door 92 An ornate brooch of dwarven design 70 A small packet filled with pink dust 93 An empty wine bottle bearing a pretty label that says, “The Wizard of Wines Winery, Red Dragon Crush, 331422-W" 71 A fragment of a beautiful song, written as musical notes on two pieces of parchment 72 A silver teardrop earring made from a real teardrop 94 A mosaic tile with a multicolored, glazed surface 73 The shell of an egg painted with scenes of human misery in disturbing detail 95 A petrified mouse 96 A black pirate flag adorned with a dragon's skull 74 A fan that, when unfolded, shows a sleeping cat and crossbones 75 A set of bone pipes 97 A tiny mechanical crab or spider that moves about 76 A four-leaf clover pressed inside a book discussing when it’s not being observed manners and etiquette 98 A glass jar containing lard with a label that reads, 77 A sheet of parchment upon which is drawn a complex “Griffon Grease” mechanical contraption 99 A wooden box with a ceramic bottom that holds a 78 An ornate scabbard that fits no blade you have living worm with a head on each end of its body found so far 100 A metal urn containing the ashes of a hero

C h a p t e r 6: C u s t o m iz a t io n O p t io n s THE COMBINATION OF ABILITY SCORES, RACE, class, and background defines your character’s capabilities in the game, and the personal details you create set your character apart from every other character. Even within your class and race, you have options to fine-tune what your character can do. But this chapter is for players w ho—with the DM ’s perm ission—want to go a step further. This chapter defines two optional sets of rules for custom izing your character: multiclassing and feats. Multiclassing lets you com bine classes together, and feats are special options you can choose instead of increasing your ability scores as you gain levels. Your DM decides whether these options are available in a campaign. M u lt ic l a ssin g Multiclassing allows you to gain levels in multiple classes. D oing so lets you m ix the abilities of those classes to realize a character concept that might not be reflected in one of the standard class options. W ith this rule, you have the option of gaining a level in a new class whenever you advance in level, instead of gaining a level in your current class. Your levels in all your classes are added together to determine your character level. For example, if you have three levels in wizard and two in fighter, you’re a 5th-level character. As you advance in levels, you might primarily remain a m em ber of your original class with just a few levels in another class, or you might change course entirely, never looking back at the class you left behind. You might even start progressing in a third or fourth class. Com pared to a single-class character of the sam e level, you’ll sacrifice som e focus in exchange for versatility. M u l t i c l a s s i n g E x a m p l e Gary is playing a 4th-level fighter. When his character earns enough experience points to reach 5th level, Gary decides that his character will multiclass instead of continuing to progress as a fighter. Gary’s fighter has been spending a lot of time with Dave’s rogue, and has even been doing some jobs on the side for the local thieves’ guild as a bruiser. Gary decides that his character will multiclass into the rogue class, and thus his character becomes a 4th-level fighter and 1stlevel rogue (written as fighter 4/rogue 1). When Gary’s character earns enough experience to reach 6th level, he can decide whether to add another fighter level (becoming a fighter 5/rogue 1), another rogue level (becoming a fighter 4/rogue 2), or a level in a third class, perhaps dabbling in wizardry thanks to the tome of mysterious lore he acquired (becoming a fighter 4/rogue 1/ wizard 1). P r e r e q u i s i t e s To qualify for a new class, you must meet the ability score prerequisites for both your current class and your new one, as show n in the Multiclassing Prerequisites table. For example, a barbarian w ho decides to multiclass into the druid class must have both Strength and W isdom scores of 13 or higher. Without the full training that a beginning character receives, you must be a quick study in your new class, having a natural aptitude that is reflected by higher-than-average ability scores. M u l t i c l a s s i n g P r e r e q u i s i t e s Class Ability Score M i n i m u m Barbarian Strength 13 Bard Charisma 13 Cleric Wisdom 13 Druid Wisdom 13 Fighter Strength 13 or Dexterity 13 Monk Dexterity 13 and Wisdom 13 Paladin Strength 13 and Charisma 13 Ranger Dexterity 13 and Wisdom 13 Rogue Dexterity 13 Sorcerer Charisma 13 Warlock Charisma 13 Wizard Intelligence 13 E x p e r i e n c e P o i n t s The experience point cost to gain a level is always based on your total character level, as shown in the Character Advancement table in chapter 1, not your level in a particular class. So, if you are a cleric 6/fighter 1, you must gain enough X P to reach 8th level before you can take your second level as a fighter or your seventh level as a cleric. H i t P o i n t s a n d H i t D ic e You gain the hit points from your new class as described for levels after 1st. You gain the 1st-level hit points for a class only when you are a 1st-level character. You add together the Hit D ice granted by all your classes to form your p ool of Hit Dice. If the Hit D ice are the same die type, you can simply pool them together. For example, both the fighter and the paladin have a d 10, so if you are a paladin 5/fighter 5, you have ten d 10 Hit Dice. If your classes give you Hit D ice o f different types, keep track o f them separately. If you are a paladin 5/cleric 5, for example, you have five d 10 Hit D ice and five d8 Hit Dice. P r o f i c i e n c y B o n u s Your proficiency bonus is always based on your total character level, as show n in the Character Advancement table in chapter 1, not your level in a particular class. For example, if you are a fighter 3/rogue 2, you have the proficiency bonus of a 5th-level character, which is +3.

P r o f i c i e n c i e s W hen you gain a level in a class other than your first, you gain only som e of that class’s starting proficiencies, as shown in the Multiclassing Proficiencies table. C l a s s F e a t u r e s W hen you gain a new level in a class, you get its features for that level. A few features, however, have additional rules when you’re multiclassing: Channel Divinity, Extra Attack, Unarmored Defense, and Spellcasting. C h a n n e l D i v i n i t y If you already have the Channel Divinity feature and gain a level in a class that also grants the feature, you gain the Channel Divinity effects granted by that class, but getting the feature again doesn’t give you an additional use of it. You gain additional uses only when you reach a class level that explicitly grants them to you. For example, if you are a cleric 6/paladin 4, you can use Channel Divinity twice between rests because you are high enough level in the cleric class to have more uses. W henever you use the feature, you can choose any of the Channel Divinity effects available to you from your two classes. E x t r a A t t a c k If you gain the Extra Attack class feature from more than one class, the features don’t add together. You can’t make m ore than two attacks with this feature unless it says you do (as the fighter’s version of Extra Attack does). Similarly, the w arlock’s eldritch invocation Thirsting Blade doesn’t give you additional attacks if you also have Extra Attack. U n a r m o r e d D e fen se If you already have the Unarmored Defense feature, you can’t gain it again from another class. S p e l l c a s t in g Your capacity for spellcasting depends partly on your com bined levels in all your spellcasting classes and partly on your individual levels in those classes. Once you have the Spellcasting feature from m ore than one class, use the rules below. If you multiclass but have the Spellcasting feature from only one class, you follow the rules as described in that class. Spells Known and Prepared. You determine what spells you know and can prepare for each class individually, as if you were a single-classed m em ber of that class. If you are a ranger 4/w izard 3, for example, you know three 1st-level ranger spells based on your levels in the ranger class. As 3rd-level wizard, you know three w izard cantrips, and your spellbook contains ten wizard spells, two of which (the two you gained when you reached 3rd level as a wizard) can be 2nd-level spells. If your Intelligence is 16, you can prepare six wizard spells from your spellbook. Each spell you know and prepare is associated with one o f your classes, and you use the spellcasting ability o f that class when you cast the spell. Similarly, a spellcasting focus, such as a holy symbol, can be used only for the spells from the class associated with that focus. Spell Slots. You determine your available spell slots by adding together all your levels in the bard, cleric, druid, sorcerer, and w izard classes, half your levels (rounded down) in the paladin and ranger classes, and a third o f your fighter or rogue levels (rounded down) if you have the Eldritch Knight or the Arcane Trickster feature. Use this total to determine your spell slots by consulting the Multiclass Spellcaster table. If you have m ore than one spellcasting class, this table might give you spell slots of a level that is higher than the spells you know or can prepare. You can use those slots, but only to cast your lower-level spells. If a lowerlevel spell that you cast, like burning hands, has an enhanced effect when cast using a higher-level slot, you can use the enhanced effect, even though you don’t have any spells of that higher level. For example, if you are the aforementioned ranger 4/ wizard 3, you count as a 5th-level character when determining your spell slots: you have four 1st-level slots, three 2nd-level slots, and two 3rd-level slots. However, you don’t know any 3rd-level spells, nor do you know any 2nd-level ranger spells. You can use the spell slots of those levels to cast the spells you do know—and potentially enhance their effects. Pact Magic. If you have both the Spellcasting class feature and the Pact Magic class feature from the warlock class, you can use the spell slots you gain from the Pact Magic feature to cast spells you know or have prepared from classes with the Spellcasting class feature, and you can use the spell slots you gain from the Spellcasting class feature to cast w arlock spells you know. M u l t i c l a s s i n g P r o f i c i e n c i e s Class Proficiencies Gained Barbarian Shields, simple weapons, martial weapons Bard Light armor, one skill of your choice, one musical instrument of your choice Cleric Light armor, medium armor, shields Druid Light armor, medium armor, shields (druids will not wear armor or use shields made of metal) Fighter Light armor, medium armor, shields, simple weapons, martial weapons Monk Simple weapons, shortswords Paladin Light armor, medium armor, shields, simple weapons, martial weapons Ranger Light armor, medium armor, shields, simple weapons, martial weapons, one skill from the class’s skill list Rogue Light armor, one skill from the class’s skill list, thieves’ tools Sorcerer — Warlock Light armor, simple weapons Wizard —

• Climbing doesn’t halve your speed. • You can make a running long jum p or a running high jum p after moving only 5 feet on foot, rather than 10 feet. A c t o r Skilled at m im icry and dramatics, you gain the following benefits: • Increase your Charisma score by 1, to a maximum of 20. • You have advantage on Charisma (Deception) and Charisma (Perform ance) checks when trying to pass yourself off as a different person. • You can m im ic the speech of another person or the sounds made by other creatures. You must have heard the person speaking, or heard the creature make the sound, for at least 1 minute. A successful W isdom (Insight) check contested by your Charisma (D eception) check allows a listener to determine that the effect is faked. C h a r g e r W hen you use your action to Dash, you can use a bonus action to make one m elee w eapon attack or to shove a creature. If you move at least 10 feet in a straight line immediately before taking this bonus action, you either gain a +5 bonus to the attack’s damage roll (if you chose to make a melee attack and hit) or push the target up to 10 feet away from you (if you chose to shove and you succeed). C r o s s b o w E x p e r t Thanks to extensive practice with the crossbow , you gain the following benefits: • You ignore the loading quality of crossbow s with which you are proficient. • Being within 5 feet of a hostile creature doesn’t im pose disadvantage on your ranged attack rolls. • W hen you use the Attack action and attack with a onehanded weapon, you can use a bonus action to attack with a loaded hand crossbow you are holding. D e f e n s i v e D u e l i s t Prerequisite: Dexterity 13 or higher W hen you are wielding a finesse weapon with which you are proficient and another creature hits you with a melee attack, you can use your reaction to add your proficiency bonus to your AC for that attack, potentially causing the attack to m iss you. D u a l W i e l d e r You master fighting with two w eapons, gaining the following benefits: • You gain a +1 bonus to AC while you are wielding a separate melee weapon in each hand. • You can use two-weapon fighting even when the onehanded m elee w eapons you are wielding aren’t light. • You can draw or stow two one-handed w eapons when you w ould normally be able to draw or stow only one. F e a t s A feat represents a talent or an area of expertise that gives a character special capabilities. It em bodies training, experience, and abilities beyond what a class provides. At certain levels, your class gives you the Ability Score Improvement feature. Using the optional feats rule, you can forgo taking that feature to take a feat of your choice instead. You can take each feat only once, unless the feat’s description says otherwise. You must meet any prerequisite specified in a feat to take that feat. If you ever lose a feat’s prerequisite, you can’t use that feat until you regain the prerequisite. For example, the Grappler feat requires you to have a Strength of 13 or higher. If your Strength is reduced below 13 som ehow —perhaps by a withering curse— you can’t benefit from the Grappler feat until your Strength is restored. A l e r t Always on the lookout for danger, you gain the following benefits: • You gain a +5 bonus to initiative. • You can’t be surprised while you are conscious. • Other creatures don’t gain advantage on attack rolls against you as a result of being hidden from you. A t h l e t e You have undergone extensive physical training to gain the follow ing benefits: • Increase your Strength or Dexterity score by 1, to a maximum of 20. • W hen you are prone, standing up uses only 5 feet of your movement. M u l t ic l a s s S p e l l c a s t e r : S pell S l o t s p er S pell L e v e l Lvl. 1st 2nd 3rd 4th 5th 6th 7th 8th 9th 1st 2 — — — — — — — — 2nd 3 — — — — — — — — 3rd 4 2— — — — — — — 4th 4 3 — — — — — — — 5th 4 3 2 — — — — — — 6th 4 3 3 — — — — — — 7th 4 3 3 1 — — — — — 8th 4 3 3 2 — — — — — 9th 4 3 3 3 1 — — — — 10th 4 3 3 3 2 — — — — 11th 4 3 3 3 2 1 — — — 12th 4 3 3 3 2 1 — — — 13th 4 3 3 3 2 1 1 — — 14th 4 3 3 3 2 1 1 — — 15th 4 3 3 3 2 1 1 1 — 16th 4 3 3 3 2 1 1 1 — 17th 4 3 3 3 2 1 1 1 1 18th 4 3 3 3 3 1 1 1 1 19th 4 3 3 3 3 2 1 1 1 20th 4 3 3 3 3 2 2 1 1

D u n g e o n D elver Alert to the hidden traps and secret doors found in many dungeons, you gain the following benefits: • W hen you roll a Hit Die to regain hit points, the minimum number of hit points you regain from the roll equals twice your Constitution modifier (minimum of 2). • You have advantage on W isdom (Perception) and Intelligence (Investigation) checks made to detect the presence of secret doors. • You have advantage on saving throws made to avoid or resist traps. • You have resistance to the damage dealt by traps. • You can search for traps while traveling at a normal pace, instead of only at a slow pace. D u r a b l e Hardy and resilient, you gain the following benefits: • Increase your Constitution score by 1, to a m axim um of 20. E l e m e n t a l A dept Prerequisite: The ability to cast at least one spell W hen you gain this feat, choose one o f the following damage types: acid, cold, fire, lightning, or thunder. Spells you cast ignore resistance to damage o f the chosen type. In addition, when you roll damage for a spell you cast that deals damage of that type, you can treat any 1 on a damage die as a 2. You can select this feat multiple times. Each time you do so, you must choose a different damage type.

G r a p p l e r I n s p i r i n g L e a d e r Prerequisite: Strength 13 or higher You’ve developed the skills necessary to hold your ow n in close-quarters grappling. You gain the following benefits: • You have advantage on attack rolls against a creature you are grappling. • You can use your action to try to pin a creature grappled by you. To do so, make another grapple check. If you succeed, you and the creature are both restrained until the grapple ends. • Creatures that are one size larger than you don’t automatically succeed on checks to escape your grapple. G r e a t W e a p o n M a s t e r You’ve learned to put the weight of a w eapon to your advantage, letting its m om entum em power your strikes. You gain the following benefits: • On your turn, when you score a critical hit with a m elee w eapon or reduce a creature to 0 hit points with one, you can make one m elee weapon attack as a bonus action. • Before you make a m elee attack with a heavy weapon that you are proficient with, you can choose to take a - 5 penalty to the attack roll. If the attack hits, you add +10 to the attack’s damage. H e a l e r You are an able physician, allowing you to mend wounds quickly and get your allies back in the fight. You gain the following benefits: • W hen you use a healer’s kit to stabilize a dying creature, that creature also regains 1 hit point. • As an action, you can spend one use of a healer’s kit to tend to a creature and restore 1d6 + 4 hit points to it, plus additional hit points equal to the creature’s maximum number of Hit Dice. The creature can’t regain hit points from this feat again until it finishes a short or long rest. H e a v i l y A r m o r e d Prerequisite: Proficiency with medium armor You have trained to master the use of heavy armor, gaining the following benefits: • Increase your Strength score by 1, to a m aximum of 20. • You gain proficiency with heavy armor. H e a v y A r m o r M a s t e r Prerequisite: Proficiency with heavy armor You can use your arm or to deflect strikes that would kill others. You gain the following benefits: • Increase your Strength score by 1, to a maximum of 20. • W hile you are w earing heavy armor, bludgeoning, piercing, and slashing damage that you take from non m agical w eapons is reduced by 3. Prerequisite: Charisma 13 or higher You can spend 10 minutes inspiring your com panions, shoring up their resolve to fight. W hen you do so, choose up to six friendly creatures (which can include yourself) within 30 feet of you w ho can see or hear you and w ho can understand you. Each creature can gain temporary hit points equal to your level + your Charisma modifier. A creature can’t gain tem porary hit points from this feat again until it has finished a short or long rest. K e e n M i n d You have a mind that can track time, direction, and detail with uncanny precision. You gain the following benefits. • Increase your Intelligence score by 1, to a maximum o f 20. • You always know which way is north. • You always know the number of hours left before the next sunrise or sunset. • You can accurately recall anything you have seen or heard within the past month. L i g h t l y A r m o r e d You have trained to master the use of light armor, gaining the following benefits: • Increase your Strength or Dexterity score by 1, to a maximum of 20. • You gain proficiency with light armor. L i n g u i s t You have studied languages and codes, gaining the following benefits: • Increase your Intelligence score by 1, to a maximum of 20. • You learn three languages of your choice. • You can ably create written ciphers. Others can’t decipher a code you create unless you teach them, they succeed on an Intelligence check (DC equal to your Intelligence score + your proficiency bonus), or they use m agic to decipher it. L u c k y You have inexplicable luck that seem s to kick in at just the right moment. You have 3 luck points. W henever you make an attack roll, an ability check, or a saving throw, you can spend one luck point to roll an additional d20. You can choose to spend one of your luck points after you roll the die, but before the outcom e is determined. You choose which o f the d20s is used for the attack roll, ability check, or saving throw. You can also spend one luck point w hen an attack roll is made against you. Roll a d20, and then choose whether the attack uses the attacker’s roll or yours. If m ore than one creature spends a luck point to influence the outcom e of a roll, the points cancel each other out; no additional dice are rolled. You regain your expended luck points w hen you finish a long rest.

M a g e S l a y e r You have practiced techniques useful in melee com bat against spellcasters, gaining the following benefits: • W hen a creature within 5 feet of you casts a spell, you can use your reaction to make a m elee weapon attack against that creature. • W hen you damage a creature that is concentrating on a spell, that creature has disadvantage on the saving throw it makes to maintain its concentration. • You have advantage on saving throws against spells cast by creatures within 5 feet of you. M a g i c I n i t i a t e C hoose a class: bard, cleric, druid, sorcerer, warlock, or wizard. You learn two cantrips of your choice from that class’s spell list. In addition, choose one 1st-level spell from that same list. You learn that spell and can cast it at its lowest level. O nce you cast it, you must finish a long rest before you can cast it again. Your spellcasting ability for these spells depends on the class you chose: Charisma for bard, sorcerer, or warlock; W isdom for cleric or druid: or Intelligence for wizard. M a r t i a l A d e p t You have martial training that allows you to perform special com bat maneuvers. You gain the following benefits: • You learn two maneuvers of your choice from am ong those available to the Battle Master archetype in the fighter class. If a maneuver you use requires your target to make a saving throw to resist the maneuver’s effects, the saving throw DC equals 8 + your proficiency bonus + your Strength or Dexterity modifier (your choice). • If you already have superiority dice, you gain one m ore; otherwise, you have one superiority die, which is a d6. This die is used to fuel your maneuvers. A superiority die is expended when you use it. You regain your expended superiority dice when you finish a short or long rest. M e d i u m A r m o r M a s t e r Prerequisite: Proficiency with medium armor You have practiced moving in medium arm or to gain the follow ing benefits: • W earing medium arm or doesn’t im pose disadvantage on your Dexterity (Stealth) checks. • W hen you w ear medium armor, you can add 3, rather than 2, to your AC if you have a Dexterity of 16 or higher. M o b i l e You are exceptionally speedy and agile. You gain the following benefits: • Your speed increases by 10 feet. • W hen you use the Dash action, difficult terrain doesn’t cost you extra movement on that turn. • W hen you make a m elee attack against a creature, you don’t provoke opportunity attacks from that creature for the rest of the turn, whether you hit or not. M o d e r a t e l y A r m o r e d Prerequisite: Proficiency with light armor You have trained to master the use of medium armor and shields, gaining the following benefits: • Increase your Strength or Dexterity score by 1, to a maximum of 20. • You gain proficiency with medium arm or and shields. M o u n t e d C o m b a t a n t You are a dangerous foe to face while mounted. W hile you are mounted and aren’t incapacitated, you gain the following benefits: • You have advantage on melee attack rolls against any unmounted creature that is sm aller than your mount. • You can force an attack targeted at your mount to target you instead. • If your mount is subjected to an effect that allows it to make a Dexterity saving throw to take only half damage, it instead takes no damage if it succeeds on the saving throw, and only half damage if it fails. O b s e r v a n t Quick to notice details of your environment, you gain the following benefits: • Increase your Intelligence or W isdom score by 1, to a maximum of 20. • If you can see a creature’s mouth while it is speaking a language you understand, you can interpret what it’s saying by reading its lips. • You have a +5 bonus to your passive W isdom (Perception) and passive Intelligence (Investigation) scores. P o l e a r m M a s t e r You can keep your enem ies at bay with reach weapons. You gain the following benefits: • W hen you take the Attack action and attack with only a glaive, halberd, or quarterstaff, you can use a bonus action to make a melee attack with the opposite end of the weapon. The w eapon’s damage die for this attack is a d4, and the attack deals bludgeoning damage. • W hile you are wielding a glaive, halberd, pike, or quarterstaff, other creatures provoke an opportunity attack from you when they enter your reach. R e s i l i e n t Choose one ability score. You gain the following benefits: • Increase the chosen ability score by 1, to a maximum of 20. • You gain proficiency in saving throws using the chosen ability.

R i t u a l C a s t e r Prerequisite: Intelligence or Wisdom 13 or higher You have learned a num ber of spells that you can cast as rituals. These spells are written in a ritual book, which you must have in hand while casting one of them. W hen you choose this feat, you acquire a ritual book holding two 1st-level spells of your choice. Choose one of the following classes: bard, cleric, druid, sorcerer, warlock, or wizard. You must choose your spells from that class’s spell list, and the spells you choose must have the ritual tag. The class you choose also determ ines your spellcasting ability for these spells: Charisma for bard, sorcerer, or warlock; W isdom for cleric or druid; or Intelligence for wizard. If you com e across a spell in written form, such as a magical spell scroll or a w izard’s spellbook, you might be able to add it to your ritual book. The spell must be on the spell list for the class you chose, the spell’s level can be no higher than half your level (rounded up), and it must have the ritual tag. The process of copying the spell into your ritual book takes 2 hours per level of the spell, and costs 50 gp per level. The cost represents material com ponents you expend as you experiment with the spell to master it, as well as the fine inks you need to record it. Sa v a g e A t t a c k e r O nce per turn when you roll damage for a m elee w eapon attack, you can reroll the w eapon’s damage dice and use either total. Se n t i n e l You have mastered techniques to take advantage o f every drop in any enem y’s guard, gaining the following benefits: • W hen you hit a creature with an opportunity attack, the creature’s speed becom es 0 for the rest of the turn.

• Creatures within 5 feet of you provoke opportunity attacks from you even if they take the Disengage action before leaving your reach. • W hen a creature within 5 feet of you m akes an attack against a target other than you (and that target doesn’t have this feat), you can use your reaction to make a melee weapon attack against the attacking creature. S h a r p s h o o t e r You have mastered ranged weapons and can make shots that others find im possible. You gain the following benefits: • Attacking at long range doesn't im pose disadvantage on your ranged w eapon attack rolls. • Your ranged weapon attacks ignore half cover and three-quarters cover. • Before you make an attack with a ranged w eapon that you are proficient with, you can choose to take a - 5 penalty to the attack roll. If the attack hits, you add +10 to the attack’s damage. S h i e l d M a s t e r You use shields not just for protection but also for offense. You gain the following benefits while you are wielding a shield: • If you take the Attack action on your turn, you can use a bonus action to try to shove a creature within 5 feet of you with your shield. • If you aren’t incapacitated, you can add your shield’s AC bonus to any Dexterity saving throw you make against a spell or other harmful effect that targets only you. • If you are subjected to an effect that allows you to make a Dexterity saving throw to take only half dam - age, you can use your reaction to take no damage if you succeed on the saving throw, interposing your shield between yourself and the source of the effect. S k i l l e d You gain proficiency in any com bination of three skills or tools of your choice. S k u l k e r Prerequisite: Dexterity 13 or higher You are expert at slinking through shadows. You gain the following benefits: • You can try to hide when you are lightly obscured from the creature from which you are hiding. • W hen you are hidden from a creature and m iss it with a ranged weapon attack, making the attack doesn't reveal your position. • Dim light doesn’t im pose disadvantage on your W isdom (Perception) checks relying on sight. S p e l l S n i p e r Prerequisite: The ability to cast at least one spell You have learned techniques to enhance your attacks with certain kinds o f spells, gaining the follow ing benefits: • W hen you cast a spell that requires you to make an attack roll, the spell’s range is doubled. • Your ranged spell attacks ignore half cover and three-quarters cover. • You learn one cantrip that requires an attack roll. C hoose the cantrip from the bard, cleric, druid, sorcerer, warlock, or w izard spell list. Your spellcasting ability for this cantrip depends on the spell list you chose from: Charisma for bard, sorcerer, or warlock; W isdom for cleric or druid; or Intelligence for wizard. T a v e r n B r a w l e r Accustom ed to rough-and-tumble fighting using whatever w eapons happen to be at hand, you gain the following benefits: • Increase your Strength or Constitution score by 1, to a maximum o f 20. • You are proficient with im provised w eapons and unarmed strikes. • Your unarm ed strike uses a d4 for damage. • W hen you hit a creature with an unarm ed strike or an im provised weapon on your turn, you can use a bonus action to attempt to grapple the target. T o u g h Your hit point maximum increases by an amount equal to tw ice your level when you gain this feat. W henever you gain a level thereafter, your hit point maximum increases by an additional 2 hit points. W a r C a s t e r Prerequisite: The ability to cast at least one spell You have practiced casting spells in the midst of combat, learning techniques that grant you the following benefits: • You have advantage on Constitution saving throws that you make to maintain your concentration on a spell when you take damage. • You can perform the som atic com ponents of spells even when you have weapons or a shield in one or both hands. • W hen a hostile creature’s movement provokes an opportunity attack from you, you can use your reaction to cast a spell at the creature, rather than making an opportunity attack. The spell must have a casting time of 1 action and must target only that creature. W e a p o n M a s t e r You have practiced extensively with a variety of weapons, gaining the following benefits: • Increase your Strength or Dexterity score by 1, to a maximum of 20. • You gain proficiency with four w eapons of your choice.

C h apter 7: U sing A b ility Scores SIX ABILITIES PROVIDE A QUICK DESCRIPTION of every creature’s physical and mental characteristics: • Strength, m easuring physical pow er • Dexterity, m easuring agility • Constitution, measuring endurance • Intelligence, measuring reasoning and m em ory • Wisdom, m easuring perception and insight • Charisma, measuring force of personality Is a character m uscle-bound and insightful? Brilliant and charm ing? Nimble and hardy? Ability scores define these qualities—a creature’s assets as well as w eaknesses. The three main rolls of the gam e—the ability check, the saving throw, and the attack roll—rely on the six ability scores. The book ’s introduction describes the basic rule behind these rolls: roll a d20, add an ability m odifier derived from one of the six ability scores, and com pare the total to a target number. This chapter focuses on how to use ability checks and saving throws, covering the fundamental activities that creatures attempt in the game. Rules for attack rolls appear in chapter 9. A b il it y Scores a n d M odifiers Each of a creature’s abilities has a score, a number that defines the magnitude of that ability. An ability score is not just a m easure of innate capabilities, but also encom passes a creature’s training and com petence in activities related to that ability. A score of 10 or 11 is the normal human average, but adventurers and many m onsters are a cut above average in m ost abilities. A score of 18 is the highest that a person usually reaches. Adventurers can have scores as high as 20, and monsters and divine beings can have scores as high as 30. Each ability also has a modifier, derived from the score and ranging from 5 (for an ability score of 1) to +10 (for a score of 30). The Ability Scores and M odifiers table notes the ability m odifiers for the range of possible ability scores, from 1 to 30. A b il it y S c o r e s a n d M o d if i e r s Score Modifier Score Modifier 1 -5 16-17 +3 2-3 -4 18-19 +4 4-5 -3 20-21 +5 6-7 -2 22-23 +6 8-9 -1 24-25 +7 10-11 +0 26-27 +8 12-13 +1 28-29 +9 14-15 +2 30 +10 To determine an ability m odifier without consulting the table, subtract 10 from the ability score and then divide the total by 2 (round down). Because ability m odifiers affect alm ost every attack roll, ability check, and saving throw, ability m odifiers com e up in play m ore often than their associated scores. A dvantage a n d D isad van tag e Som etim es a special ability or spell tells you that you have advantage or disadvantage on an ability check, a saving throw, or an attack roll. W hen that happens, you roll a second d20 when you make the roll. Use the higher of the two rolls if you have advantage, 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 17. If multiple situations affect a roll and each one grants advantage or im poses disadvantage on it, you don’t roll m ore than one additional d20. If two favorable situations grant advantage, for example, you still roll only one additional d20. If circum stances cause a roll to have both advantage and disadvantage, you are considered to have neither of them, and you roll one d20. This is true even if multiple circum stances im pose disadvantage and only one grants advantage or vice versa. In such a situation, you have neither advantage nor disadvantage. W hen you have advantage or disadvantage and som ething in the game, such as the halfling’s Lucky trait, lets you reroll the d20, you can reroll only one of the dice. You choose which one. For example, if a halfling has advantage on an ability check and rolls a 1 and a 13, the halfling could use the Lucky trait to reroll the 1. You usually gain advantage or disadvantage through the use of special abilities, actions, or spells. Inspiration (see chapter 4) can also give a character advantage on checks related to the character’s personality, ideals, or bonds. The DM can also decide that circum stances influence a roll in one direction or the other and grant advantage or im pose disadvantage as a result. P r o fic ie n c y B on u s Characters have a proficiency bonus determined by level, as detailed in chapter 1. M onsters also have this bonus, which is incorporated in their stat blocks. The bonus is used in the rules on ability checks, saving throws, and attack rolls. Your proficiency bonus can’t be added to a single die roll or other number m ore than once. For example, if two different rules say you can add your proficiency bonus to a W isdom saving throw, you nevertheless add the bonus only once w hen you make the save. Occasionally, your proficiency bonus might be multiplied or divided (doubled or halved, for example)

before you apply it. For example, the rogue's Expertise feature doubles the proficiency bonus for certain ability checks. If a circum stance suggests that your proficiency bonus applies m ore than once to the sam e roll, you still add it only once and multiply or divide it only once. By the sam e token, if a feature or effect allows you to multiply your proficiency bonus w hen making an ability check that w ouldn’t normally benefit from your proficiency bonus, you still don’t add the bonus to the check. For that check your proficiency bonus is 0, given the fact that multiplying 0 by any number is still 0. For instance, if you lack proficiency in the History skill, you gain no benefit from a feature that lets you double your proficiency bonus w hen you make Intelligence (History) checks. In general, you don’t multiply your proficiency bonus for attack rolls or saving throws. If a feature or effect allows you to do so, these sam e rules apply. A bility C hecks An ability check tests a character’s or m onster’s innate talent and training in an effort to overcom e a challenge. The DM calls for an ability check when a character or monster attempts an action (other than an attack) that has a chance of failure. W hen the outcom e is uncertain, the dice determine the results. For every ability check, the DM decides which of the six abilities is relevant to the task at hand and the difficulty of the task, represented by a Difficulty Class. The more difficult a task, the higher its DC. The Typical Difficulty Classes table show s the most com m on DCs. T y p i c a l D i f f ic u l t y C l a s s e s Task Difficulty DC Very easy 5 Easy 10 Medium 15 Hard 20 Very hard 25 Nearly impossible 30 To make an ability check, roll a d20 and add the relevant ability modifier. As with other d20 rolls, apply bonuses and penalties, and com pare the total to the DC. If the total equals or exceeds the DC, the ability check is a su ccess—the creature overcom es the challenge at hand. Otherwise, it’s a failure, which m eans the character or m onster m akes no progress toward the objective or m akes progress com bined with a setback determined by the DM. C o n t e s t s _______________________________ Som etim es one character’s or m onster’s efforts are directly opposed to another’s. This can occu r when both of them are trying to do the sam e thing and only one can succeed, such as attempting to snatch up a m agic ring that has fallen on the floor. This situation also applies when one of them is trying to prevent the other one from accom plishing a goal—for example, when a monster tries to force open a door that an adventurer is holding closed. In situations like these, the outcom e is determined by a special form of ability check, called a contest. Both participants in a contest make ability checks appropriate to their efforts. They apply all appropriate bonuses and penalties, but instead o f com paring the total to a DC, they com pare the totals of their two checks. The participant with the higher check total wins the contest. That character or monster either succeeds at the action or prevents the other one from succeeding. If the contest results in a tie, the situation remains the same as it was before the contest. Thus, one contestant might win the contest by default. If two characters tie in a contest to snatch a ring off the floor, neither character grabs it. In a contest between a monster trying to open a door and an adventurer trying to keep the door closed, a tie m eans that the door rem ains shut. Sk il l s Each ability covers a broad range of capabilities, including skills that a character or a monster can be proficient in. A skill represents a specific aspect of an ability score, and an individual’s proficiency in a skill dem onstrates a focus on that aspect. (A character’s starting skill proficiencies are determined at character creation, and a m onster’s skill proficiencies appear in the m onster’s stat block.) For example, a Dexterity check might reflect a character’s attempt to pull off an acrobatic stunt, to palm an object, or to stay hidden. Each of these aspects of Dexterity has an associated skill: Acrobatics, Sleight of Hand, and Stealth, respectively. S o a character w ho has proficiency in the Stealth skill is particularly good at Dexterity checks related to sneaking and hiding. The skills related to each ability score are show n in the following list. (No skills are related to Constitution.) S ee an ability’s description in the later sections o f this chapter for exam ples of how to use a skill associated with an ability. Som etim es, the DM might ask for an ability check using a specific skill—for example, “Make a W isdom (Perception) check.” At other times, a player might ask the DM if proficiency in a particular skill applies to a check. In either case, proficiency in a skill m eans an individual can add his or her proficiency bonus to ability checks that involve that skill. Without proficiency in the skill, the individual m akes a norm al ability check. Strength Athletics Dexterity Acrobatics Sleight of Hand Stealth Intelligence Arcana History Investigation Nature Religion Wisdom Anim al Handling Insight M edicine Perception Survival Charisma Deception Intimidation Perform ance Persuasion

For example, if a character attempts to clim b up a dangerous cliff, the Dungeon Master might ask for a Strength (Athletics) check. If the character is proficient in Athletics, the character’s proficiency bonus is added to the Strength check. If the character lacks that proficiency, he or she just m akes a Strength check. V a r i a n t : S k i l l s w i t h D i f f e r e n t A b i l i t i e s Normally, your proficiency in a skill applies only to a specific kind of ability check. Proficiency in Athletics, for example, usually applies to Strength checks. In som e situations, though, your proficiency might reasonably apply to a different kind of check. In such cases, the DM might ask for a check using an unusual com bination of ability and skill, or you might ask your DM if you can apply a proficiency to a different check. For example, if you have to swim from an offshore island to the mainland, your DM might call for a Constitution check to see if you have the stamina to make it that far. In this case, your DM might allow you to apply your proficiency in Athletics and ask for a Constitution (Athletics) check. S o if you’re proficient in Athletics, you apply your proficiency bonus to the Constitution check just as you would normally do for a Strength (Athletics) check. Similarly, when your half-orc barbarian uses a display of raw strength to intimidate an enemy, your DM might ask for a Strength (Intimidation) check, even though Intimidation is normally associated with Charisma. Pa ssiv e C h e c k s A passive check is a special kind of ability check that doesn’t involve any die rolls. Such a check can represent the average result for a task done repeatedly, such as searching for secret doors over and over again, or can be used when the DM wants to secretly determine whether the characters succeed at som ething without rolling dice, such as noticing a hidden monster. Here’s how to determine a character’s total for a passive check: 10 + all modifiers that normally apply to the check If the character has advantage on the check, add 5. For disadvantage, subtract 5. The game refers to a passive check total as a score. For example, if a 1st-level character has a W isdom of 15 and proficiency in Perception, he or she has a passive W isdom (Perception) score of 14. The rules on hiding in the “Dexterity” section below rely on passive checks, as do the exploration rules in chapter 8. W o r k in g T o g e t h e r Som etim es two or m ore characters team up to attempt a task. The character w ho’s leading the effort—or the one with the highest ability m odifier—can make an ability check with advantage, reflecting the help provided by the other characters. In combat, this requires the Help action (see chapter 9). A character can only provide help if the task is one that he or she could attempt alone. For example, trying to open a lock requires proficiency with thieves’ tools, so a character w ho lacks that proficiency can’t help another character in that task. Moreover, a character can help only when two or m ore individuals working together would actually be productive. Som e tasks, such as threading a needle, are no easier with help. G r o u p C h e c k s W hen a number of individuals are trying to accom plish som ething as a group, the DM might ask for a group ability check. In such a situation, the characters w ho are skilled at a particular task help cover those w ho aren't. To make a group ability check, everyone in the group m akes the ability check. If at least half the group succeeds, the whole group succeeds. Otherwise, the group fails. Group checks don’t com e up very often, and they’re m ost useful w hen all the characters succeed or fail as a group. For example, when adventurers are navigating a swamp, the DM might call for a group W isdom (Survival) check to see if the characters can avoid the quicksand, sinkholes, and other natural hazards o f the environment. If at least half the group succeeds, the successful characters are able to guide their com panions out of danger. Otherwise, the group stum bles into one o f these hazards. U sing Ea c h A b il it y Every task that a character or monster might attempt in the game is covered by one of the six abilities. This section explains in m ore detail what those abilities mean and the ways they are used in the game. St r e n g t h Strength m easures bodily power, athletic training, and the extent to which you can exert raw physical force. St r e n g t h C h e c k s A Strength check can m odel any attempt to lift, push, pull, or break something, to force your body through a space, or to otherwise apply brute force to a situation. The Athletics skill reflects aptitude in certain kinds of Strength checks. Athletics. Your Strength (Athletics) check covers difficult situations you encounter while climbing, jumping, or swim ming. Exam ples include the following activities: • You attempt to climb a sheer or slippery cliff, avoid hazards while scaling a wall, or cling to a surface while som ething is trying to knock you off. • You try to jum p an unusually long distance or pull off a stunt midjump. • You struggle to sw im or stay afloat in treacherous currents, storm -tossed waves, or areas o f thick seaweed. Or another creature tries to push or pull you underwater or otherwise interfere with your swimming. Other Strength Checks. The DM might also call for a Strength check when you try to accom plish tasks like the following:

• Force open a stuck, locked, or barred door • Break free of bonds • Push through a tunnel that is too small • Hang on to a w agon while being dragged behind it • Tip over a statue • Keep a boulder from rolling A t t a c k R o l l s a n d D a m a g e You add your Strength m odifier to your attack roll and your damage roll w hen attacking with a melee weapon such as a mace, a battleaxe, or a javelin. You use melee w eapons to make m elee attacks in hand-to-hand combat, and som e of them can be thrown to make a ranged attack. L i f t i n g a n d C a r r y i n g Your Strength score determ ines the amount of weight you can bear. The following terms define what you can lift or carry. Carrying Capacity. Your carrying capacity is your Strength score multiplied by 15. This is the weight (in pounds) that you can carry, which is high enough that most characters don’t usually have to w orry about it. Push, Drag, or Lift. You can push, drag, or lift a weight in pounds up to tw ice your carrying capacity (or 30 times your Strength score). W hile pushing or dragging weight in excess of your carrying capacity, your speed drops to 5 feet. Size and Strength. Larger creatures can bear m ore weight, whereas Tiny creatures can carry less. For each size category above Medium, double the creature’s carrying capacity and the amount it can push, drag, or lift. For a Tiny creature, halve these weights. Dexterity m easures agility, reflexes, and balance. D e x t e r i t y C h e c k s A Dexterity check can model any attempt to move nimbly, quickly, or quietly, or to keep from falling on tricky footing. The Acrobatics, Sleight of Hand, and Stealth skills reflect aptitude in certain kinds of Dexterity checks. Acrobatics. Your Dexterity (Acrobatics) check covers your attempt to stay on your feet in a tricky situation, such as w hen you’re trying to run across a sheet o f ice, balance on a tightrope, or stay upright on a rocking ship’s deck. The DM might also call for a Dexterity (Acrobatics) check to see if you can perform acrobatic stunts, including dives, rolls, somersaults, and flips. V a r i a n t : E n c u m b r a n c e The rules for lifting and carrying are intentionally simple. Here is a variant if you are looking for m ore detailed rules for determining how a character is hindered by the weight of equipment. W hen you use this variant, ignore the Strength colum n of the A rm or table in chapter 5. If you carry weight in excess of 5 times your Strength score, you are encumbered, which m eans your speed drops by 10 feet. If you carry weight in excess of 10 times your Strength score, up to your m axim um carrying capacity, you are instead heavily encumbered, which m eans your speed drops by 20 feet and you have disadvantage on ability checks, attack rolls, and saving throws that use Strength, Dexterity, or Constitution. D e x t e r i t y

Sleight of Hand. W henever you attempt an act of legerdemain or manual trickery, such as planting som ething on som eone else or concealing an object on your person, make a Dexterity (Sleight o f Hand) check. The DM might also call for a Dexterity (Sleight of Hand) check to determine whether you can lift a coin purse off another person or slip som ething out of another person’s pocket. Stealth. Make a Dexterity (Stealth) check when you attempt to conceal yourself from enemies, slink past guards, slip away without being noticed, or sneak up on som eone without being seen or heard. Other Dexterity Checks. The DM might call for a Dexterity check when you try to accom plish tasks like the following: • Control a heavily laden cart on a steep descent • Steer a chariot around a tight turn • Pick a lock • Disable a trap • Securely tie up a prisoner • W riggle free of bonds • Play a stringed instrument • Craft a small or detailed object A t t a c k R o l l s a n d D a m a g e You add your Dexterity m odifier to your attack roll and your damage roll w hen attacking with a ranged weapon, such as a sling or a longbow. You can also add your Dexterity m odifier to your attack roll and your damage roll w hen attacking with a melee w eapon that has the finesse property, such as a dagger or a rapier. H idin g When you try to hide, make a Dexterity (Stealth) check. Until you are discovered or you stop hiding, that check’s total is contested by the Wisdom (Perception) check of any creature that actively searches for signs of your presence. You can’t hide from a creature that can see you, and if you make noise (such as shouting a warning or knocking over a vase), you give away your position. An invisible creature can’t be seen, so it can always try to hide. Signs of its passage might still be noticed, however, and it still has to stay quiet. In combat, most creatures stay alert for signs of danger all around, so if you come out of hiding and approach a creature, it usually sees you. However, under certain circumstances, the Dungeon Master might allow you to stay hidden as you approach a creature that is distracted, allowing you to gain advantage on an attack before you are seen. Passive Perception. When you hide, there’s a chance someone will notice you even if they aren't searching. To determine whether such a creature notices you, the DM compares your Dexterity (Stealth) check with that creature’s passive Wisdom (Perception) score, which equals 10 + the creature’s Wisdom modifier, as well as any other bonuses or penalties. If the creature has advantage, add 5. For disadvantage, subtract 5. For example, if a 1st-level character (with a proficiency bonus o f +2) has a Wisdom of 15 (a +2 modifier) and proficiency in Perception, he or she has a passive Wisdom (Perception) of 14. What Can You See? One of the main factors in determining whether you can find a hidden creature or object is how well you can see in an area, which might be lightly or heavily obscured, as explained in chapter 8. A r m o r G l a s s Depending on the arm or you wear, you might add som e or all of your Dexterity m odifier to your Arm or Class, as described in chapter 5. I n i t i a t i v e At the beginning of every combat, you roll initiative by making a Dexterity check. Initiative determines the order of creatures’ turns in combat, as described in chapter 9. C o n s t i t u t i o n Constitution m easures health, stamina, and vital force. C o n s t i t u t i o n C h e c k s Constitution checks are uncom m on, and no skills apply to Constitution checks, because the endurance this ability represents is largely passive rather than involving a specific effort on the part of a character or monster. A Constitution check can m odel your attempt to push beyond normal limits, however. The DM might call for a Constitution check when you try to accom plish tasks like the following: • Hold your breath • M arch or labor for hours without rest • Go without sleep • Survive without food or water • Quaff an entire stein of ale in one go H i t P o i n t s Your Constitution modifier contributes to your hit points. Typically, you add your Constitution modifier to each Hit Die you roll for your hit points. If your Constitution m odifier changes, your hit point maximum changes as well, as though you had the new modifier from 1st level. For example, if you raise your Constitution score when you reach 4th level and your Constitution m odifier increases from +1 to +2, you adjust your hit point maximum as though the modifier had always been +2. S o you add 3 hit points for your first three levels, and then roll your hit points for 4th level using your new modifier. Or if you’re 7th level and som e effect low ers your Constitution score so as to reduce your Constitution m odifier by 1, your hit point m aximum is reduced by 7. I n t e l l i g e n c e Intelligence m easures mental acuity, accuracy of recall, and the ability to reason. I n t e l l i g e n c e C h e c k s An Intelligence check com es into play when you need to draw on logic, education, memory, or deductive reasoning. The Arcana, History, Investigation, Nature, and Religion skills reflect aptitude in certain kinds of Intelligence checks. Arcana. Your Intelligence (Arcana) check m easures your ability to recall lore about spells, m agic items, eldritch symbols, magical traditions, the planes of existence, and the inhabitants of those planes. History. Your Intelligence (History) check m easures your ability to recall lore about historical events,

legendary people, ancient kingdom s, past disputes, recent wars, and lost civilizations. Investigation. W hen you look around for clues and make deductions based on those clues, you make an Intelligence (Investigation) check. You might deduce the location of a hidden object, discern from the appearance o f a wound what kind of weapon dealt it, or determine the w eakest point in a tunnel that could cause it to collapse. Poring through ancient scrolls in search of a hidden fragment of knowledge might also call for an Intelligence (Investigation) check. Nature. Your Intelligence (Nature) check m easures your ability to recall lore about terrain, plants and animals, the weather, and natural cycles. Religion. Your Intelligence (Religion) check m easures your ability to recall lore about deities, rites and prayers, religious hierarchies, holy sym bols, and the practices of secret cults. Other Intelligence Checks. The DM might call for an Intelligence check when you try to accom plish tasks like the following: • Com municate with a creature without using w ords • Estimate the value of a precious item • Pull together a disguise to pass as a city guard • Forge a docum ent • Recall lore about a craft or trade • W in a game of skill S p e l l c a s t i n g A b i l i t y W izards use Intelligence as their spellcasting ability, which helps determine the saving throw D Cs of spells they cast. W is d o m W isdom reflects how attuned you are to the world around you and represents perceptiveness and intuition. W i s d o m C h e c k s A W isdom check might reflect an effort to read body language, understand som eone’s feelings, notice things about the environment, or care for an injured person. The Anim al Handling, Insight, Medicine, Perception, and Survival skills reflect aptitude in certain kinds of W isdom checks. Animal Handling. W hen there is any question whether you can calm down a dom esticated animal, keep a mount from getting spooked, or intuit an animal’s intentions, the DM might call for a W isdom (Animal Handling) check. You also make a W isdom (Animal Handling) check to control your mount when you attempt a risky maneuver. Insight. Your W isdom (Insight) check decides whether you can determine the true intentions of a creature, such as w hen searching out a lie or predicting som eone’s next move. D oing so involves gleaning clues from body language, speech habits, and changes in mannerism s. Medicine. A W isdom (M edicine) check lets you try to stabilize a dying com panion or diagnose an illness. Perception. Your W isdom (Perception) check lets you spot, hear, or otherwise detect the presence of something. It m easures your general awareness of your surroundings and the keenness of your senses. F in d in g a H id d e n O b je c t When your character searches for a hidden object such as a secret door or a trap, the DM typically asks you to make a Wisdom (Perception) check. Such a check can be used to find hidden details or other information and clues that you might otherwise overlook. In most cases, you need to describe where you are looking in order for the DM to determine your chance of success. For example, a key is hidden beneath a set of folded clothes in the top drawer of a bureau. If you tell the DM that you pace around the room, looking at the walls and furniture for clues, you have no chance of finding the key, regardless of your Wisdom (Perception) check result. You would have to specify that you were opening the drawers or searching the bureau in order to have any chance of success. For example, you might try to hear a conversation through a closed door, eavesdrop under an open window, or hear monsters moving stealthily in the forest. Or you might try to spot things that are obscured or easy to miss, whether they are orcs lying in ambush on a road, thugs hiding in the shadows of an alley, or candlelight under a closed secret door. Survival. The DM might ask you to make a W isdom (Survival) check to follow tracks, hunt wild game, guide your group through frozen wastelands, identify signs that ow lbears live nearby, predict the weather, or avoid quicksand and other natural hazards. Other Wisdom Checks. The DM might call for a W isdom check when you try to accom plish tasks like the following: • Get a gut feeling about what course of action to follow • D iscern whether a seem ingly dead or living creature is undead Sp e l l c a s t i n g A b i l i t y Clerics, druids, and rangers use W isdom as their spellcasting ability, which helps determine the saving throw DCs of spells they cast. C h a r is m a Charisma m easures your ability to interact effectively with others. It includes such factors as confidence and eloquence, and it can represent a charm ing or com m anding personality. C h a r i s m a C h e c k s A Charisma check might arise when you try to influence or entertain others, when you try to make an im pression or tell a convincing lie, or when you are navigating a tricky social situation. The Deception, Intimidation, Perform ance, and Persuasion skills reflect aptitude in certain kinds of Charisma checks. Deception. Your Charisma (D eception) check determines whether you can convincingly hide the truth, either verbally or through your actions. This deception can encom pass everything from misleading others through ambiguity to telling outright lies. Typical situations include trying to fast-talk a guard, con a merchant, earn money through gambling, pass yourself off in a disguise, dull som eone’s suspicions with false assurances, or maintain a straight face while telling a blatant lie.

Intimidation. W hen you attempt to influence som eone through overt threats, hostile actions, and physical violence, the DM might ask you to make a Charisma (Intimidation) check. Exam ples include trying to pry information out of a prisoner, convincing street thugs to back dow n from a confrontation, or using the edge of a broken bottle to convince a sneering vizier to reconsider a decision. Performance. Your Charisma (Perform ance) check determines how well you can delight an audience with music, dance, acting, storytelling, or som e other form of entertainment. Persuasion. W hen you attempt to influence som eone or a group o f people with tact, social graces, or good nature, the DM might ask you to make a Charisma (Persuasion) check. Typically, you use persuasion when acting in good faith, to foster friendships, make cordial requests, or exhibit proper etiquette. Exam ples of persuading others include convincing a chamberlain to let your party see the king, negotiating peace between warring tribes, or inspiring a crow d of townsfolk. Other Charisma Checks. The DM might call for a Charisma check when you try to accom plish tasks like the following: • Find the best person to talk to for news, rumors, and gossip • Blend into a crow d to get the sense o f key topics o f conversation Sp e l l c a s t i n g A b i l i t y Bards, paladins, sorcerers, and w arlocks use Charisma as their spellcasting ability, which helps determine the saving throw DCs of spells they cast. Sa v in g T h row s A saving throw—also called a save—represents an attempt to resist a spell, a trap, a poison, a disease, or a similar threat. You don’t normally decide to make a saving throw; you are forced to make one because your character or monster is at risk o f harm. To make a saving throw, roll a d20 and add the appropriate ability modifier. For example, you use your Dexterity m odifier for a Dexterity saving throw. A saving throw can be modified by a situational bonus or penalty and can be affected by advantage and disadvantage, as determined by the DM. Each class gives proficiency in at least two saving throws. The wizard, for example, is proficient in Intelligence saves. As with skill proficiencies, proficiency in a saving throw lets a character add his or her proficiency bonus to saving throws made using a particular ability score. Som e monsters have saving throw proficiencies as well. The Difficulty Class for a saving throw is determined by the effect that causes it. For example, the DC for a saving throw allowed by a spell is determined by the caster’s spellcasting ability and proficiency bonus. The result of a successful or failed saving throw is also detailed in the effect that allows the save. Usually, a successful save m eans that a creature suffers no harm, or reduced harm, from an effect.

C h apter 8: A d ven tu r in g DELVING INTO THE ANCIENT TOMB OF HORRORS. slipping through the back alleys of W aterdeep, hacking a fresh trail through the thick jungles on the Isle of D read—these are the things that D u n g e o n s & D r a g o n s adventures are made of. Your character in the game might explore forgotten ruins and uncharted lands, uncover dark secrets and sinister plots, and slay foul monsters. And if all goes well, your character will survive to claim rich rewards before embarking on a new adventure. This chapter covers the basics of the adventuring life, from the m echanics of movement to the com plexities of social interaction. The rules for resting are also in this chapter, along with a discussion of the activities your character might pursue between adventures. W hether adventurers are exploring a dusty dungeon or the com plex relationships of a royal court, the game follow s a natural rhythm, as outlined in the book ’s introduction: 1. The DM describes the environment. 2. The players describe what they want to do. 3. The DM narrates the results of their actions. Typically, the DM uses a map as an outline of the adventure, tracking the characters’ progress as they explore dungeon corridors or w ilderness regions. The D M ’s notes, including a key to the map, describe what the adventurers find as they enter each new area. Som etim es, the passage of time and the adventurers’ actions determine what happens, so the DM might use a timeline or a flowchart to track their progress instead of a map. T im e In situations w here keeping track of the passage of time is important, the DM determines the time a task requires. The DM might use a different time scale depending on the context of the situation at hand. In a dungeon environment, the adventurers’ movement happens on a scale of minutes. It takes them about a minute to creep down a long hallway, another minute to check for traps on the door at the end of the hall, and a good ten minutes to search the cham ber beyond for anything interesting or valuable. In a city or wilderness, a scale of hours is often more appropriate. Adventurers eager to reach the lonely tower at the heart of the forest hurry across those fifteen miles in just under four hours’ time. For long journeys, a scale of days w orks best. Following the road from Baldur’s Gate to Waterdeep, the adventurers spend four uneventful days before a goblin am bush interrupts their journey. In com bat and other fast-paced situations, the game relies on rounds, a 6-second span of time described in chapter 9. M o v e m e n t Sw im m ing across a rushing river, sneaking dow n a dungeon corridor, scaling a treacherous mountain s lo p e - all sorts of movement play a key role in D&D adventures. The DM can sum m arize the adventurers’ movement without calculating exact distances or travel times: “You travel through the forest and find the dungeon entrance late in the evening of the third day.” Even in a dungeon, particularly a large dungeon or a cave network, the DM can sum m arize movement between encounters: “After killing the guardian at the entrance to the ancient dwarven stronghold, you consult your map, which leads you through miles of echoing corridors to a chasm bridged by a narrow stone arch.” Som etim es it’s important, though, to know how long it takes to get from one spot to another, whether the answer is in days, hours, or minutes. The rules for determining travel time depend on two factors: the speed and travel pace of the creatures moving and the terrain they're moving over. Speed Every character and monster has a speed, which is the distance in feet that the character or monster can walk in 1 round. This number assum es short bursts of energetic movement in the midst of a lifethreatening situation. The following rules determine how far a character or monster can move in a minute, an hour, or a day. T r a v e l Pa c e W hile traveling, a group of adventurers can move at a normal, fast, or slow pace, as shown on the Travel Pace table. The table states how far the party can move in a period of time and whether the pace has any effect. A fast pace m akes characters less perceptive, w hile a slow pace m akes it possible to sneak around and to search an area m ore carefully (see the “Activity W hile Traveling” section later in this chapter for m ore information). Forced March. The Travel Pace table assum es that characters travel for 8 hours in day. They can push on beyond that limit, at the risk o f exhaustion. For each additional hour of travel beyond 8 hours, the characters cover the distance shown in the Hour colum n for their pace, and each character must make a Constitution saving throw at the end of the hour. The DC is 10 + 1 for each hour past 8 hours. On a failed saving throw, a character suffers one level of exhaustion (see appendix A). Mounts and Vehicles. For short spans of time (up to an hour), many animals move much faster than humanoids. A mounted character can ride at a gallop for about an hour, covering tw ice the usual distance for a fast pace. If fresh mounts are available every 8 to 10 miles, characters can cover larger distances at this pace, but this is very rare except in densely populated areas.

Characters in wagons, carriages, or other land vehicles ch oose a pace as normal. Characters in a waterborne vessel are limited to the speed of the vessel (see chapter 5), and they don’t suffer penalties for a fast pace or gain benefits from a slow pace. Depending on the vessel and the size of the crew, ships might be able to travel for up to 24 hours per day. Certain special mounts, such as a pegasus or griffon, or special vehicles, such as a carpet of flying, allow you to travel m ore swiftly. The Dungeon Master’s Guide contains m ore information on special m ethods of travel. D if f ic u l t T e r r a in The travel speeds given in the Travel Pace table assum e relatively simple terrain: roads, open plains, or clear dungeon corridors. But adventurers often face dense forests, deep swam ps, rubble-filled ruins, steep mountains, and ice-covered ground—all considered difficult terrain. You move at half speed in difficult terrain—moving 1 foot in difficult terrain costs 2 feet of speed—so you can cover only half the norm al distance in a minute, an hour, or a day. S p e c i a l T y p e s o f M o v e m e n t Movement through dangerous dungeons or w ilderness areas often involves m ore than simply walking. Adventurers might have to climb, crawl, swim, or jum p to get where they need to go. C l i m b i n g , Sw i m m i n g , a n d C r a w l in g W hile clim bing or swim ming, each foot of movement costs 1 extra foot (2 extra feet in difficult terrain), unless a creature has a clim bing or sw im m ing speed. At the DM ’s option, clim bing a slippery vertical surface or one with few handholds requires a successful Strength (Athletics) check. Similarly, gaining any distance in rough water might require a successful Strength (Athletics) check. J u m p in g Your Strength determ ines how far you can jump. Long Jump. W hen you m ake a long jump, you cover a number of feet up to your Strength score if you move at least 10 feet on foot immediately before the jump. W hen you m ake a standing long jump, you can leap only half that distance. Either way, each foot you clear on the jum p costs a foot of movement. This rule assum es that the height of your jum p doesn’t matter, such as a jum p across a stream or chasm. At your DM ’s option, you must succeed on a DC 10 Strength (Athletics) check to clear a low obstacle (no taller than a quarter of the jum p’s distance), such as a hedge or low wall. Otherwise, you hit it. W hen you land in difficult terrain, you must succeed on a DC 10 Dexterity (Acrobatics) check to land on your feet. Otherwise, you land prone. High Jump. W hen you make a high jump, you leap into the air a num ber of feet equal to 3 + your Strength m odifier if you move at least 10 feet on foot immediately before the jump. W hen you make a standing high jump, you can jum p only half that distance. Either way, each foot you clear on the jum p costs a foot o f movement. In som e circum stances, your DM might allow you to make a Strength (Athletics) check to jum p higher than you normally can. You can extend your arms half your height above yourself during the jump. Thus, you can reach above you a distance equal to the height of the jum p plus 1 1/2 times your height. A c t i v i t y W h i l e T r a v e l i n g As adventurers travel through a dungeon or the wilderness, they need to remain alert for danger, and som e characters might perform other tasks to help the group’s journey. M a r c h i n g O r d e r The adventurers should establish a m arching order. A m arching order m akes it easier to determine which characters are affected by traps, which ones can spot hidden enemies, and which ones are the closest to those enem ies when a fight breaks out. A character might occupy the front rank, one or m ore m iddle ranks, or the back rank. Characters in the front and back ranks need enough room to travel side by side with others in their rank. W hen space is too tight, the marching order must change, usually by m oving characters to a middle rank. Fewer Than Three Ranks. If an adventuring party arranges its marching order with only two ranks, they are a front rank and a back rank. If there’s only one rank, it’s considered a front rank. St e a l t h W hile traveling at a slow pace, the characters can move stealthily. As long as they’re not in the open, they can try to surprise or sneak by other creatures they encounter. S ee the rules for hiding in chapter 7. N o t i c i n g T h r e a t s Use the passive W isdom (Perception) scores of the characters to determine whether anyone in the group notices a hidden threat. The DM might decide that a threat can be noticed only by characters in a particular rank. For example, as the characters are exploring a maze o f tunnels, the DM might decide that only those characters in the back rank have a chance to hear or spot a stealthy creature follow ing the group, while characters in the front and middle ranks cannot. W hile traveling at a fast pace, characters take a - 5 penalty to their passive W isdom (Perception) scores to notice hidden threats. T r a v e l P a c e Pace Distance Traveled per... Hour Day EffectMinute Fast 400 feet 4 miles 30 miles -5 penalty to passive Wisdom (Perception) scores Normal 300 feet 3 miles 24 miles — Slow 200 feet 2 miles 18 miles Able to use stealth

Encountering Creatures. If the DM determines that the adventurers encounter other creatures while they’re traveling, it’s up to both groups to decide what happens next. Either group might decide to attack, initiate a conversation, run away, or wait to see what the other group does. Surprising Foes. If the adventurers encounter a hostile creature or group, the DM determines whether the adventurers or their foes might be surprised when com bat erupts. S ee chapter 9 for m ore about surprise. O t h e r A c t i v i t i e s Characters w ho turn their attention to other tasks as the group travels are not focused on watching for danger. T hese characters don’t contribute their passive W isdom (Perception) scores to the group’s chance of noticing hidden threats. However, a character not watching for danger can do one of the following activities instead, or som e other activity with the D M ’s perm ission. Navigate. The character can try to prevent the group from becom ing lost, m aking a W isdom (Survival) check when the DM calls for it. (The Dungeon Master’s Guide has rules to determine whether the group gets lost.) Draw a Map. The character can draw a map that records the group’s progress and helps the characters get back on course if they get lost. No ability check is required. Track. A character can follow the tracks of another creature, m aking a W isdom (Survival) check when the DM calls for it. (The Dungeon Master’s Guide has rules for tracking.) Forage. The character can keep an eye out for ready sources of food and water, making a W isdom (Survival) check w hen the DM calls for it. (The Dungeon Master’s Guide has rules for foraging.) T h e E n v ir o n m e n t By its nature, adventuring involves delving into places that are dark, dangerous, and full of mysteries to be explored. The rules in this section cover som e of the m ost important ways in w hich adventurers interact with the environment in such places. The Dungeon Master’s Guide has rules covering m ore unusual situations. F a l l i n g A fall from a great height is one of the m ost com m on hazards facing an adventurer. At the end of a fall, a creature takes 1d6 bludgeoning damage for every 10 feet it fell, to a maximum of 20d6. The creature lands prone, unless it avoids taking damage from the fall. S u f f o c a t i n g A creature can hold its breath for a number of minutes equal to 1 + its Constitution modifier (minimum of 30 seconds). W hen a creature runs out of breath, it can survive for a number o f rounds equal to its Constitution modifier (minimum 1 round). At the start of its next turn, it drops to 0 hit points and is dying. S p l it t in g U p t h e Pa r t y Sometimes, it makes sense to split an adventuring party, especially if you want one or more characters to scout ahead. You can form multiple parties, each moving at a different speed. Each group has its own front, middle, and back ranks. The drawback to this approach is that the party will be split into several smaller groups in the event of an attack. The advantage is that a small group of stealthy characters moving slowly might be able to sneak past enemies that clumsier characters would alert. A rogue and a monk moving at a slow pace are much harder to detect when they leave their dwarf paladin friend behind. For example, a creature with a Constitution of 14 can hold its breath for 3 minutes. If it starts suffocating, it has 2 rounds to reach air before it drops to 0 hit points. V i s i o n a n d L i g h t The m ost fundamental tasks of adventuring—noticing danger, finding hidden objects, hitting an enemy in combat, and targeting a spell, to name just a few— rely heavily on a character’s ability to see. Darkness and other effects that obscure vision can prove a significant hindrance. A given area might be lightly or heavily obscured. In a lightly obscured area, such as dim light, patchy fog, or moderate foliage, creatures have disadvantage on W isdom (Perception) checks that rely on sight. A heavily obscured area—such as darkness, opaque fog, or dense foliage—blocks vision entirely. A creature in a heavily obscured area effectively suffers from the blinded condition (see appendix A). The presence or absence of light in an environment creates three categories of illumination: bright light, dim light, and darkness. Bright light lets m ost creatures see normally. Even gloom y days provide bright light, as do torches, lanterns, fires, and other sources of illumination within a specific radius. Dim light, also called shadows, creates a lightly obscured area. An area o f dim light is usually a boundary between a source of bright light, such as a torch, and surrounding darkness. The soft light of twilight and dawn also counts as dim light. A particularly brilliant full m oon might bathe the land in dim light. Darkness creates a heavily obscured area. Characters face darkness outdoors at night (even most moonlit nights), within the confines of an unlit dungeon or a subterranean vault, or in an area of m agical darkness. B l i n d s i g h t A creature with blindsight can perceive its surroundings without relying on sight, within a specific radius. Creatures without eyes, such as oozes, and creatures with echolocation or heightened senses, such as bats and true dragons, have this sense. D a r k v i s i o n Many creatures in the w orlds o f D&D, especially those that dwell underground, have darkvision. Within a specified range, a creature with darkvision can see in

darkness as if the darkness w ere dim light, so areas of darkness are only lightly obscured as far as that creature is concerned. However, the creature can’t discern color in darkness, only shades of gray. T r u e s i g h t A creature with truesight can, out to a specific range, see in normal and magical darkness, see invisible creatures and objects, automatically detect visual illusions and succeed on saving throws against them, and perceives the original form of a shapechanger or a creature that is transformed by m agic. Furthermore, the creature can see into the Ethereal Plane. F o o d a n d W a t e r Characters w ho don’t eat or drink suffer the effects of exhaustion (see appendix A). Exhaustion caused by lack of food or water can’t be removed until the character eats and drinks the full required amount. F o o d A character needs one pound of food per day and can m ake food last longer by subsisting on half rations. Eating half a pound of food in a day counts as half a day without food. A character can go without food for a number of days equal to 3 + his or her Constitution modifier (minimum 1). At the end o f each day beyond that limit, a character automatically suffers one level of exhaustion. A norm al day o f eating resets the count of days without food to zero. W a t e r A character needs one gallon of water per day, or two gallons per day if the weather is hot. A character who drinks only half that much water must succeed on a DC 15 Constitution saving throw or suffer one level of exhaustion at the end of the day. A character with access to even less water automatically suffers one level of exhaustion at the end o f the day. If the character already has one or m ore levels of exhaustion, the character takes two levels in either case. I n t e r a c t i n g w i t h O b j e c t s A character’s interaction with objects in an environment is often simple to resolve in the game. The player tells the DM that his or her character is doing something, such a moving a lever, and the DM describes what, if anything happens. For example, a character might decide to pull a lever, w hich might, in turn, raise a portcullis, cause a room to flood with water, or open a secret door in a nearby wall. If the lever is rusted in position, though, a character might need to force it. In such a situation, the DM might call for a Strength check to see whether the character can wrench the lever into place. The DM sets the DC for any such check based on the difficulty of the task. Characters can also damage objects with their w eapons and spells. Objects are immune to poison and psychic damage, but otherwise they can be affected by physical and magical attacks much like creatures can. The DM determines an object’s A rm or Class and hit points, and might decide that certain objects have resistance or immunity to certain kinds of attacks. (It’s hard to cut a rope with a club, for example.) Objects always fail Strength and Dexterity saving throws, and they are immune to effects that require other saves. W hen an object drops to 0 hit points, it breaks. A character can also attempt a Strength check to break an object. The DM sets the DC for any such check. So c ia l In t e r a c t io n Exploring dungeons, overcom ing obstacles, and slaying m onsters are key parts of D&D adventures. No less important, though, are the social interactions that adventurers have with other inhabitants of the world. Interaction takes on many forms. You might need to convince an unscrupulous thief to confess to som e m alfeasance, or you might try to flatter a dragon so that it w ill spare your life. The DM assum es the roles of any characters w ho are participating in the interaction that don’t belong to another player at the table. Any such character is called a nonplayer character (NPC). In general terms, an N P C ’s attitude toward you is described as friendly, indifferent, or hostile. Friendly NPCs are predisposed to help you, and hostile ones are inclined to get in your way. It’s easier to get what you want from a friendly NPC, o f course. Social interactions have two primary aspects: roleplaying and ability checks. R o l e p l a y i n g 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 a part of every aspect o f the game, and it com es to the fore during social interactions. Your character’s quirks, mannerism s, and personality influence how interactions resolve. There are two styles you can use w hen roleplaying your character: the descriptive approach and the active approach. Most players use a com bination of the two styles. Use whichever m ix of the two w orks best for you. D e s c r i p t i v e A p p r o a c h t o R o l e p l a y i n g W ith this approach, you describe your character’s w ords and actions to the DM and the other players. Drawing on your mental im age of your character, you tell everyone what your character does and how he or she does it. For instance, Chris plays Tordek the dwarf. Tordek has a quick tem per and blam es the elves of the Cloakw ood for his family’s misfortune. At a tavern, an obnoxious elf minstrel sits at Tordek’s table and tries to strike up a conversation with the dwarf. Chris says, “Tordek spits on the floor, growls an insult at the bard, and stom ps over to the bar. He sits on a stool and glares at the minstrel before ordering another drink.” In this example, Chris has conveyed Tordek’s m ood and given the DM a clear idea of his character’s attitude and actions.

W hen using descriptive roleplaying, keep the following things in mind: • D escribe your character’s em otions and attitude. • Focus on your character’s intent and how others might perceive it. • Provide as much embellishment as you feel com fortable with. D on’t w orry about getting things exactly right. Just focus on thinking about what your character would do and describing what you see in your mind. A c t i v e A p p r o a c h t o R o l e p l a y i n g If descriptive roleplaying tells your DM and your fellow players what your character thinks and does, active roleplaying shows them. W hen you use active roleplaying, you speak with your character’s voice, like an actor taking on a role. You might even echo your character’s movements and body language. This approach is m ore im mersive than descriptive roleplaying, though you still need to describe things that can’t be reasonably acted out. Going back to the example of Chris roleplaying Tordek above, here’s how the scene might play out if Chris used active roleplaying: Speaking as Tordek, Chris says in a gruff, deep voice, “I w as w ondering why it suddenly sm elled awful in here. If I wanted to hear anything out o f you, I'd snap your arm and enjoy your scream s.” In his norm al voice, Chris then adds, “I get up, glare at the elf, and head to the bar.” R e s u l t s o f R o l e p l a y i n g The DM uses your character’s actions and attitudes to determine how an NPC reacts. A cowardly N PC buckles under threats of violence. A stubborn dwarf refuses to let anyone badger her. A vain dragon laps up flattery. W hen interacting with an NPC, pay close attention to the DM ’s portrayal o f the N P C ’s m ood, dialogue, and personality. You might be able to determine an N P C ’s personality traits, ideals, flaws, and bonds, then play on them to influence the N P C ’s attitude. Interactions in D&D are much like interactions in real life. If you can offer N PCs som ething they want, threaten them with som ething they fear, or play on their sympathies and goals, you can use w ords to get almost anything you want. On the other hand, if you insult a proud w arrior or speak ill of a noble’s allies, your efforts to convince or deceive will fall short. A b i l i t y C h e c k s In addition to roleplaying, ability checks are key in determining the outcom e of an interaction. Your roleplaying efforts can alter an N P C ’s attitude, but there might still be an element of chance in the situation. For example, your DM can call for a Charisma check at any point during an interaction if he or she wants the dice to play a role in determining an N P C ’s reactions. Other checks might be appropriate in certain situations, at your DM ’s discretion. Pay attention to your skill proficiencies when thinking of how you want to interact with an NPC, and stack the deck in your favor by using an approach that relies on your best bonuses and skills. If the group needs to trick a guard into letting them into a castle, the rogue w ho is proficient in D eception is the best bet to lead the discussion. W hen negotiating for a hostage’s release, the cleric with Persuasion should do most of the talking. R esting H eroic though they might be, adventurers can’t spend every hour o f the day in the thick of exploration, social interaction, and combat. They need rest—time to sleep and eat, tend their wounds, refresh their minds and spirits for spellcasting, and brace themselves for further adventure. Adventurers can take short rests in the midst of an adventuring day and a long rest to end the day. S h o r t R e s t A short rest is a period of downtime, at least 1 hour long, during which a character does nothing m ore strenuous than eating, drinking, reading, and tending to wounds. A character can spend one or m ore Hit D ice at the end of a short rest, up to the character’s maximum number of Hit Dice, which is equal to the character's level. For each Hit Die spent in this way, the player rolls the die and adds the character’s Constitution modifier to it. The character regains hit points equal to the total. The player can decide to spend an additional Hit Die after each roll. A character regains som e spent Hit D ice upon finishing a long rest, as explained below. L o n g R e s t A long rest is a period of extended downtime, at least 8 hours long, during w hich a character sleeps or perform s light activity: reading, talking, eating, or standing watch for no m ore than 2 hours. If the rest is interrupted by a period of strenuous activity—at least 1 hour of walking, fighting, casting spells, or similar adventuring activity— the characters must begin the rest again to gain any benefit from it. At the end of a long rest, a character regains all lost hit points. The character also regains spent Hit Dice, up to a number of dice equal to half of the character’s total number of them. For example, if a character has eight Hit Dice, he or she can regain four spent Hit D ice upon finishing a long rest. A character can’t benefit from m ore than one long rest in a 24-hour period, and a character must have at least 1 hit point at the start of the rest to gain its benefits. Be tw e e n A d v e n tu r e s Between trips to dungeons and battles against ancient evils, adventurers need time to rest, recuperate, and prepare for their next adventure. Many adventurers also use this time to perform other tasks, such as crafting arms and armor, perform ing research, or spending their hard-earned gold. In som e cases, the passage o f time is som ething that occu rs with little fanfare or description. W hen starting a new adventure, the DM might simply declare that a certain amount of time has passed and allow you to

describe in general terms what your character has been doing. At other times, the DM might want to keep track of just how much time is passing as events beyond your perception stay in motion. L i f e s t y l e E x p e n s e s Between adventures, you choose a particular quality of life and pay the cost of maintaining that lifestyle, as described in chapter 5. Living a particular lifestyle doesn’t have a huge effect on your character, but your lifestyle can affect the way other individuals and groups react to you. For example, w hen you lead an aristocratic lifestyle, it might be easier for you to influence the nobles of the city than if you live in poverty. D o w n t i m e A c t i v i t i e s Between adventures, the DM might ask you what your character is doing during his or her downtime. Periods of downtime can vary in duration, but each downtime activity requires a certain number of days to complete before you gain any benefit, and at least 8 hours of each day must be spent on the downtime activity for the day to count. The days do not need to be consecutive. If you have m ore than the minim um amount of days to spend, you can keep doing the sam e thing for a longer period of time, or switch to a new downtime activity. Downtim e activities other than the ones presented below are possible. If you want your character to spend his or her downtime perform ing an activity not covered here, discuss it with your DM. C r a f t i n g You can craft nonm agical objects, including adventuring equipment and w orks of art. You must be proficient with tools related to the object you are trying to create (typically artisan’s tools). You might also need access to special materials or locations necessary to create it. For example, som eone proficient with smith’s tools needs a forge in order to craft a sw ord or suit of armor. For every day of downtime you spend crafting, you can craft one or m ore items with a total market value not exceeding 5 gp, and you must expend raw materials w orth half the total market value. If som ething you want to craft has a market value greater than 5 gp, you make progress every day in 5-gp increments until you reach the market value of the item. For example, a suit of plate arm or (market value 1,500 gp) takes 300 days to craft by yourself. Multiple characters can com bine their efforts toward the crafting of a single item, provided that the characters all have proficiency with the requisite tools and are w orking together in the sam e place. Each character contributes 5 gp worth of effort for every day spent helping to craft the item. For example, three characters with the requisite tool proficiency and the proper facilities can craft a suit o f plate arm or in 100 days, at a total cost o f 750 gp. W hile crafting, you can maintain a m odest lifestyle without having to pay 1 gp per day, or a comfortable lifestyle at half the normal cost (see chapter 5 for more information on lifestyle expenses). P r a c t i c i n g a P r o f e s s i o n You can w ork between adventures, allowing you to maintain a modest lifestyle without having to pay 1 gp per day (see chapter 5 for more information on lifestyle expenses). This benefit lasts as long you continue to practice your profession. If you are a m em ber of an organization that can provide gainful employment, such as a temple or a thieves’ guild, you earn enough to support a com fortable lifestyle instead. If you have proficiency in the Perform ance skill and put your perform ance skill to use during your downtime, you earn enough to support a wealthy lifestyle instead. R e c u p e r a t i n g You can use downtime between adventures to recover from a debilitating injury, disease, or poison. After three days of downtime spent recuperating, you can make a DC 15 Constitution saving throw. On a successful save, you can choose one of the following results: • End one effect on you that prevents you from regaining hit points. • For the next 24 hours, gain advantage on saving throws against one disease or poison currently affecting you. R e s e a r c h i n g The time between adventures is a great chance to perform research, gaining insight into mysteries that have unfurled over the course o f the campaign. Research can include poring over dusty tom es and crumbling scrolls in a library or buying drinks for the locals to pry rum ors and gossip from their lips. W hen you begin your research, the DM determines whether the information is available, how many days of downtime it will take to find it, and whether there are any restrictions on your research (such as needing to seek out a specific individual, tome, or location). The DM might also require you to m ake one or m ore ability checks, such as an Intelligence (Investigation) check to find clues pointing toward the information you seek, or a Charisma (Persuasion) check to secure som eone’s aid. O nce those conditions are met, you learn the inform ation if it is available. For each day of research, you must spend 1 gp to cover your expenses. This cost is in addition to your norm al lifestyle expenses (as discussed in chapter 5). T r a i n i n g You can spend time between adventures learning a new language or training with a set of tools. Your DM might allow additional training options. First, you must find an instructor willing to teach you. The DM determines how long it takes, and whether one or m ore ability checks are required. The training lasts for 250 days and costs 1 gp per day. After you spend the requisite amount of time and money, you learn the new language or gain proficiency with the new tool.

C h apter 9: C om bat THE CLATTER OF A SWORD STRIKING AGAINST a shield. The terrible rending sound as m onstrous claws tear through armor. A brilliant flash of light as a ball of flame blossom s from a w izard’s spell. The sharp tang of blood in the air, cutting through the stench of vile monsters. Roars of fury, shouts of triumph, cries of pain. Combat in D&D can be chaotic, deadly, and thrilling. This chapter provides the rules you need for your characters and m onsters to engage in combat, whether it is a brief skirm ish or an extended conflict in a dungeon or on a field o f battle. Throughout this chapter, the rules address you, the player or Dungeon Master. The Dungeon Master controls all the monsters and nonplayer characters involved in combat, and each other player controls an adventurer. “You” can also mean the character or monster that you control. T h e O rder of C o m b a t A typical com bat encounter is a clash between two sides, a flurry of w eapon swings, feints, parries, footwork, and spellcasting. The game organizes the chaos of com bat 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 beginning of a com bat encounter, when everyone rolls initiative. O nce everyone has taken a turn, the fight continues to the next round if neither side has defeated the other. S u r p r i s e A band of adventurers sneaks up on a bandit camp, springing from the trees to attack them. A gelatinous cube glides dow n a dungeon passage, unnoticed by the adventurers until the cube engulfs one of them. In these situations, one side of the battle gains surprise over the other. The DM determ ines w ho might be surprised. If neither side tries to be stealthy, they automatically notice each other. Otherwise, the DM com pares the Dexterity (Stealth) checks of anyone hiding with the passive W isdom (Perception) score of each creature on the C o m b a t S t e p b y S t e p 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. Repeat step 4 until the fighting stops. opposing side. Any character or monster that doesn’t notice a threat is surprised at the start of the encounter. If you’re surprised, you can’t move or take an action on your first turn of the combat, and you can’t take a reaction until that turn ends. A m em ber of a group can be surprised even if the other m em bers aren’t. I n i t i a t i v e Initiative determines the order of turns during combat. W hen com bat starts, every participant m akes a Dexterity check to determine their place in the initiative order. The DM makes one roll for an entire group of identical creatures, so each m em ber of the group acts at the sam e time. The DM ranks the combatants in order from the one with the highest Dexterity check total to the one with the lowest. This is the order (called the initiative order) in which they act during each round. The initiative order remains the sam e from round to round. If a tie occurs, the DM decides the order am ong tied DM -controlled creatures, and the players decide the order am ong their tied characters. The DM can decide the order if the tie is between a monster and a player character. Optionally, the DM can have the tied characters and monsters each roll a d20 to determine the order, highest roll going first. Y o u r T u r n On your turn, you can move a distance up to your speed and take one action. You decide whether to move first or take your action first. Your speed—som etim es called your walking speed—is noted on your character sheet. The most com m on actions you can take are described in the “Actions in Com bat” section later in this chapter. Many class features and other abilities provide additional options for your action. The “Movement and Position” section later in this chapter gives the rules for your move. You can forgo moving, taking an action, or doing anything at all on your turn. If you can’t decide what to do on your turn, consider taking the D odge or Ready action, as described in “Actions in Combat.” B o n u s A c t i o n s Various class features, spells, and other abilities let you take an additional action on your turn called a bonus action. The Cunning Action feature, for example, allows a rogue to take a bonus action. You can take a bonus action only when a special ability, spell, or other feature of the game states that you can do som ething as a bonus action. You otherwise don’t have a bonus action to take. You can take only one bonus action on your turn, so you must choose which bonus action to use w hen you have m ore than one available. You choose when to take a bonus action during your turn, unless the bonus action’s timing is specified, and anything that deprives you of your ability to take actions also prevents you from taking a bonus action.

O t h e r A c t i v i t y o n Y o u r T u r n Your turn can include a variety of flourishes that require neither your action nor your move. You can com m unicate however you are able, through brief utterances and gestures, as you take your turn. You can also interact with one object or feature of the environment for free, during either your move or your action. For example, you could open a door during your move as you stride toward a foe, or you could draw your weapon as part of the sam e action you use to attack. If you want to interact with a second object, you need to use your action. S om e m agic items and other special objects always require an action to use, as stated in their descriptions. The DM might require you to use an action for any of these activities w hen it needs special care or when it presents an unusual obstacle. For instance, the DM could reasonably expect you to use an action to open a stuck door or turn a crank to lower a drawbridge. R e a c t i o n s Certain special abilities, spells, and situations allow you to take a special action called a reaction. A reaction is an instant response to a trigger of som e kind, which can occu r on your turn or on som eone else’s. The opportunity attack, described later in this chapter, is the m ost com m on type of reaction. W hen you take a reaction, you can’t take another one until the start of your next turn. If the reaction interrupts another creature’s turn, that creature can continue its turn right after the reaction. M o v e m e n t a n d Po sit io n In combat, characters and m onsters are in constant motion, often using movement and position to gain the upper hand. I n t e r a c t in g w it h O b je c t s A r o u n d Y o u Here are a few examples of the sorts of thing you can do in tandem with your movement and action: • draw or sheathe a sword • open or close a door • withdraw a potion from your backpack • pick up a dropped axe • take a bauble from a table • remove a ring from your finger • stuff some food into your mouth • plant a banner in the ground • fish a few coins from your belt pouch • drink all the ale in a flagon • throw a lever or a switch • pull a torch from a sconce • take a book from a shelf you can reach • extinguish a small flame • don a mask • pull the hood of your cloak up and over your head • put your ear to a door • kick a small stone • turn a key in a lock • tap the floor with a 10-foot pole • hand an item to another character On your turn, you can m ove a distance up to your speed. You can use as much or as little of your speed as you like on your turn, following the rules here. Your m ovement can include jumping, climbing, and swim ming. These different m odes of movement can be com bined with walking, or they can constitute your entire move. However you’re moving, you deduct the distance of each part of your move from your speed until it is used up or until you are done moving. The “Special Types of M ovem ent’’ section in chapter 8 gives the particulars for jumping, climbing, and swim ming. B r e a k i n g U p Y o u r M o v e You can break up your movement on your turn, using som e of your speed before and after your action. For example, if you have a speed of 30 feet, you can move 10 feet, take your action, and then move 20 feet. M o v i n g b e t w e e n A t t a c k s If you take an action that includes m ore than one weapon attack, you can break up your movement even further by m oving between those attacks. For example, a fighter w ho can make two attacks with the Extra Attack feature and w ho has a speed of 25 feet could move 10 feet, make an attack, move 15 feet, and then attack again. U s i n g D i f f e r e n t S p e e d s If you have m ore than one speed, such as your walking speed and a flying speed, you can switch back and forth between your speeds during your move. W henever you switch, subtract the distance you've already m oved from the new speed. The result determ ines how much farther you can move. If the result is 0 or less, you can’t use the new speed during the current move. For example, if you have a speed of 30 and a flying speed of 60 because a w izard cast the fly spell on you, you could fly 20 feet, then w alk 10 feet, and then leap into the air to fly 30 feet more. D i f f i c u l t T e r r a i n Combat rarely takes place in bare room s or on featureless plains. Boulder-strewn caverns, briarchoked forests, treacherous staircases—the setting of a typical fight contains difficult terrain. Every foot of movement in difficult terrain costs 1 extra foot. This rule is true even if multiple things in a space count as difficult terrain. Low furniture, rubble, undergrowth, steep stairs, snow, and shallow bogs are examples o f difficult terrain. The space of another creature, whether hostile or not, also counts as difficult terrain. B e i n g P r o n e Combatants often find themselves lying on the ground, either because they are knocked down or because they throw themselves down. In the game, they are prone, a condition described in appendix A. You can drop prone without using any of your speed. Standing up takes m ore effort; doing so costs

an amount of movement equal to half your speed. For example, if your speed is 30 feet, you must spend 15 feet of movement to stand up. You can’t stand up if you don’t have enough movement left or if your speed is 0. To m ove while prone, you must crawl or use magic such as teleportation. Every foot of movement while crawling costs 1 extra foot. Crawling 1 foot in difficult terrain, therefore, costs 3 feet of movement. M o v i n g A r o u n d O t h e r C r e a t u r e s You can move through a nonhostile creature’s space. In contrast, you can move through a hostile creature's space only if the creature is at least two sizes larger or sm aller than you. Rem em ber that another creature’s space is difficult terrain for you. W hether a creature is a friend or an enemy, you can’t willingly end your move in its space. If you leave a hostile creature’s reach during your move, you provoke an opportunity attack, as explained later in the chapter. F l y i n g M o v e m e n t Flying creatures enjoy many benefits of mobility, but they must also deal with the danger of falling. If a flying creature is knocked prone, has its speed reduced to 0, or is otherwise deprived of the ability to move, the creature falls, unless it has the ability to hover or it is being held aloft by magic, such as by the fly spell. C r e a t u r e S i z e Each creature takes up a different amount of space. The Size Categories table show s how much space a creature o f a particular size controls in combat. Objects som etim es use the sam e size categories. S ize C a t e g o r ie s a t e g o r i e s Size Space Tiny 2 1/2 by 2 1/2 ft Small 5 by 5 ft. Medium 5 by 5 ft. Large 10 by 10 ft. Huge 15 by 15 ft. Gargantuan 20 by 20 ft. or larger Sp a c e A creature's space is the area in feet that it effectively controls in combat, not an expression of its physical dim ensions. A typical M edium creature isn't 5 feet wide, for example, but it does control a space that wide. If a M edium hobgoblin stands in a 5-foot-wide doorway, other creatures can’t get through unless the hobgoblin lets them. A creature’s space also reflects the area it needs to fight effectively. For that reason, there’s a limit to the number of creatures that can surround another creature in combat. Assum ing M edium combatants, eight creatures can fit in a 5-foot radius around another one. Because larger creatures take up m ore space, fewer o f them can surround a creature. If five Large creatures

V a r i a n t : P l a y in g o n a G r id If you play out a combat using a square grid and miniatures or other tokens, follow these rules. Squares. Each square on the grid represents 5 feet. Speed. Rather than moving foot by foot, move square by square on the grid. This means you use your speed in 5-foot segments. This is particularly easy if you translate your speed into squares by dividing the speed by 5. For example, a speed of 30 feet translates into a speed of 6 squares. If you use a grid often, consider writing your speed in squares on your character sheet. Entering a Square. To enter a square, you must have at least 1 square of movement left, even if the square is diagonally adjacent to the square you’re in. (The rule for diagonal movement sacrifices realism for the sake of smooth play. The Dungeon M aster’s Guide provides guidance on using a more realistic approach.) If a square costs extra movement, as a square of difficult terrain does, you must have enough movement left to pay for entering it. For example, you must have at least 2 squares of movement left to enter a square of difficult terrain. Corners. Diagonal movement can’t cross the corner of a wall, large tree, or other terrain feature that fills its space. Ranges. To determine the range on a grid between two things— whether creatures or objects— start counting squares from a square adjacent to one of them and stop counting in the space of the other one. Count by the shortest route. crow d around a Medium or smaller one, there’s little room for anyone else. In contrast, as many as twenty M edium creatures can surround a Gargantuan one. S q u e e z i n g i n t o a S m a l l e r S p a c e A creature can squeeze through a space that is large enough for a creature one size smaller than it. Thus, a Large creature can squeeze through a passage that's only 5 feet wide. W hile squeezing through a space, a creature must spend 1 extra foot for every foot it m oves there, and it has disadvantage on attack rolls and Dexterity saving throws. Attack rolls against the creature have advantage while it’s in the smaller space. A ctio n s in C o m b a t W hen you take your action on your turn, you can take one of the actions presented here, an action you gained from your class or a special feature, or an action that you improvise. Many monsters have action options of their ow n in their stat blocks. W hen you describe an action not detailed elsewhere in the rules, the DM tells you whether that action is possible and what kind o f roll you need to make, if any, to determine success or failure. A t t a c k The most com m on action to take in com bat is the Attack action, whether you are swinging a sword, firing an arrow from a bow, or brawling with your fists. With this action, you make one melee or ranged attack. S ee the “M aking an Attack” section for the rules that govern attacks. Certain features, such as the Extra Attack feature of the fighter, allow you to make m ore than one attack with this action. C a s t a S p e l l Spellcasters such as w izards and clerics, as well as many m onsters, have access to spells and can use them to great effect in combat. Each spell has a casting time, which specifies whether the caster must use an action, a reaction, minutes, or even hours to cast the spell. Casting a spell is, therefore, not necessarily an action. M ost spells do have a casting time of 1 action, so a spellcaster often uses his or her action in com bat to cast such a spell. S ee chapter 10 for the rules on spellcasting. D a s h W hen you take the Dash action, you gain extra movement for the current turn. The increase equals your speed, after applying any m odifiers. With a speed of 30 feet, for example, you can move up to 60 feet on your turn if you dash. Any increase or decrease to your speed changes this additional movement by the sam e amount. If your speed of 30 feet is reduced to 15 feet, for instance, you can move up to 30 feet this turn if you dash. D i s e n g a g e If you take the Disengage action, your movement doesn’t provoke opportunity attacks for the rest of the turn. D o d g e W hen you take the D odge action, you focus entirely 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 are incapacitated (as explained in appendix A) or if your speed drops to 0. H e l p You can lend your aid to another creature in the com pletion of a task. W hen you take the Help action, the creature you aid gains advantage on the next ability check it m akes to perform the task you are helping with, provided that it m akes the check before the start of your next turn. Alternatively, you can aid a friendly creature in attacking a creature within 5 feet of you. You feint, distract the target, or in som e other way team up to make your ally’s attack m ore effective. If your ally attacks the target before your next turn, the first attack roll is made with advantage. H id e W hen you take the Hide action, you make a Dexterity (Stealth) check in an attempt to hide, following the rules in chapter 7 for hiding. If you succeed, you gain certain benefits, as described in the “Unseen Attackers and Targets” section later in this chapter.

M a k in g a n A t t a c k Im p r o v i s i n g a n A c t i o n Your character can do things not covered by the actions in this chapter, such as breaking down doors, intimidating enemies, sensing weaknesses in magical defenses, or calling for a parley with a foe. The only limits to the actions you can attempt are your imagination and your character’s ability scores. See the descriptions of the ability scores in chapter 7 for inspiration as you improvise. When you describe an action not detailed elsewhere in the rules, the DM tells you whether that action is possible and what kind of roll you need to make, if any, to determine success or failure. R e a d y S e a r c h W hen you take the Search action, you devote your attention to finding something. D epending on the nature of your search, the DM might have you make a W isdom (Perception) check or an Intelligence (Investigation) check. U s e a n O b j e c t You norm ally interact with an object while doing som ething else, such as w hen you draw a sw ord as part of an attack. W hen an object requires your action for its use, you take the Use an Object action. This action is also useful w hen you want to interact with m ore than one object on your turn. W hether you’re striking with a m elee weapon, firing a w eapon at range, or making an attack roll as part of a spell, an attack has a simple structure. Som etim es you want to get the jum p on a foe or wait for a particular circum stance before you act. To do so, you can take the Ready action on your turn so that you can act later in the round using your reaction. First, you decide what perceivable circum stance will trigger your reaction. Then, you choose the action you will take in response to that trigger, or you choose to move up to your speed in response to it. Exam ples include “If the cultist steps on the trapdoor, I’ll pull the lever that opens it,” and “If the goblin steps next to me, I move away.” W hen the trigger occurs, you can either take your reaction right after the trigger finishes or ignore the trigger. Rem em ber that you can take only one reaction per round. W hen you ready a spell, you cast it as normal but hold its energy, which you release with your reaction when the trigger occurs. To be readied, a spell must have a casting time of 1 action, and holding onto the spell’s m agic requires concentration (explained in chapter 10). If your concentration is broken, the spell dissipates without taking effect. For example, if you are concentrating on the web spell and ready magic missile, your web spell ends, and if you take damage before you release magic missile with your reaction, your concentration might be broken.

A t t a c k R o l l s W hen you make an attack, your attack roll determines whether the attack hits or m isses. To make an attack roll, roll a d20 and add the appropriate modifiers. If the total o f the roll plus m odifiers equals or exceeds the target’s A rm or Class (AC), the attack hits. The AC o f a character is determined at character creation, whereas the AC of a monster is in its stat block. M o d if ie r s t o t h e R o l l W hen a character m akes an attack roll, the two most com m on modifiers to the roll are an ability m odifier and the character’s proficiency bonus. W hen a monster m akes an attack roll, it uses whatever modifier is provided in its stat block. Ability Modifier. The ability m odifier used for a melee w eapon attack is Strength, and the ability m odifier used for a ranged w eapon attack is Dexterity. W eapons that have the finesse or thrown property break this rule. S om e spells also require an attack roll. The ability m odifier used for a spell attack depends on the spellcasting ability o f the spellcaster, as explained in chapter 10. Proficiency Bonus. You add your proficiency bonus to your attack roll when you attack using a w eapon with which you have proficiency, as w ell as w hen you attack with a spell. R o l l in g 1 o r 20 Som etim es fate blesses or curses a combatant, causing the novice to hit and the veteran to miss. If the d20 roll for an attack is a 20, the attack hits regardless o f any modifiers or the target’s AC. In addition, the attack is a critical hit, as explained later in this chapter. If the d20 roll for an attack is a 1, the attack m isses regardless of any modifiers or the target’s AC. U n s e e n A t t a c k e r s a n d T a r g e t s 1. Choose a target. Pick a target within your attack’s range: a creature, an object, or a location. 2. Determine modifiers. The DM determines whether the target has cover and whether you have advantage or disadvantage against the target. In addition, spells, special abilities, and other effects can apply penalties or bonuses to your attack roll. 3. Resolve the attack. You make the attack roll. On a hit, you roll damage, unless the particular attack has rules that specify otherwise. S om e attacks cause special effects in addition to or instead o f damage. If there’s ever any question whether som ething you’re doing counts as an attack, the rule is simple: if you’re making an attack roll, you’re making an attack. Combatants often try to escape their foes’ notice by hiding, casting the invisibility spell, or lurking in darkness. W hen you attack a target that you can’t see, you have disadvantage on the attack 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 m iss, but the DM typically just says that the attack m issed, not whether you guessed the target’s location correctly. W hen a creature can’t see you, you have advantage on attack rolls against it. If you are hidden—both unseen and unheard—when you m ake an attack, you give away your location when the attack hits or m isses. R a n g e d A t t a c k s W hen you make a ranged attack, you fire a bow or a crossbow , hurl a handaxe, or otherwise send projectiles to strike a foe at a distance. A monster might shoot spines from its tail. Many spells also involve making a ranged attack. R a n g e You can make ranged attacks only against targets within a specified range. If a ranged attack, such as one made with a spell, has a single range, you can’t attack a target beyond this range. S om e ranged attacks, such as those made with a longbow or a shortbow, have two ranges. The smaller number is the norm al range, and the larger num ber is the long range. Your attack roll has disadvantage when your target is beyond norm al range, and you can’t attack a target beyond the long range. R a n g e d A t t a c k s i n C l o s e C o m b a t Aim ing a ranged attack is m ore difficult w hen a foe is next to you. W hen you m ake a ranged attack with a weapon, a spell, or som e other means, you have disadvantage on the attack roll if you are within 5 feet o f a hostile creature w ho can see you and w ho isn’t incapacitated. M e l e e A t t a c k s Used in hand-to-hand combat, a m elee attack allows you to attack a foe within your reach. A m elee attack typically uses a handheld w eapon such as a sword, a warhammer, or an axe. A typical monster m akes a melee attack w hen it strikes with its claws, horns, teeth, tentacles, or other body part. A few spells also involve making a m elee attack. M ost creatures have a 5-foot reach and can thus attack targets within 5 feet of them w hen making a m elee attack. Certain creatures (typically those larger than Medium) have melee attacks with a greater reach than 5 feet, as noted in their descriptions. W hen you are unarmed, you can fight in melee by m aking an unarmed strike, as show n in the weapon table in chapter 5. O p p o r t u n i t y A t t a c k s In a fight, everyone is constantly watching for enemies to drop their guard. You can rarely move heedlessly past your foes without putting yourself in danger; doing so provokes an opportunity attack. You can make an opportunity attack when a hostile creature that you can see m oves out of your reach. To make the opportunity attack, you use your reaction to m ake one m elee attack against the provoking C o n t e s t s in C o m b a t Battle often involves pitting your prowess against that of your foe. Such a challenge is represented by a contest. This section includes the most common contests that require an action in combat: grappling and shoving a creature. The DM can use these contests as models for improvising others. creature. The attack interrupts the provoking creature’s movement, occurring right before the creature leaves your reach. You can avoid provoking an opportunity attack by taking the Disengage action. You also don’t provoke an opportunity attack when you teleport or when som eone or som ething m oves you without using your movement, action, or reaction. For example, you don’t provoke an opportunity attack if an explosion hurls you out of a foe’s reach or if gravity causes you to fall past an enemy. Two- W e a p o n F i g h t i n g W hen you take the Attack action and attack with a light melee weapon that you’re holding in one hand, you can use a bonus action to attack with a different light melee weapon that you’re holding in the other hand. You don’t add your ability m odifier to the damage of the bonus attack, unless that modifier is negative. If either w eapon has the thrown property, you can throw the weapon, instead of making a melee attack with it. G r a p p l i n g W hen you want to grab a creature or w restle with it, you can use the Attack action to make a special melee attack, a grapple. If you’re able to make multiple attacks with the Attack action, this attack replaces one of them. The target of your grapple must be no m ore than one size larger than you, and it must be within your reach. Using at least one free hand, you try to seize the target by m aking a grapple check, a Strength (Athletics) check contested by the target’s Strength (Athletics) or Dexterity (Acrobatics) check (the target chooses the ability to use). If you succeed, you subject the target to the grappled condition (see appendix A). The condition specifies the things that end it, and you can release the target whenever you like (no action required). Escaping a Grapple. A grappled creature can use its action to escape. To do so, it must succeed on a Strength (Athletics) or Dexterity (Acrobatics) check contested by your Strength (Athletics) check. Moving a Grappled Creature. W hen you move, you can drag or carry the grappled creature with you, but your speed is halved, unless the creature is two or more sizes smaller than you. S h o v i n g a C r e a t u r e Using the Attack action, you can make a special melee attack to shove a creature, either to knock it prone or push it away from you. If you’re able to make multiple attacks with the Attack action, this attack replaces one of them. The target of your shove must be no m ore than one size larger than you, and it must be within your reach. You make a Strength (Athletics) check contested by the target’s Strength (Athletics) or Dexterity (Acrobatics)

check (the target chooses the ability to use). If you win the contest, you either knock the target prone or push it 5 feet away from you. C over Walls, trees, creatures, and other obstacles can provide cover during combat, making a target m ore difficult to harm. A target can benefit from cover only when an attack or other effect originates on the opposite side of the cover. There are three degrees of cover. If a target is behind multiple sources of cover, only the most protective degree o f cover applies; the degrees aren't added together. For example, if a target is behind a creature that gives half cover and a tree trunk that gives threequarters cover, the target has three-quarters cover. A target with half cover has a +2 bonus to AC and Dexterity saving throws. A target has half cover if an obstacle blocks at least half of its body. The obstacle might be a low wall, a large piece of furniture, a narrow tree trunk, or a creature, whether that creature is an enemy or a friend. A target with three-quarters cover has a +5 bonus to AC and Dexterity saving throws. A target has threequarters cover if about three-quarters of it is covered by an obstacle. The obstacle might be a portcullis, an arrow slit, or a thick tree trunk. A target with total cover can’t be targeted directly by an attack or a spell, although som e spells can reach such a target by including it in an area of effect. A target has total cover if it is completely concealed by an obstacle. D a m a g e a n d H e a l in g Injury and the risk of death are constant com panions o f those w ho explore the w orlds of D&D. The thrust of a sword, a well-placed arrow, or a blast of flame from a fireball spell all have the potential to damage, or even kill, the hardiest of creatures. H i t P o i n t s Hit points represent a com bination of physical and mental durability, the will to live, and luck. Creatures with m ore hit points are m ore difficult to kill. Those with fewer hit points are m ore fragile. A creature’s current hit points (usually just called hit points) can be any number from the creature’s hit point m aximum down to 0. This num ber changes frequently as a creature takes damage or receives healing. W henever a creature takes damage, that damage is subtracted from its hit points. The loss of hit points has no effect on a creature’s capabilities until the creature drops to 0 hit points. D a m a g e R o l l s Each weapon, spell, and harmful monster ability specifies the damage it deals. You roll the damage die or dice, add any m odifiers, and apply the damage to your target. M agic w eapons, special abilities, and other factors can grant a bonus to damage. W hen attacking with a weapon, you add your ability modifier—the sam e modifier used for the attack roll— to the damage. A spell tells you which dice to roll for damage and whether to add any modifiers. If a spell or other effect deals damage to more than one target at the sam e time, roll the damage once for all of them. For example, when a w izard casts fireball or a cleric casts flame strike, the spell’s damage is rolled once for all creatures caught in the blast. C r i t i c a l H i t s W hen you score a critical hit, you get to roll extra dice for the attack’s damage against the target. Roll all of the attack’s damage dice twice and add them together. Then add any relevant modifiers as normal. To speed up play, you can roll all the damage dice at once. For example, if you score a critical hit with a dagger, roll 2d4 for the damage, rather than 1d4, 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. D a m a g e T y p e s Different attacks, damaging spells, and other harmful effects deal different types of damage. Damage types have no rules of their own, but other rules, such as damage resistance, rely on the types. The damage types follow, with examples to help a DM assign a damage type to a new effect. Acid. The corrosive spray of a black dragon’s breath and the dissolving enzym es secreted by a black pudding deal acid damage. Bludgeoning. Blunt force attacks—hamm ers, falling, constriction, and the like—deal bludgeoning damage. Cold. The infernal chill radiating from an ice devil’s spear and the frigid blast of a white dragon’s breath deal cold damage. Fire. Red dragons breathe fire, and many spells conjure flames to deal fire damage. Force. Force is pure magical energy focused into a damaging form. Most effects that deal force damage are spells, including magic missile and spiritual weapon. Lightning. A lightning bolt spell and a blue dragon’s breath deal lightning damage. Necrotic. Necrotic damage, dealt by certain undead and a spell such as chill touch, withers matter and even the soul. Piercing. Puncturing and impaling attacks, including spears and m onsters’ bites, deal piercing damage. Poison. Venom ous stings and the toxic gas o f a green dragon’s breath deal poison damage. Psychic. Mental abilities such as a mind flayer’s psionic blast deal psychic damage. Radiant. Radiant damage, dealt by a cleric’s flame strike spell or an angel’s smiting weapon, sears the flesh like fire and overloads the spirit with power. Slashing. Sw ords, axes, and m onsters’ claws deal slashing damage. Thunder. A concussive burst of sound, such as the effect o f the thunderwave spell, deals thunder damage.

D a m a g e R e s i s t a n c e a n d V u l n e r a b i l i t y S om e creatures and objects are exceedingly difficult or unusually easy to hurt with certain types of damage. If a creature or an object has resistance to a damage type, damage of that type is halved against it. If a creature or an object has vulnerability to a damage type, damage of that type is doubled against it. Resistance and then vulnerability are applied after all other m odifiers to damage. For example, a creature has resistance to bludgeoning damage and is hit by an attack that deals 25 bludgeoning damage. The creature is also within a m agical aura that reduces all damage by 5. The 25 damage is first reduced by 5 and then halved, so the creature takes 10 damage. Multiple instances of resistance or vulnerability that affect the sam e damage type count as only one instance. For example, if a creature has resistance to fire damage as w ell as resistance to all nonm agical damage, the damage of a nonm agical fire is reduced by half against the creature, not reduced by three-quarters. H e a l i n g Unless it results in death, damage isn’t permanent. Even death is reversible through pow erful magic. Rest can restore a creature's hit points (as explained in chapter 8), and magical m ethods such as a cure wounds spell or a potion of healing can remove damage in an instant. W hen a creature receives healing of any kind, hit points regained are added to its current hit points. A creature’s hit points can’t exceed its hit point maximum, so any hit points regained in excess of this num ber are lost. For example, a druid grants a ranger 8 hit points of healing. If the ranger has 14 current hit points and has a hit point maximum of 20, the ranger regains 6 hit points from the druid, not 8. A creature that has died can’t regain hit points until m agic such as the revivify spell has restored it to life. D r o p p i n g t o 0 H i t P o i n t s W hen you drop to 0 hit points, you either die outright or fall unconscious, as explained in the following sections. I n s t a n t D e a t h Massive damage can kill you instantly. W hen damage reduces you to 0 hit points and there is damage remaining, you die if the remaining damage equals or exceeds your hit point maximum. For example, a cleric with a m axim um of 12 hit points currently has 6 hit points. If she takes 18 damage from an attack, she is reduced to 0 hit points, but 12 damage remains. Because the remaining damage equals her hit point maximum, the cleric dies. Fa l l i n g U n c o n s c i o u s If damage reduces you to 0 hit points and fails to kill you, you fall unconscious (see appendix A). This unconsciousness ends if you regain any hit points. D e s c r ib in g t h e E f f e c t s o f D a m a g e Dungeon Masters describe hit point loss in different ways. When your current hit point total is half or more of your hit point maximum, you typically show no signs of injury. When you drop below half your hit point maximum, you show signs of wear, such as cuts and bruises. An attack that reduces you to 0 hit points strikes you directly, leaving a bleeding injury or other trauma, or it simply knocks you unconscious. D e a t h Sa v i n g T h r o w s W henever you start your turn with 0 hit points, you must make a special saving throw, called a death saving throw, to determine whether you creep closer to death or hang onto life. Unlike other saving throws, this one isn’t tied to any ability score. You are in the hands of fate now, aided only by spells and features that improve your chances of succeeding on a saving throw. Roll a d20. If the roll is 10 or higher, you succeed. Otherwise, you fail. A success or failure has no effect by itself. On your third success, you becom e stable (see below). On your third failure, you die. 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 you regain any hit points or becom e stable. Rolling 1 or 20. W hen 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, you regain 1 hit point. Damage at 0 Hit Points. If you take any damage while you have 0 hit points, you suffer a death saving throw failure. If the damage is from a critical hit, you suffer two failures instead. If the damage equals or exceeds your hit point maximum, you suffer instant death. St a b i l i z i n g a C r e a t u r e 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. You can use your action to administer first aid to an unconscious creature and attempt to stabilize it, which requires a successful DC 10 W isdom (M edicine) check. A stable creature doesn’t make death saving throws, even though it has 0 hit points, but it does remain unconscious. The creature stops being stable, and must

start making death saving throws again, if it takes any damage. A stable creature that isn’t healed regains 1 hit point after 1d4 hours. M o n s t e r s a n d D e a t h Most DMs have a monster die the instant it drops to 0 hit points, rather than having it fall unconscious and make death saving throws. Mighty villains and special nonplayer characters are com m on exceptions; the DM might have them fall unconscious and follow the sam e rules as player characters. K n o c k i n g a C r e a t u r e O u t Som etim es an attacker wants to incapacitate a foe, rather than deal a killing blow. W hen an attacker reduces a creature to 0 hit points with a melee attack, the attacker can knock the creature out. The attacker can make this choice the instant the damage is dealt. The creature falls unconscious and is stable. T e m p o r a r y H i t P o i n t s Som e spells and special abilities confer tem porary hit points to a creature. Temporary hit points aren’t actual hit points; they are a buffer against damage, a pool of hit points that protect you from injury. W hen you have tem porary hit points and take damage, the tem porary hit points are lost first, and any leftover damage carries over to your normal hit points. For example, if you have 5 tem porary hit points and take 7 damage, you lose the temporary hit points and then take 2 damage. B ecause tem porary hit points are separate from your actual hit points, they can exceed your hit point maximum. A character can, therefore, be at full hit points and receive tem porary hit points. Healing can’t restore tem porary hit points, and they can’t be added together. If you have tem porary hit points and receive m ore of them, you decide whether to keep the ones you have or to gain the new ones. For example, if a spell grants you 12 tem porary hit points w hen you already have 10, you can have 12 or 10, not 22. If you have 0 hit points, receiving tem porary hit points doesn’t restore you to consciousness or stabilize you. They can still absorb damage directed at you while you’re in that state, but only true healing can save you. Unless a feature that grants you temporary hit points has a duration, they last until they’re depleted or you finish a long rest. M o u n t e d C o m b a t A knight charging into battle on a warhorse, a wizard casting spells from the back of a griffon, or a cleric soaring through the sky on a pegasus all enjoy the benefits of speed and mobility that a mount can provide. A willing creature that is at least one size larger than you and that has an appropriate anatomy can serve as a mount, using the following rules. M o u n t i n g a n d D i s m o u n t i n g Once during your move, you can mount a creature that is within 5 feet of you or dismount. D oing so costs an amount of movement equal to half your speed. For example, if your speed is 30 feet, you must spend 15 feet of movement to mount a horse. Therefore, you can’t mount it if you don’t have 15 feet o f movement left or if your speed is 0. If an effect m oves your mount against its w ill while you’re on it, you must succeed on a DC 10 Dexterity saving throw or fall off the mount, landing prone in a space within 5 feet of it. If you’re knocked prone while mounted, you must make the sam e saving throw. If your mount is knocked prone, you can use your reaction to dismount it as it falls and land on your feet. Otherwise, you are dismounted and fall prone in a space within 5 feet it. C o n t r o l l i n g a M o u n t W hile you're mounted, you have two options. You can either control the mount or allow it to act independently. Intelligent creatures, such as dragons, act independently. You can control a mount only if it has been trained to accept a rider. Dom esticated horses, donkeys, and similar creatures are assum ed to have such training. The initiative of a controlled mount changes to match yours w hen you mount it. It m oves as you direct it, and it has only three action options: Dash, Disengage, and Dodge. A controlled mount can m ove and act even on the turn that you mount it. An independent mount retains its place in the initiative order. Bearing a rider puts no restrictions on the actions the mount can take, and it m oves and acts as it w ishes. It might flee from combat, rush to attack and devour a badly injured foe, or otherwise act against your wishes. In either case, if the mount provokes an opportunity attack while you’re on it, the attacker can target you or the mount. U nderw ater C o m b a t W hen adventurers pursue sahuagin back to their undersea hom es, fight off sharks in an ancient shipwreck, or find themselves in a flooded dungeon room , they must fight in a challenging environment. Underwater the following rules apply. W hen making a melee weapon attack, a creature that doesn’t have a sw im m ing speed (either natural or granted by magic) has disadvantage on the attack roll unless the weapon is a dagger, javelin, shortsword, spear, or trident. A ranged weapon attack automatically m isses a target beyond the w eapon’s norm al range. Even against a target within normal range, the attack roll has disadvantage unless the weapon is a crossbow , a net, or a weapon that is thrown like a javelin (including a spear, trident, or dart). Creatures and objects that are fully im m ersed in water have resistance to fire damage.

C h a p t e r 10: Sp e l l c a s t in g MAGIC PERMEATES THE WORLDS OF D&D AND most often appears in the form o f a spell. This chapter provides the rules for casting spells. Different character classes have distinctive ways of learning and preparing their spells, and monsters use spells in unique ways. Regardless of its source, a spell follow s the rules here. W h a t Is a Spell? A spell is a discrete magical effect, a single shaping of the magical energies that suffuse the multiverse into a specific, limited expression. In casting a spell, a character carefully plucks at the invisible strands of raw m agic suffusing the world, pins them in place in a particular pattern, sets them vibrating in a specific way, and then releases them to unleash the desired effect—in most cases, all in the span o f seconds. Spells can be versatile tools, w eapons, or protective wards. They can deal damage or undo it, im pose or remove conditions (see appendix A), drain life energy away, and restore life to the dead. Uncounted thousands of spells have been created over the course of the multiverse’s history, and many of them are long forgotten. S om e might yet lie recorded in crum bling spellbooks hidden in ancient ruins or trapped in the minds of dead gods. Or they might som eday be reinvented by a character w ho has am assed enough pow er and w isdom to do so. S p e l l L e v e l Every spell has a level from 0 to 9. A spell’s level is a general indicator of how powerful it is, with the lowly (but still impressive) magic missile at 1st level and the earth-shaking wish at 9th. Cantrips—simple but pow erful spells that characters can cast almost by rote— are level 0. The higher a spell’s level, the higher level a spellcaster must be to use that spell. Spell level and character level don’t correspond directly. Typically, a character has to be at least 17th level, not 9th level, to cast a 9th-level spell. K n o w n a n d P r e p a r e d S p e l l s Before a spellcaster can use a spell, he or she must have the spell firmly fixed in mind, or must have access to the spell in a magic item. M embers o f a few classes, including bards and sorcerers, have a limited list of spells they know that are always fixed in mind. The sam e thing is true o f many m agic-using monsters. Other spellcasters, such as clerics and wizards, undergo a process o f preparing spells. This process varies for different classes, as detailed in their descriptions. C a s t i n g i n A r m o r Because of the mental focus and precise gestures required for spellcasting, you must be proficient with the armor you are wearing to cast a spell. You are otherwise too distracted and physically hampered by your armor for spellcasting. In every case, the number o f spells a caster can have fixed in mind at any given time depends on the character’s level. S p e l l S l o t s Regardless of how many spells a caster knows or prepares, he or she can cast only a limited num ber of spells before resting. Manipulating the fabric of magic and channeling its energy into even a simple spell is physically and mentally taxing, and higher-level spells are even m ore so. Thus, each spellcasting class’s description (except that of the warlock) includes a table showing how many spell slots of each spell level a character can use at each character level. For example, the 3rd-level wizard Umara has four 1st-level spell slots and two 2nd-level slots. W hen a character casts a spell, he or she expends a slot of that spell’s level or higher, effectively “filling” a slot with the spell. You can think o f a spell slot as a groove of a certain size—small for a 1st-level slot, larger for a spell of higher level. A 1st-level spell fits into a slot of any size, but a 9th-level spell fits only in a 9th-level slot. S o when Umara casts magic missile, a 1st-level spell, she spends one of her four 1st-level slots and has three remaining. Finishing a long rest restores any expended spell slots (see chapter 8 for the rules on resting). Som e characters and m onsters have special abilities that let them cast spells without using spell slots. For example, a m onk who follow s the Way o f the Four Elements, a w arlock who chooses certain eldritch invocations, and a pit fiend from the Nine Hells can all cast spells in such a way. C a s t i n g a Sp e l l a t a H i g h e r L e v e l W hen a spellcaster casts a spell using a slot that is of a higher level than the spell, the spell assum es the higher level for that casting. For instance, if Umara casts magic missile using one of her 2nd-level slots, that magic missile is 2nd level. Effectively, the spell expands to fill the slot it is put into. Som e spells, such as magic missile and cure wounds, have m ore pow erful effects when cast at a higher level, as detailed in a spell’s description. C a n t r i p s A cantrip is a spell that can be cast at will, without using a spell slot and without being prepared in advance. Repeated practice has fixed the spell in the caster’s mind and infused the caster with the magic needed to produce the effect over and over. A cantrip’s spell level is 0. R i t u a l s Certain spells have a special tag: ritual. Such a spell can be cast following the norm al rules for spellcasting, or the spell can be cast as a ritual. The ritual version of a spell takes 10 minutes longer to cast than normal.

It also doesn’t expend a spell slot, which m eans the ritual version of a spell can’t be cast at a higher level. To cast a spell as a ritual, a spellcaster must have a feature that grants the ability to do so. The cleric and the druid, for example, have such a feature. The caster must also have the spell prepared or on his or her list of spells known, unless the character’s ritual feature specifies otherwise, as the w izard’s does. C a s t in g a Spell W hen a character casts any spell, the sam e basic rules are followed, regardless of the character’s class or the spell’s effects. Each spell description in chapter 11 begins with a block of information, including the spell’s name, level, school of magic, casting time, range, components, and duration. The rest of a spell entry describes the spell’s effect. C a s t i n g T i m e Most spells require a single action to cast, but som e spells require a bonus action, a reaction, or m uch more time to cast. B o n u s A c t i o n A spell cast with a bonus action is especially swift. You must use a bonus action on your turn to cast the spell, provided that you haven’t already taken a bonus action this turn. You can’t cast another spell during the same turn, except for a cantrip with a casting time of 1 action. R e a c t i o n s S om e spells can be cast as reactions. These spells take a fraction of a second to bring about and are cast in response to som e event. If a spell can be cast as a reaction, the spell description tells you exactly when you can do so. L o n g e r C a s t i n g T im e s Certain spells (including spells cast as rituals) require m ore time to cast: minutes or even hours. W hen you cast a spell with a casting time longer than a single action or reaction, you must spend your action each turn casting the spell, and you must maintain your concentration while you do so (see “Concentration” below). If your concentration is broken, the spell fails, but you don’t expend a spell slot. If you want to try casting the spell again, you must start over. R a n g e The target of a spell must be within the spell’s range. For a spell like magic missile, the target is a creature. For a spell like fireball, the target is the point in space where the ball of fire erupts. M ost spells have ranges expressed in feet. Som e spells can target only a creature (including you) that you touch. Other spells, such as the shield spell, affect only you. These spells have a range of self. Spells that create cones or lines of effect that originate from you also have a range o f self, indicating that the origin point of the spell’s effect must be you (see “Areas o f Effect” later in the this chapter).

Once a spell is cast, its effects aren’t limited by its range, unless the spell’s description says otherwise. C o m p o n e n t s A spell’s com ponents are the physical requirements you must meet in order to cast it. Each spell’s description indicates whether it requires verbal (V), som atic (S), or material (M ) com ponents. If you can’t provide one or m ore of a spell’s com ponents, you are unable to cast the spell. V e r b a l ( V ) M ost spells require the chanting of mystic words. The w ords themselves aren’t the source o f the spell’s power; rather, the particular com bination of sounds, with specific pitch and resonance, sets the threads of magic in motion. Thus, a character w ho is gagged or in an area of silence, such as one created by the silence spell, can’t cast a spell with a verbal component. S o m a t i c (S ) Spellcasting gestures might include a forceful gesticulation or an intricate set of gestures. If a spell requires a som atic com ponent, the caster must have free use of at least one hand to perform these gestures. M a t e r i a l (M ) Casting som e spells requires particular objects, specified in parentheses in the com ponent entry. A character can use a component pouch or a spellcasting focus (found in chapter 5) in place of the com ponents specified for a spell. But if a cost is indicated for a com ponent, a character must have that specific com ponent before he or she can cast the spell. If a spell states that a material com ponent is consum ed by the spell, the caster must provide this com ponent for each casting of the spell. A spellcaster must have a hand free to access these com ponents, but it can be the sam e hand that he or she uses to perform som atic com ponents. D u r a t i o n A spell's duration is the length of time the spell persists. A duration can be expressed in rounds, minutes, hours, or even years. S om e spells specify that their effects last until the spells are dispelled or destroyed. I n s t a n t a n e o u s Many spells are instantaneous. The spell harms, heals, creates, or alters a creature or an object in a way that can’t be dispelled, because its m agic exists only for an instant. C o n c e n t r a t i o n S om e spells require you to maintain concentration in order to keep their m agic active. If you lose concentration, such a spell ends. If a spell must be maintained with concentration, that fact appears in its Duration entry, and the spell specifies how long you can concentrate on it. You can end concentration at any time (no action required). T h e S c h o o l s o f Ma g ic Academies of magic group spells into eight categories called schools of magic. Scholars, particularly wizards, apply these categories to all spells, believing that all magic functions in essentially the same way, whether it derives from rigorous study or is bestowed by a deity. The schools of magic help describe spells; they have no rules of their own, although some rules refer to the schools. Abjuration spells are protective in nature, though some of them have aggressive uses. They create magical barriers, negate harmful effects, harm trespassers, or banish creatures to other planes of existence. Conjuration spells involve the transportation of objects and creatures from one location to another. Some spells summon creatures or objects to the caster’s side, whereas others allow the caster to teleport to another location. Some conjurations create objects or effects out of nothing. Divination spells reveal information, whether in the form of secrets long forgotten, glimpses of the future, the locations of hidden things, the truth behind illusions, or visions of distant people or places. Enchantment spells affect the minds of others, influencing or controlling their behavior. Such spells can make enemies see the caster as a friend, force creatures to take a course of action, or even control another creature like a puppet. Evocation spells manipulate magical energy to produce a desired effect. Some call up blasts of fire or lightning. Others channel positive energy to heal wounds. Illusion spells deceive the senses or minds of others. They cause people to see things that are not there, to miss things that are there, to hear phantom noises, or to remember things that never happened. Some illusions create phantom images that any creature can see, but the most insidious illusions plant an image directly in the mind of a creature. Necromancy spells manipulate the energies of life and death. Such spells can grant an extra reserve of life force, drain the life energy from another creature, create the undead, or even bring the dead back to life. Creating the undead through the use of necromancy spells such as animate dead is not a good act, and only evil casters use such spells frequently. Transmutation spells change the properties of a creature, object, or environment. They might turn an enemy into a harmless creature, bolster the strength of an ally, make an object move at the caster’s command, or enhance a creature’s innate healing abilities to rapidly recover from injury. Normal activity, such as moving and attacking, doesn’t interfere with concentration. The following factors can break concentration: • Casting another spell that requires concentration. You lose concentration on a spell if you cast another spell that requires concentration. You can’t concentrate on two spells at once. • Taking damage. W henever you take damage while you are concentrating on a spell, you must m ake a Constitution saving throw to maintain your concentration. The DC equals 10 or half the damage you take, whichever number is higher. If you take damage from multiple sources, such as an arrow and a dragon’s breath, you make a separate saving throw for each source of damage. • Being incapacitated or killed. You lose concentration on a spell if you are incapacitated or if you die.

The DM might also decide that certain environmental phenomena, such as a wave crashing over you while you’re on a storm -tossed ship, require you to succeed on a DC 10 Constitution saving throw to maintain concentration on a spell. T a r g e t s A typical spell requires you to pick one or more targets to be affected by the spell’s m agic. A spell's description tells you whether the spell targets creatures, objects, or a point of origin for an area of effect (described below). Unless a spell has a perceptible effect, a creature might not know it w as targeted by a spell at all. An effect like crackling lightning is obvious, but a m ore subtle effect, such as an attempt to read a creature’s thoughts, typically goes unnoticed, unless a spell says otherwise. A C l e a r Pa t h t o t h e T a r g e t To target som ething, you must have a clear path to it, so it can’t be behind total cover. If you place an area of effect at a point that you can’t see and an obstruction, such as a wall, is between you and that point, the point o f origin com es into being on the near side of that obstruction. T a r g e t i n g Y o u r s e l f If a spell targets a creature of your choice, you can choose yourself, unless the creature must be hostile or specifically a creature other than you. If you are in the area of effect of a spell you cast, you can target yourself. A r e a s o f E f f e c t Spells such as burning hands and cone o f cold cover an area, allowing them to affect multiple creatures at once. A spell’s description specifies its area of effect, which typically has one of five different shapes: cone, cube, cylinder, line, or sphere. Every area of effect has a point of origin, a location from which the spell’s energy erupts. The rules for each shape specify how you position its point of origin. Typically, a point of origin is a point in space, but som e spells have an area w hose origin is a creature or an object. A spell’s effect expands in straight lines from the point of origin. If no unblocked straight line extends from the point of origin to a location within the area of effect, that location isn’t included in the spell’s area. To block one of these imaginary lines, an obstruction must provide total cover, as explained in chapter 9. C o n e A cone extends in a direction you choose from its point of origin. A con e’s width at a given point along its length is equal to that point’s distance from the point of origin. A cone’s area of effect specifies its maximum length. A cone’s point of origin is not included in the con e’s area of effect, unless you decide otherwise. C u b e You select a cube’s point of origin, which lies anywhere on a face of the cubic effect. The cube’s size is expressed as the length of each side. A cube’s point of origin is not included in the cube’s area of effect, unless you decide otherwise. C y l in d e r A cylinder’s point of origin is the center of a circle of a particular radius, as given in the spell description. The circle must either be on the ground or at the height of the spell effect. The energy in a cylinder expands in straight lines from the point of origin to the perimeter of the circle, form ing the base of the cylinder. The spell’s effect then shoots up from the base or down from the top, to a distance equal to the height of the cylinder. A cylinder’s point of origin is included in the cylinder’s area of effect.

L i n e A line extends from its point of origin in a straight path up to its length and covers an area defined by its width. A line’s point of origin is not included in the line’s area of effect, unless you decide otherwise. Sp h e r e You select a sphere’s point of origin, and the sphere extends outward from that point. The sphere’s size is expressed as a radius in feet that extends from the point. A sphere’s point of origin is included in the sphere’s area of effect. S a v i n g T h r o w s Many spells specify that a target can make a saving throw to avoid som e or all of a spell’s effects. The spell specifies the ability that the target uses for the save and what happens on a success or failure. The DC to resist one of your spells equals 8 + your spellcasting ability modifier + your proficiency bonus + any special modifiers. A t t a c k R o l l s S om e spells require the caster to make an attack roll to determine whether the spell effect hits the intended target. Your attack bonus with a spell attack equals your spellcasting ability m odifier + your proficiency bonus. M ost spells that require attack rolls involve ranged attacks. Rem em ber that you have disadvantage on a ranged attack roll if you are within 5 feet of a hostile creature that can see you and that isn’t incapacitated (see chapter 9). C o m b i n i n g M a g i c a l E f f e c t s The effects of different spells add together while the durations of those spells overlap. The effects of the sam e spell cast multiple times don't com bine, however. Instead, the m ost potent effect—such as the highest bonus—from those castings applies while their durations overlap. For example, if two clerics cast bless on the same target, that character gains the spell’s benefit only once; he or she doesn’t get to roll two bonus dice. T h e W e a v e o f M a g ic The worlds within the D&D multiverse are magical places. All existence is suffused with magical power, and potential energy lies untapped in every rock, stream, and living creature, and even in the air itself. Raw magic is the stuff of creation, the mute and mindless will of existence, permeating every bit of matter and present in every manifestation of energy throughout the multiverse. Mortals can’t directly shape this raw magic. Instead, they make use of a fabric of magic, a kind of interface between the will of a spellcaster and the stuff of raw magic. The spellcasters of the Forgotten Realms call it the Weave and recognize its essence as the goddess Mystra, but casters have varied ways of naming and visualizing this interface. By any name, without the Weave, raw magic is locked away and inaccessible;the most powerful archmage can't light a candle with magic in an area where the Weave has been torn. But surrounded by the Weave, a spellcaster can shape lightning to blast foes, transport hundreds of miles in the blink of an eye, or even reverse death itself. All magic depends on the Weave, though different kinds of magic access it in a variety of ways. The spells of wizards, warlocks, sorcerers, and bards are commonly called arcane magic. These spells rely on an understanding— learned or intuitive— of the workings of the Weave. The caster plucks directly at the strands of the Weave to create the desired effect. Eldritch knights and arcane tricksters also use arcane magic. The spells of clerics, druids, paladins, and rangers are called divine magic. These spellcasters’ access to the Weave is mediated by divine power— gods, the divine forces of nature, or the sacred weight of a paladin’s oath. Whenever a magic effect is created, the threads of the Weave intertwine, twist, and fold to make the effect possible. When characters use divination spells such as detect magic or identify, they glimpse the Weave. A spell such as dispel magic smooths the Weave. Spells such as antimagic field rearrange the Weave so that magic flows around, rather than through, the area affected by the spell. And in places where the Weave is damaged or torn, magic works in unpredictable ways— or not at all.

C h a p t e r 11: Spe lls THIS CHAPTER DESCRIBES THE MOST COMMON spells in the w orlds of DUNGEONS & D r a g o n s . The chapter begins with the spell lists of the spellcasting classes. The remainder contains spell descriptions, presented in alphabetical order by the name of the spell. B a r d S p e l l s C a n t r ip s (0 L e v e l ) Blade Ward Dancing Lights Friends Light Mage Hand Mending Message Minor Illusion Prestidigitation True Strike Vicious Mockery 1s t L evel Animal Friendship Bane Charm Person Comprehend Languages Cure Wounds Detect Magic Disguise Self Dissonant Whispers Faerie Fire Feather Fall Healing Word Heroism Identify Illusory Script Longstrider Silent Image Sleep Speak with Animals Tasha’s Hideous Laughter Thunderwave Unseen Servant 2ND L evel Animal Messenger Blindness/Deafness Calm Emotions Cloud of Daggers Crown of Madness Detect Thoughts Enhance Ability Enthrall Heat Metal Hold Person Invisibility Knock Lesser Restoration Locate Animals or Plants Locate Object Magic Mouth Phantasmal Force See Invisibility Shatter Silence Suggestion Zone o f Truth 3 r d L evel Bestow Curse Clairvoyance Dispel Magic Fear Feign Death Glyph o f Warding Hypnotic Pattern Leomund’s Tiny Hut Major Image Nondetection Plant Growth Sending Speak with Dead Speak with Plants Stinking Cloud Tongues 4 t h L evel Compulsion Confusion Dimension Door Freedom of Movement Greater Invisibility Hallucinatory Terrain Locate Creature Polymorph 5t h L evel Animate Objects Awaken Dominate Person Dream Geas Greater Restoration Hold Monster Legend Lore Mass Cure Wounds Mislead Modify Memory Planar Binding Raise Dead Scrying Seeming Teleportation Circle 6 t h L evel Eyebite Find the Path Guards and Wards Mass Suggestion Otto’s Irresistible Dance Programmed Illusion True Seeing 7 t h L evel Etherealness Forcecage Mirage Arcane Mordenkainen’s Magnificent Mansion Mordenkainen’s Sword Project Image Regenerate Resurrection Symbol Teleport 8t h L evel Dominate Monster Feeblemind Glibness Mind Blank Power Word Stun 9 t h L evel Foresight Power Word Heal Power Word Kill True Polymorph C l e r i c S p e l l s C a n t r ip s (0 L e v e l ) Guidance Light Mending Resistance Sacred Flame Spare the Dying Thaumaturgy 1s t L evel Bane Bless Command Create or Destroy Water Cure Wounds Detect Evil and Good Detect Magic Detect Poison and Disease Guiding Bolt Healing Word Inflict Wounds Protection from Evil and Good Purify Food and Drink Sanctuary Shield of Faith 2ND L evel Aid Augury Blindness/Deafness Calm Emotions Continual Flame Enhance Ability Find Traps Gentle Repose Hold Person Lesser Restoration Locate Object Prayer of Healing Protection from Poison Silence Spiritual Weapon Warding Bond Zone o f Truth 3 r d L evel Animate Dead Beacon of Hope Bestow Curse Clairvoyance Create Food and Water Daylight Dispel Magic Feign Death Glyph o f Warding Magic Circle Mass Healing Word Meld into Stone Protection from Energy Remove Curse Revivify Sending Speak with Dead

Spirit Guardians Tongues Water Walk 4 t h L evel Banishment Control Water Death Ward Divination Freedom of Movement Guardian of Faith Locate Creature Stone Shape 5t h L evel Commune Contagion Dispel Evil and Good Flame Strike Geas Greater Restoration Hallow Insect Plague Legend Lore Mass Cure Wounds Planar Binding Raise Dead Scrying 6 t h L evel Blade Barrier Create Undead Find the Path Forbiddance Harm Heal Heroes’ Feast Planar Ally True Seeing Word of Recall 7t h L evel Conjure Celestial Divine Word Etherealness Fire Storm Plane Shift Regenerate Resurrection Symbol 8 t h L evel Antimagic Field Control Weather Earthquake Holy Aura 9 t h L evel Astral Projection Gate Mass Heal True Resurrection D r u i d S p e l l s C a n t r ip s (0 L e v e l ) Druidcraft Guidance Mending Poison Spray Produce Flame Resistance Shillelagh Thorn Whip 1s t L evel Animal Friendship Charm Person Create or Destroy Water Cure Wounds Detect Magic Detect Poison and Disease Entangle Faerie Fire Fog Cloud Goodberry Healing Word Jump Longstrider Purify Food and Drink Speak with Animals Thunderwave 2 n d L evel Animal Messenger Barkskin Beast Sense Darkvision Enhance Ability Find Traps Flame Blade Flaming Sphere Gust of Wind Heat Metal Hold Person Lesser Restoration Locate Animals or Plants Locate Object Moonbeam Pass without Trace Protection from Poison Spike Growth 3 r d L evel Call Lightning Conjure Animals Daylight Dispel Magic Feign Death Meld into Stone Plant Growth Protection from Energy Sleet Storm Speak with Plants Water Breathing Water Walk Wind Wall 4 t h L evel Blight Confusion Conjure Minor Elementals Conjure Woodland Beings Control Water Dominate Beast Freedom of Movement Giant Insect Grasping Vine Hallucinatory Terrain Ice Storm Locate Creature Polymorph Stone Shape Stoneskin Wall of Fire 5t h L evel Antilife Shell Awaken Commune with Nature Conjure Elemental Contagion Geas Greater Restoration Insect Plague Mass Cure Wounds Planar Binding Reincarnate Scrying Tree Stride Wall of Stone 6 t h L evel Conjure Fey Find the Path Heal Heroes’ Feast Move Earth Sunbeam Transport via Plants Wall o f Thorns Wind Walk 7t h L evel Fire Storm Mirage Arcane Plane Shift Regenerate Reverse Gravity 8 t h L evel Animal Shapes Antipathy/Sympathy Control Weather Earthquake Feeblemind Sunburst Tsunami 9 t h L evel Foresight Shapechange Storm o f Vengeance True Resurrection P a l a d i n S p e l l s 1s t L evel Bless Command Compelled Duel Cure Wounds Detect Evil and Good Detect Magic Detect Poison and Disease Divine Favor Heroism Protection from Evil and Good Purify Food and Drink Searing Smite Shield of Faith Thunderous Smite Wrathful Smite 2 n d L evel Aid Branding Smite Find Steed Lesser Restoration Locate Object Magic Weapon Protection from Poison Zone o f Truth 3 r d L evel Aura of Vitality Blinding Smite Create Food and Water Crusader's Mantle Daylight Dispel Magic Elemental Weapon

Magic Circle Remove Curse Revivify 4 t h L evel Aura of Life Aura of Purity Banishment Death Ward Locate Creature Staggering Smite 5t h L evel Banishing Smite Circle of Power Destructive Smite Dispel Evil and Good Geas Raise Dead R a n g e r S p e l l s 1s t L evel Alarm Animal Friendship Cure Wounds Detect Magic Detect Poison and Disease Ensnaring Strike Fog Cloud Goodberry Hail o f Thorns Hunter’s Mark Jump Longstrider Speak with Animals 2 n d L evel Animal Messenger Barkskin Beast Sense Cordon of Arrows Darkvision Find Traps Lesser Restoration Locate Animals or Plants Locate Object Pass without Trace Protection from Poison Silence Spike Growth 3 r d L evel Conjure Animals Conjure Barrage Daylight Lightning Arrow Nondetection Plant Growth Protection from Energy Speak with Plants Water Breathing Water Walk Wind Wall 4 t h L evel Conjure Woodland Beings Freedom of Movement Grasping Vine Locate Creature Stoneskin 5t h L evel Commune with Nature Conjure Volley Swift Quiver Tree Stride S o r c e r e r S p e l l s C a n t r ip s (0 L evel ) Acid Splash Blade Ward Chill Touch Dancing Lights Fire Bolt Friends Light Mage Hand Mending Message Minor Illusion Poison Spray Prestidigitation Ray of Frost Shocking Grasp True Strike 1s t L evel Burning Hands Charm Person Chromatic Orb Color Spray Comprehend Languages Detect Magic Disguise Self Expeditious Retreat False Life Feather Fall Fog Cloud Jump Mage Armor Magic Missile Ray of Sickness Shield Silent Image Sleep Thunderwave Witch Bolt 2 n d L evel Alter Self Blindness/Deafness Blur Cloud of Daggers Crown of Madness Darkness Darkvision Detect Thoughts Enhance Ability Enlarge/Reduce Gust of Wind Hold Person Invisibility Knock Levitate Mirror Image Misty Step Phantasmal Force Scorching Ray See Invisibility Shatter Spider Climb Suggestion Web 3 r d L evel Blink Clairvoyance Counterspell Daylight Dispel Magic Fear Fireball Fly Gaseous Form Haste Hypnotic Pattern Lightning Bolt Major Image Protection from Energy Sleet Storm Slow Stinking Cloud Tongues Water Breathing Water Walk 4 t h L evel Banishment Blight Confusion Dimension Door Dominate Beast Greater Invisibility Ice Storm Polymorph Stoneskin Wall of Fire 5t h L evel Animate Objects Cloudkill Cone of Cold Creation Dominate Person Hold Monster Insect Plague Seeming Telekinesis Teleportation Circle Wall of Stone 6 t h L evel Arcane Gate Chain Lightning Circle of Death Disintegrate Eyebite Globe of Invulnerability Mass Suggestion Move Earth Sunbeam True Seeing 7t h L evel Delayed Blast Fireball Etherealness Finger of Death Fire Storm Plane Shift Prismatic Spray Reverse Gravity Teleport 8 t h L evel Dominate Monster Earthquake Incendiary Cloud Power Word Stun Sunburst 9 t h L evel Gate Meteor Swarm Power Word Kill Time Stop Wish

W a r l o c k S p e l l s C a n t r ip s (0 L e v e l ) Blade Ward Chill Touch Eldritch Blast Friends Mage Hand Minor Illusion Poison Spray Prestidigitation True Strike 1s t L evel Armor of Agathys Arms of Hadar Charm Person Comprehend Languages Expeditious Retreat Hellish Rebuke Hex Illusory Script Protection from Evil and Good Unseen Servant Witch Bolt 2 n d L evel Cloud of Daggers Crown of Madness Darkness Enthrall Hold Person Invisibility Mirror Image Misty Step Ray of Enfeeblement Shatter Spider Climb Suggestion 3 r d L evel Counterspell Dispel Magic Fear Fly Gaseous Form Hunger of Hadar Hypnotic Pattern Magic Circle Major Image Remove Curse Tongues Vampiric Touch 4 t h L evel Banishment Blight Dimension Door Hallucinatory Terrain 5t h L evel Contact Other Plane Dream Hold Monster Scrying 6 t h L evel Arcane Gate Circle of Death Conjure Fey Create Undead Eyebite Flesh to Stone Mass Suggestion True Seeing 7t h L evel Etherealness Finger of Death Forcecage Plane Shift 8 t h L evel Demiplane Dominate Monster Feeblemind Glibness Power Word Stun 9 t h L evel Astral Projection Foresight Imprisonment Power Word Kill True Polymorph W i z a r d S p e l l s C a n t r ip s (0 L e v e l ) Acid Splash Blade Ward Chill Touch Dancing Lights Fire Bolt Friends Light Mage Hand Mending Message Minor Illusion Poison Spray Prestidigitation Ray of Frost Shocking Grasp True Strike 1s t L evel Alarm Burning Hands Charm Person Chromatic Orb Color Spray Comprehend Languages Detect Magic Disguise Self Expeditious Retreat False Life Feather Fall Find Familiar Fog Cloud Grease Identify Illusory Script Jump Longstrider Mage Armor Magic Missile Protection from Evil and Good Ray of Sickness Shield Silent Image Sleep Tasha’s Hideous Laughter Tenser’s Floating Disk Thunderwave Unseen Servant Witch Bolt 2 n d L evel Alter Self Arcane Lock Blindness/Deafness Blur Cloud of Daggers Continual Flame Crown of Madness Darkness Darkvision Detect Thoughts Enlarge/Reduce Flaming Sphere Gentle Repose Gust of Wind Hold Person Invisibility Knock Levitate Locate Object Magic Mouth Magic Weapon Melf’s Acid Arrow Mirror Image Misty Step Nystul’s Magic Aura Phantasmal Force Ray of Enfeeblement Rope Trick Scorching Ray See Invisibility Shatter Spider Climb Suggestion Web 3 r d L evel Animate Dead Bestow Curse Blink Clairvoyance Counterspell Dispel Magic Fear Feign Death Fireball Fly Gaseous Form Glyph o f Warding Haste Hypnotic Pattern Leomund’s Tiny Hut Lightning Bolt Magic Circle Major Image Nondetection Phantom Steed Protection from Energy Remove Curse Sending Sleet Storm Slow Stinking Cloud Tongues Vampiric Touch Water Breathing 4 t h L evel Arcane Eye Banishment Blight Confusion Conjure Minor Elementals Control Water Dimension Door Evard's Black Tentacles Fabricate Fire Shield Greater Invisibility Hallucinatory Terrain Ice Storm Leomund’s Secret Chest

Locate Creature Mordenkainen’s Faithful Hound Mordenkainen’s Private Sanctum Otiluke’s Resilient Sphere Phantasmal Killer Polymorph Stone Shape Stoneskin Wall of Fire 5t h L evel Animate Objects Bigby’s Hand CloudkilI Cone of Cold Conjure Elemental Contact Other Plane Creation Dominate Person Dream Geas Hold Monster Legend Lore Mislead Modify Memory Passwall Planar Binding Rary’s Telepathic Bond Scrying Seeming Telekinesis Teleportation Circle Wall of Force Wall of Stone 6 t h L evel Arcane Gate Chain Lightning Circle of Death Contingency Create Undead Disintegrate Drawmij’s Instant Summons Eyebite Flesh to Stone Globe of Invulnerability Guards and Wards Magic Jar Mass Suggestion Move Earth Otiluke’s Freezing Sphere Otto’s Irresistible Dance Programmed Illusion Sunbeam True Seeing Wall of Ice 7 t h L evel Delayed Blast Fireball Etherealness Finger of Death Forcecage Mirage Arcane Mordenkainen's Magnificent Mansion Mordenkainen’s Sword Plane Shift Prismatic Spray Project Image Reverse Gravity Sequester Simulacrum Symbol Teleport 8 t h L evel Antimagic Field Antipathy/Sympathy Clone Control Weather Demiplane Dominate Monster Feeblemind Incendiary Cloud Maze Mind Blank Power Word Stun Sunburst Telepathy Trap the Soul 9 t h L evel Astral Projection Foresight Gate Imprisonment Meteor Swarm Power Word Kill Prismatic Wall Shapechange Time Stop True Polymorph Weird Wish Spell D escriptions The spells are presented in alphabetical order. A c id S p l a s h Conjuration cantrip Casting Time: 1 action Range: 60 feet Components: V, S Duration: Instantaneous You hurl a bubble of acid. C hoose one creature within range, or choose two creatures within range that are within 5 feet o f each other. A target must succeed on a Dexterity saving throw or take 1d6 acid damage. This spell’s damage increases by 1d6 when you reach 5th level (2d6), 11th level (3d6), and 17th level (4d6). A i d 2nd-level abjuration Casting Time: 1 action Range: 30 feet Components: V, S, M (a tiny strip o f white cloth) Duration: 8 hours Your spell bolsters your allies with toughness and resolve. C hoose up to three creatures within range. Each target’s hit point maximum and current hit points increase by 5 for the duration. A t Higher Levels. W hen you cast this spell using a spell slot of 3rd level or higher, a target’s hit points increase by an additional 5 for each slot level above 2nd. A l a r m 1st-level abjuration (ritual) Casting Time: 1 minute Range: 30 feet Components: V, S, M (a tiny bell and a piece of fine silver wire) Duration: 8 hours You set an alarm against unwanted intrusion. Choose a door, a window, or an area within range that is no larger than a 20-foot cube. Until the spell ends, an alarm alerts you whenever a Tiny or larger creature touches or enters the w arded area. W hen you cast the spell, you can designate creatures that w on’t set off the alarm. You also choose whether the alarm is mental or audible. A mental alarm alerts you with a ping in your mind if you are within 1 mile of the warded area. This ping awakens you if you are sleeping. An audible alarm produces the sound of a hand bell for 10 seconds within 60 feet. A l t e r S elf 2nd-level transmutation Casting Time: 1 action Range: Self Components: V, S Duration: Concentration, up to 1 hour You assum e a different form. W hen you cast the spell, choose one of the following options, the effects of which last for the duration of the spell. W hile the spell lasts,

you can end one option as an action to gain the benefits of a different one. Aquatic Adaptation. You adapt your body to an aquatic environment, sprouting gills and growing w ebbing between your fingers. You can breathe underwater and gain a sw im m ing speed equal to your walking speed. Change Appearance. You transform your appearance. You decide what you look like, including your height, weight, facial features, sound of your voice, hair length, coloration, and distinguishing characteristics, if any. You can make yourself appear as a m em ber of another race, though none of your statistics change. You also can’t appear as a creature of a different size than you, and your basic shape stays the same; if you're bipedal, you can’t use this spell to becom e quadrupedal, for instance. At any time for the duration of the spell, you can use your action to change your appearance in this way again. Natural Weapons. You grow claws, fangs, spines, horns, or a different natural w eapon of your choice. Your unarm ed strikes deal 1d6 bludgeoning, piercing, or slashing damage, as appropriate to the natural weapon you chose, and you are proficient with your unarmed strikes. Finally, the natural weapon is m agic and you have a +1 bonus to the attack and damage rolls you make using it. A n i m a l F r ie n d s h ip 1st-level enchantment Casting Time: 1 action Range: 30 feet Components: V, S, M (a m orsel of food) Duration: 24 hours This spell lets you convince a beast that you mean it no harm. C hoose a beast that you can see within range. It must see and hear you. If the beast’s Intelligence is 4 or higher, the spell fails. Otherwise, the beast must succeed on a W isdom saving throw or be charm ed by you for the spell’s duration. If you or one of your com panions harms the target, the spells ends. At Higher Levels. W hen you cast this spell using a spell slot of 2nd level or higher, you can affect one additional beast for each slot level above 1st. A n i m a l M e ss e n g e r 2nd-level enchantment (ritual) Casting Time: 1 action Range: 30 feet Components: V, S, M (a m orsel of food) Duration: 24 hours By m eans of this spell, you use an animal to deliver a message. C hoose a Tiny beast you can see within range, such as a squirrel, a blue jay, or a bat. You specify a location, which you must have visited, and a recipient w ho matches a general description, such as “a man or w om an dressed in the uniform of the town guard” or “a red-haired dw arf w earing a pointed hat.” You also speak a m essage of up to twenty-five words. The target beast travels for the duration of the spell toward the specified location, covering about 50 m iles per 24 hours for a flying messenger, or 25 m iles for other animals. W hen the m essenger arrives, it delivers your m essage to the creature that you described, replicating the sound of your voice. The m essenger speaks only to a creature matching the description you gave. If the m essenger doesn’t reach its destination before the spell ends, the m essage is lost, and the beast m akes its way back to where you cast this spell. At Higher Levels. If you cast this spell using a spell slot of 3nd level or higher, the duration of the spell increases by 48 hours for each slot level above 2nd. A n i m a l S h a p e s 8 th-level transmutation Casting Time: 1 action Range: 30 feet Components: V, S Duration: Concentration, up to 24 hours Your m agic turns others into beasts. C hoose any number of willing creatures that you can see within range. You transform each target into the form o f a Large or sm aller beast with a challenge rating of 4 or lower. On subsequent turns, you can use your action to transform affected creatures into new forms. The transformation lasts for the duration for each target, or until the target drops to 0 hit points or dies. You can choose a different form for each target. A target’s game statistics are replaced by the statistics of the chosen beast, though the target retains its alignment and Intelligence, W isdom , and Charisma scores. The target assum es the hit points o f its new form, and when it reverts to its norm al form, it returns to the number of hit points it had before it transformed. If it reverts as a result of dropping to 0 hit points, any excess damage carries over to its normal form. As long as the excess damage doesn’t reduce the creature’s norm al form to 0 hit points, it isn’t knocked unconscious. The creature is limited in the actions it can perform by the nature of its new form, and it can’t speak or cast spells. The target’s gear melds into the new form. The target can’t activate, wield, or otherwise benefit from any of its equipment. A n i m a t e D e a d 3rd-level necromancy Casting Time: 1 minute Range: 10 feet Components: V, S, M (a drop of blood, a piece of flesh, and a pinch of bone dust) Duration: Instantaneous This spell creates an undead servant. C hoose a pile of bones or a corpse of a M edium or Sm all humanoid within range. Your spell im bues the target with a foul m im icry of life, raising it as an undead creature. The target becom es a skeleton if you chose bones or a zom bie if you chose a corpse (the DM has the creature’s game statistics). On each of your turns, you can use a bonus action to mentally com m and any creature you made with this spell if the creature is within 60 feet of you (if you

control multiple creatures, you can com m and any or all of them at the sam e time, issuing the sam e com m and to each one). You decide what action the creature will take and where it w ill move during its next turn, or you can issue a general com m and, such as to guard a particular cham ber or corridor. If you issue no com m ands, the creature only defends itself against hostile creatures. O nce given an order, the creature continues to follow it until its task is complete. The creature is under your control for 24 hours, after which it stops obeying any com m and you’ve given it. To maintain control of the creature for another 24 hours, you must cast this spell on the creature again before the current 24-hour period ends. This use o f the spell reasserts your control over up to four creatures you have animated with this spell, rather than animating a new one. A t Higher Levels. W hen you cast this spell using a spell slot of 4th level or higher, you animate or reassert control over two additional undead creatures for each slot level above 3rd. Each of the creatures must com e from a different corpse or pile of bones. A n i m a t e O bjects 5th-level transmutation Casting Time: 1 action Range: 120 feet Components: V, S Duration: Concentration, up to 1 minute Objects com e to life at your com m and. Choose up to ten nonm agical objects within range that are not being w orn or carried. M edium targets count as two objects, Large targets count as four objects, Huge targets count as eight objects. You can’t animate any object larger than Huge. Each target animates and becom es a creature under your control until the spell ends or until reduced to 0 hit points. As a bonus action, you can mentally com m and any creature you made with this spell if the creature is within 500 feet of you (if you control multiple creatures, you can com m and any or all of them at the sam e time, issuing the sam e com m and to each one). You decide what action the creature w ill take and w here it will move during its next turn, or you can issue a general com m and, such as to guard a particular cham ber or corridor. If you issue no com m ands, the creature only defends itself against hostile creatures. Once given an order, the creature continues to follow it until its task is complete. A n im a t e d O bject S t a t istic s Size HP AC Attack Str Dex Tiny 20 18 +8 to hit, 1d4 + 4 damage 4 18 Small 25 16 +6 to hit, 1d8 + 2 damage 6 14 Medium 40 13 +5 to hit, 2d6 + 1 damage 10 12 Large 50 10 +6 to hit, 2d10 + 2 damage 14 10 Huge 80 10 +8 to hit, 2d12 + 4 damage 18 6 An animated object is a construct with AC, hit points, attacks, Strength, and Dexterity determined by its size. Its Constitution is 10 and its Intelligence and W isdom are 3, and its Charisma is 1. Its speed is 30 feet; if the object lacks legs or other appendages it can use for locom otion, it instead has a flying speed of 30 feet and can hover. If the object is securely attached to a surface or a larger object, such as a chain bolted to a wall, its speed is 0. It has blindsight with a radius of 30 feet and is blind beyond that distance. W hen the animated object drops to 0 hit points, it reverts to its original object form, and any remaining damage carries over to its original object form. If you com m and an object to attack, it can make a single melee attack against a creature within 5 feet of it. It m akes a slam attack with an attack bonus and bludgeoning damage determined by its size. The DM might rule that a specific object inflicts slashing or piercing damage based on its form. At Higher Levels. If you cast this spell using a spell slot of 6th level or higher, you can animate two additional objects for each slot level above 5th. A n t il if e S h e l l 5th-level abjuration Casting Time: 1 action Range: Self (10-foot radius) Components: V, S Duration: Concentration, up to 1 hour A shim m ering barrier extends out from you in a 10-foot radius and m oves with you, remaining centered on you and hedging out creatures other than undead and constructs. The barrier lasts for the duration. The barrier prevents an affected creature from passing or reaching through. An affected creature can cast spells or make attacks with ranged or reach w eapons through the barrier. If you move so that an affected creature is forced to pass through the barrier, the spell ends. A n t i m a g i c F ie l d 8 th-level abjuration Casting Time: 1 action Range: Self (10-foot-radius sphere) Components: V, S, M (a pinch of pow dered iron or iron filings) Duration: Concentration, up to 1 hour A 10-foot-radius invisible sphere of antimagic surrounds you. This area is divorced from the magical energy that suffuses the multiverse. W ithin the sphere, spells can’t be cast, sum m oned creatures disappear, and even m agic items becom e mundane. Until the spell ends, the sphere m oves with you, centered on you. Spells and other magical effects, except those created by an artifact or a deity, are suppressed in the sphere and can’t protrude into it. A slot expended to cast a suppressed spell is consum ed. W hile an effect is suppressed, it doesn’t function, but the time it spends suppressed counts against its duration. Targeted Effects. Spells and other magical effects, such as magic missile and charm person, that target a creature or an object in the sphere have no effect on that target.

Areas of Magic. The area of another spell or magical effect, such as fireball, can’t extend into the sphere. If the sphere overlaps an area of magic, the part of the area that is covered by the sphere is suppressed. For example, the flames created by a wall o f fire are suppressed within the sphere, creating a gap in the wall if the overlap is large enough. Spells. Any active spell or other magical effect on a creature or an object in the sphere is suppressed while the creature or object is in it. Magic Items. The properties and pow ers of m agic items are suppressed in the sphere. For example, a + 1 longsword in the sphere functions as a nonm agical longsword. A m agic w eapon’s properties and pow ers are suppressed if it is used against a target in the sphere or wielded by an attacker in the sphere. If a m agic w eapon or a piece of magic ammunition fully leaves the sphere (for example, if you fire a m agic arrow or throw a magic spear at a target outside the sphere), the m agic of the item ceases to be suppressed as soon as it exits. Magical Travel. Teleportation and planar travel fail to w ork in the sphere, whether the sphere is the destination or the departure point for such magical travel. A portal to another location, world, or plane of existence, as well as an opening to an extradim ensional space such as that created by the rope trick spell, temporarily closes while in the sphere. Creatures and Objects. A creature or object sum m oned or created by m agic temporarily w inks out o f existence in the sphere. Such a creature instantly reappears once the space the creature occupied is no longer within the sphere. Dispel Magic. Spells and magical effects such as dispel magic have no effect on the sphere. Likewise, the spheres created by different antimagic field spells don’t nullify each other. A n t i p a t h y / S y m p a t h y 8 th-level enchantment Casting Time: 1 hour Range: 60 feet Components: V, S, M (either a lump of alum soaked in vinegar for the antipathy effect or a drop of honey for the sympathy effect) Duration: 10 days This spell attracts or repels creatures of your choice. You target som ething within range, either a Huge or sm aller object or creature or an area that is no larger than a 200-foot cube. Then specify a kind of intelligent creature, such as red dragons, goblins, or vampires. You invest the target with an aura that either attracts or repels the specified creatures for the duration. Choose antipathy or sympathy as the aura’s effect. Antipathy. The enchantment causes creatures of the kind you designated to feel an intense urge to leave the area and avoid the target. W hen such a creature can see the target or com es within 60 feet of it, the creature must succeed on a W isdom saving throw or becom e frightened. The creature remains frightened while it can see the target or is within 60 feet of it. W hile frightened by the target, the creature must use its movement to move to the nearest safe spot from which it can’t see the target. If the creature m oves m ore than 60 feet from the target and can’t see it, the creature is no longer frightened, but the creature becom es frightened again if it regains sight of the target or m oves within 60 feet o f it. Sympathy. The enchantment causes the specified creatures to feel an intense urge to approach the target while within 60 feet o f it or able to see it. W hen such a creature can see the target or com es within 60 feet of it, the creature must succeed on a W isdom saving throw or use its movement on each o f its turns to enter the area or move within reach of the target. W hen the creature has done so, it can’t willingly m ove away from the target. If the target dam ages or otherwise harms an affected creature, the affected creature can make a W isdom saving throw to end the effect, as described below. Ending the Effect. If an affected creature ends its turn while not within 60 feet of the target or able to see it, the creature m akes a W isdom saving throw. On a successful save, the creature is no longer affected by the target and recognizes the feeling o f repugnance or attraction as magical. In addition, a creature affected by the spell is allowed another W isdom saving throw every 24 hours while the spell persists. A creature that successfully saves against this effect is im mune to it for 1 minute, after which time it can be affected again. A r c a n e E y e 4th-level divination Casting Time: 1 action Range: 30 feet Components: V, S, M (a bit of bat fur) Duration: Concentration, up to 1 hour You create an invisible, magical eye within range that hovers in the air for the duration. You mentally receive visual information from the eye, which has norm al vision and darkvision out to 30 feet. The eye can look in every direction. A s an action, you can move the eye up to 30 feet in any direction. There is no limit to how far away from you the eye can move, but it can’t enter another plane o f existence. A solid barrier blocks the eye’s movement, but the eye can pass through an opening as small as 1 inch in diameter. A r c a n e G a t e 6 th-level conjuration Casting Time: 1 action Range: 500 feet Components: V, S Duration: Concentration, up to 10 minutes You create linked teleportation portals that remain open for the duration. C hoose two points on the ground that you can see, one point within 10 feet of you and one point within 500 feet of you. A circular portal, 10 feet in diameter, opens over each point. If the portal w ould open in the space occupied by a creature, the spell fails, and the casting is lost. The portals are two-dimensional glowing rings filled with mist, hovering inches from the ground and

perpendicular to it at the points you choose. A ring is visible only from one side (your choice), which is the side that functions as a portal. Any creature or object entering the portal exits from the other portal as if the two were adjacent to each other; passing through a portal from the nonportal side has no effect. The mist that fills each portal is opaque and blocks vision through it. On your turn, you can rotate the rings as a bonus action so that the active side faces in a different direction. A r c a n e L o c k 2nd-level abjuration Casting Time: 1 action Range: Touch Components: V, S, M (gold dust w orth at least 25 gp, which the spell consum es) Duration: Until dispelled You touch a closed door, window, gate, chest, or other entryway, and it becom es locked for the duration. You and the creatures you designate when you cast this spell can open the object normally. You can also set a passw ord that, when spoken within 5 feet of the object, suppresses this spell for 1 minute. Otherwise, it is im passable until it is broken or the spell is dispelled or suppressed. Casting knock on the object suppresses arcane lock for 10 minutes. W hile affected by this spell, the object is m ore difficult to break or force open; the DC to break it or pick any locks on it increases by 10. A r m o r o f A g a t h y s 1st-level abjuration Casting Time: 1 action Range: Self Components: V, S, M (a cup of water) Duration: 1 hour A protective m agical force surrounds you, manifesting as a spectral frost that covers you and your gear. You gain 5 tem porary hit points for the duration. If a creature hits you with a melee attack while you have these hit points, the creature takes 5 cold damage. A t Higher Levels. W hen you cast this spell using a spell slot of 2nd level or higher, both the tem porary hit points and the cold damage increase by 5 for each slot level above 1st. A r m s o f H a d a r 1st-level conjuration Casting Time: 1 action Range: Self (10-foot radius) Components: V, S Duration: Instantaneous You invoke the pow er o f Hadar, the Dark Hunger. Tendrils of dark energy erupt from you and batter all creatures within 10 feet of you. Each creature in that area must m ake a Strength saving throw. On a failed save, a target takes 2d6 necrotic damage and can’t take reactions until its next turn. On a successful save, the creature takes half damage, but suffers no other effect. A t Higher Levels. W hen you cast this spell using a spell slot of 2nd level or higher, the damage increases by 1d6 for each slot level above 1st. A s t r a l P r o j e c t io n 9th-level necromancy Casting Time: 1 hour Range: 10 feet Components: V, S, M (for each creature you affect with this spell, you must provide one jacinth worth at least 1,000 gp and one ornately carved bar of silver worth at least 100 gp, all of which the spell consum es) Duration: Special You and up to eight willing creatures within range project your astral bodies into the Astral Plane (the spell fails and the casting is wasted if you are already on that plane). The material body you leave behind is u nconscious and in a state of suspended animation; it doesn’t need food or air and doesn’t age. Your astral body resem bles your m ortal form in alm ost every way, replicating your game statistics and possessions. The principal difference is the addition of a silvery cord that extends from between your shoulder blades and trails behind you, fading to invisibility after 1 foot. This cord is your tether to your material body. As long as the tether remains intact, you can find your way home. If the cord is cut—som ething that can happen only when an effect specifically states that it does—your soul and body are separated, killing you instantly. Your astral form can freely travel through the Astral Plane and can pass through portals there leading to any other plane. If you enter a new plane or return to the plane you were on when casting this spell, your body and possessions are transported along the silver cord, allowing you to re-enter your body as you enter the new plane. Your astral form is a separate incarnation. Any damage or other effects that apply to it have no effect on your physical body, nor do they persist when you return to it. The spell ends for you and your com panions when you use your action to dism iss it. W hen the spell ends, the affected creature returns to its physical body, and it awakens. The spell might also end early for you or one o f your com panions. A successful dispel magic spell used against an astral or physical body ends the spell for that creature. If a creature’s original body or its astral form drops to 0 hit points, the spell ends for that creature. If the spell ends and the silver cord is intact, the cord pulls the creature’s astral form back to its body, ending its state of suspended animation. If you are returned to your body prematurely, your com panions remain in their astral form s and must find their own way back to their bodies, usually by dropping to 0 hit points. A u g u r y 2nd-level divination (ritual) Casting Time: 1 minute Range: Self Components: V, S, M (specially m arked sticks, bones, or similar tokens w orth at least 25 gp) Duration: Instantaneous

By casting gem-inlaid sticks, rolling dragon bones, laying out ornate cards, or employing som e other divining tool, you receive an om en from an otherworldly entity about the results of a specific course of action that you plan to take within the next 30 minutes. The DM chooses from the following possible omens: • Weal, for good results • Woe, for bad results • Weal and woe, for both good and bad results • Nothing, for results that aren’t especially good or bad The spell doesn’t take into account any possible circum stances that might change the outcom e, such as the casting of additional spells or the loss or gain o f a com panion. If you cast the spell two or m ore times before com pleting your next long rest, there is a cumulative 25 percent chance for each casting after the first that you get a random reading. The DM m akes this roll in secret. A u r a o f L ife 4th-level abjuration Casting Time: 1 action Range: Self (30-foot radius) Components: V Duration: Concentration, up to 10 minutes Life-preserving energy radiates from you in an aura with a 30-foot radius. Until the spell ends, the aura m oves with you, centered on you. Each nonhostile creature in the aura (including you) has resistance to necrotic damage, and its hit point maximum can't be reduced. In addition, a nonhostile, living creature regains 1 hit point when it starts its turn in the aura with 0 hit points. A u r a o f P u r i t y 4th-level abjuration Casting Time: 1 action Range: Self (30-foot radius) Components: V Duration: Concentration, up to 10 minutes Purifying energy radiates from you in an aura with a 30-foot radius. Until the spell ends, the aura moves with you, centered on you. Each nonhostile creature in the aura (including you) can’t becom e diseased, has resistance to poison damage, and has advantage on saving throws against effects that cause any of the following conditions: blinded, charm ed, deafened, frightened, paralyzed, poisoned, and stunned. A u r a o f V i t a l i t y 3rd-level evocation Casting Time: 1 action Range: S elf (30-foot radius) Components: V Duration: Concentration, up to 1 minute H ealing energy radiates from you in an aura with a 30-foot radius. Until the spell ends, the aura m oves with you, centered on you. You can use a bonus action to cause one creature in the aura (including you) to regain 2d6 hit points. A w a k e n 5th-level transmutation Casting Time: 8 hours Range: Touch Components: V, S, M (an agate worth at least 1,000 gp, which the spell consum es) Duration: Instantaneous After spending the casting time tracing magical pathways within a precious gemstone, you touch a Huge or sm aller beast or plant. The target must have either no Intelligence score or an Intelligence of 3 or less. The target gains an Intelligence of 10. The target also gains the ability to speak one language you know. If the target is a plant, it gains the ability to move its limbs, roots, vines, creepers, and so forth, and it gains senses similar to a human’s. Your DM chooses statistics appropriate for the awakened plant, such as the statistics for the awakened shrub or the awakened tree. The awakened beast or plant is charm ed by you for 30 days or until you or your com panions do anything harmful to it. W hen the charm ed condition ends, the awakened creature chooses whether to remain friendly to you, based on how you treated it while it w as charmed. B a n e 1st-level enchantment Casting Time: 1 action Range: 30 feet Components: V, S, M (a drop of blood) Duration: Concentration, up to 1 minute Up to three creatures of your choice that you can see within range must make Charisma saving throws. W henever a target that fails this saving throw makes an attack roll or a saving throw before the spell ends, the target must roll a d4 and subtract the number rolled from the attack roll or saving throw. At Higher Levels. W hen you cast this spell using a spell slot o f 2nd level or higher, you can target one additional creature for each slot level above 1st. B a n i s h i n g S m it e 5th-level abjuration Casting Time: 1 bonus action Range: S elf Components: V Duration: Concentration, up to 1 minute The next time you hit a creature with a w eapon attack before this spell ends, your w eapon crackles with force, and the attack deals an extra 5d10 force damage to the target. Additionally, if this attack reduces the target to 50 hit points or fewer, you banish it. If the target is native to a different plane of existence than the one you’re on, the target disappears, returning to its hom e plane. If the target is native to the plane you’re on, the creature vanishes into a harm less demiplane. W hile there, the target is incapacitated. It rem ains there until the spell ends, at w hich point the target reappears in the space it left or in the nearest unoccupied space if that space is occupied.

B a n i s h m e n t 4th-level abjuration Casting Time: 1 action Range: 60 feet Components: V, S, M (an item distasteful to the target) Duration: Concentration, up to 1 minute You attempt to send one creature that you can see within range to another plane of existence. The target must succeed on a Charisma saving throw or be banished. If the target is native to the plane o f existence you’re on, you banish the target to a harm less demiplane. W hile there, the target is incapacitated. The target remains there until the spell ends, at which point the target reappears in the space it left or in the nearest unoccupied space if that space is occupied. If the target is native to a different plane of existence than the one you’re on, the target is banished with a faint popping noise, returning to its hom e plane. If the spell ends before 1 minute has passed, the target reappears in the space it left or in the nearest unoccupied space if that space is occupied. Otherwise, the target doesn't return. A t Higher Levels. W hen you cast this spell using a spell slot of 5th level or higher, you can target one additional creature for each slot level above 4th. B a r k s k i n 2nd-level transmutation Casting Time: 1 action Range: Touch Components: V, S, M (a handful of oak bark) Duration: Concentration, up to 1 hour You touch a willing creature. Until the spell ends, the target’s skin has a rough, bark-like appearance, and the target’s AC can’t be less than 16, regardless of what kind of arm or it is wearing. B e a c o n o f H o pe 3rd-level abjuration Casting Time: 1 action Range: 30 feet Components: V, S Duration: Concentration, up to 1 minute This spell bestow s hope and vitality. C hoose any number of creatures within range. For the duration, each target has advantage on W isdom saving throws and death saving throws, and regains the maximum num ber of hit points possible from any healing. B e a s t S ense 2nd-level divination (ritual) Casting Time: 1 action Range: Touch Components: S Duration: Concentration, up to 1 hour You touch a willing beast. For the duration of the spell, you can use your action to see through the beast’s eyes and hear what it hears, and continue to do so until you use your action to return to your norm al senses.

W hile perceiving through the beast’s senses, you gain the benefits of any special senses possessed by that creature, though you are blinded and deafened to your own surroundings. B e s t o w C u rse 3rd-level necromancy Casting Time: 1 action Range: Touch Components: V, S Duration: Concentration, up to 1 minute You touch a creature, and that creature must succeed on a W isdom saving throw or becom e cursed for the duration of the spell. W hen you cast this spell, choose the nature of the curse from the following options: • C hoose one ability score. W hile cursed, the target has disadvantage on ability checks and saving throws made with that ability score. • W hile cursed, the target has disadvantage on attack rolls against you. • W hile cursed, the target must make a W isdom saving throw at the start o f each o f its turns. If it fails, it wastes its action that turn doing nothing. • W hile the target is cursed, your attacks and spells deal an extra 1d8 necrotic damage to the target. A remove curse spell ends this effect. At the D M ’s option, you may ch oose an alternative curse effect, but it should be no m ore pow erful than those described above. The DM has final say on such a curse’s effect. At Higher Levels. If you cast this spell using a spell slot of 4th level or higher, the duration is concentration, up to 10 minutes. If you use a spell slot of 5th level or higher, the duration is 8 hours. If you use a spell slot of 7th level or higher, the duration is 24 hours. If you use a 9th level spell slot, the spell lasts until it is dispelled. Using a spell slot of 5th level or higher grants a duration that doesn’t require concentration. B i g b y ’s H a n d 5th-level evocation Casting Time: 1 action Range: 120 feet Components: V, S, M (an eggshell and a snakeskin glove) Duration: Concentration, up to 1 minute You create a Large hand of shimmering, translucent force in an unoccupied space that you can see within range. The hand lasts for the spell’s duration, and it m oves at your com m and, m im icking the movements of your ow n hand. The hand is an object that has AC 20 and hit points equal to your hit point maximum. If it drops to 0 hit points, the spell ends. It has a Strength of 26 (+8) and a Dexterity o f 10 (+0). The hand doesn’t fill its space. W hen you cast the spell and as a bonus action on your subsequent turns, you can move the hand up to 60 feet and then cause one o f the follow ing effects with it. Clenched Fist. The hand strikes one creature or object within 5 feet of it. Make a melee spell attack for the hand using your game statistics. On a hit, the target takes 4d8 force damage. Forceful Hand. The hand attempts to push a creature within 5 feet of it in a direction you choose. Make a check with the hand’s Strength contested by the Strength (Athletics) check o f the target. If the target is M edium or smaller, you have advantage on the check. If you succeed, the hand pushes the target up to 5 feet plus a number of feet equal to five tim es your spellcasting ability modifier. The hand m oves with the target to remain within 5 feet of it. Grasping Hand. The hand attempts to grapple a Huge or sm aller creature within 5 feet of it. You use the hand’s Strength score to resolve the grapple. If the target is M edium or smaller, you have advantage on the check. W hile the hand is grappling the target, you can use a bonus action to have the hand crush it. W hen you do so, the target takes bludgeoning damage equal to 2d6 + your spellcasting ability modifier. Interposing Hand. The hand interposes itself between you and a creature you choose until you give the hand a different com m and. The hand m oves to stay between you and the target, providing you with half cover against the target. The target can't move through the hand’s space if its Strength score is less than or equal to the hand’s Strength score. If its Strength score is higher than the hand’s Strength score, the target can move toward you through the hand’s space, but that space is difficult terrain for the target. At Higher Levels. W hen you cast this spell using a spell slot of 6th level or higher, the damage from the clenched fist option increases by 2d8 and the damage from the grasping hand increases by 2d6 for each slot level above 5th. B l a d e B a r r ie r 6 th-level evocation Casting Time: 1 action Range: 90 feet Components: V, S Duration: Concentration, up to 10 minutes You create a vertical wall of whirling, razor-sharp blades made of m agical energy. The wall appears within range and lasts for the duration. You can make a straight wall up to 100 feet long, 20 feet high, and 5 feet thick, or a ringed wall up to 60 feet in diameter, 20 feet high, and 5 feet thick. The wall provides three-quarters cover to creatures behind it, and its space is difficult terrain. W hen a creature enters the w all’s area for the first time on a turn or starts its turn there, the creature must make a Dexterity saving throw. On a failed save, the creature takes 6 d10 slashing damage. On a successful save, the creature takes half as much damage. B l a d e W a r d Abjuration cantrip Casting Time: 1 action Range: Self Components: V, S Duration: 1 round

You extend your hand and trace a sigil of warding in the air. Until the end of your next turn, you have resistance against bludgeoning, piercing, and slashing damage dealt by weapon attacks. B less 1st-level enchantment Casting Time: 1 action Range: 30 feet Components: V, S, M (a sprinkling of holy water) Duration: Concentration, up to 1 minute You bless up to three creatures of your choice within range. W henever a target m akes an attack roll or a saving throw before the spell ends, the target can roll a d4 and add the number rolled to the attack roll or saving throw. A t Higher Levels. W hen you cast this spell using a spell slot o f 2nd level or higher, you can target one additional creature for each slot level above 1st. B l i g h t 4th-level necromancy Casting Time: 1 action Range: 30 feet Components: V, S Duration: Instantaneous Necrom antic energy w ashes over a creature of your choice that you can see within range, draining moisture and vitality from it. The target must make a Constitution saving throw. The target takes 8d8 necrotic damage on a failed save, or half as much damage on a successful one. This spell has no effect on undead or constructs. If you target a plant creature or a magical plant, it m akes the saving throw with disadvantage, and the spell deals maximum damage to it. If you target a nonm agical plant that isn’t a creature, such as a tree or shrub, it doesn’t make a saving throw; it simply withers and dies. At Higher Levels. W hen you cast this spell using a spell slot o f 5th level or higher, the damage increases by 1d8 for each slot level above 4th. B l i n d i n g S m it e 3rd-level evocation Casting Time: 1 bonus action Range: Self Components: V Duration: Concentration, up to 1 minute The next time you hit a creature with a m elee w eapon attack during this spell’s duration, your weapon flares with bright light, and the attack deals an extra 3d8 radiant damage to the target. Additionally, the target must succeed on a Constitution saving throw or be blinded until the spell ends. A creature blinded by this spell m akes another Constitution saving throw at the end of each of its turns. On a successful save, it is no longer blinded. B l in d n e s s / D e a f n e s s 2nd-level necromancy Casting Time: 1 action Range: 30 feet Components: V Duration: 1 minute You can blind or deafen a foe. C hoose one creature that you can see within range to make a Constitution saving throw. If it fails, the target is either blinded or deafened (your choice) for the duration. At the end of each of its turns, the target can make a Constitution saving throw. On a success, the spell ends. At Higher Levels. W hen you cast this spell using a spell slot of 3rd level or higher, you can target one additional creature for each slot level above 2nd. B l i n k 3rd-level transmutation Casting Time: 1 action Range: Self Components: V, S Duration: 1 minute Roll a d20 at the end of each of your turns for the duration of the spell. On a roll of 11 or higher, you vanish from your current plane of existence and appear in the Ethereal Plane (the spell fails and the casting is wasted if you w ere already on that plane). At the start of your next turn, and w hen the spell ends if you are on the Ethereal Plane, you return to an unoccupied space of your choice that you can see within 10 feet o f the space you vanished from. If no unoccupied space is available within that range, you appear in the nearest unoccupied space (chosen at random if m ore than one space is equally near). You can dism iss this spell as an action. W hile on the Ethereal Plane, you can see and hear the plane you originated from, which is cast in shades of gray, and you can’t see anything there m ore than 60 feet away. You can only affect and be affected by other creatures on the Ethereal Plane. Creatures that aren’t there can’t perceive you or interact with you, unless they have the ability to do so. B l u r 2nd-level illusion Casting Time: 1 action Range: Self Components: V Duration: Concentration, up to 1 minute Your body becom es blurred, shifting and wavering to all w ho can see you. For the duration, any creature has disadvantage on attack rolls against you. An attacker is im mune to this effect if it doesn’t rely on sight, as with blindsight, or can see through illusions, as with truesight. B r a n d i n g S m it e 2nd-level evocation Casting Time: 1 bonus action Range: Self