A Guide To Mounted Combat – D&D 5e

Upon your steed, you gallop into battle. Ogres, Orcs, and Goblins all stand in your way, but with a slight lean to your left and your shortsword in hand, you slash your foes and dash back to safety.

That sounds like a classic Dungeons and Dragons scene, right? Well, it turns out many of us don’t bother using a mount, let alone ride one into battle. When combat starts, some of us try to hide our horses because “if anyone dares touch Sir Galloper, this whole village will go up in flames!”

Well, just as you can be healed with a Cure Wounds spell, so can your mount. So, let’s see what we could do with an animal companion.

Contents:

Player’s Handbook Word-For-Word

Player’s Handbook Broken Down

Classic Mounting Options

Jousting

Best Classes For Mounted Combat

Summary

Player’s Handbook Word-For-Word

You can find the information for mounted combat on page 198 of the Player’s Handbook. Below is a word-for-word reiteration from this section.

The first thing the manual explains is how to mount and dismount your steed.

The second is how to control your steed.

This is literally everything the handbook says about controlling your horse (or other creature). Using the information given and the rest of the manuals, we will explain what this means and how to use a mount in combat.

Player’s Handbook Broken Down

Although the information is concise, it doesn’t give us a lot of examples. We want to show you how you can use the information provided in a way that is completely within the rules of 5th Edition.

Mounting Costs Half Your Speed

The handbook says it will cost half your Speed to mount a creature. It doesn’t matter what your Speed is; a Goliath will take the same time to get on a horse as a Gnome.

If you have two levels of Exhaustion, your Speed is halved. Therefore, a level two Exhausted player would take their whole movement to mount a creature. This is because your overall Speed is used for both scenarios. 

In the same vein of thought, a character who has been “Hasted” (the spell Haste has been cast on them) still takes half their movement to mount a creature. This means their speed is doubled due to the spell, and then halved back to their original number when mounted.

The same goes for the Dash Action.

For example, Elves have 30 feet of Speed. When “Hasted” or Dashing, their Speed doubles to 60 feet. The Elf then mounts a horse, which drops their remaining movement back to 30 feet again.

At this point, it should be noted that once you’ve mounted your creature, they can take a turn in battle. This means you don’t need to save your movement, as your steed can move you. 

Because of this, it might be more useful to see a character running to their mount.

Using the same example, this Elf has 30 feet of movement. They want to run away from an encounter, but their horse is 25ft away. Although they can run up to the creature, they will not be able to mount it on this turn.

Knowing this, the Elf Dashes, using up their action. They run 25ft toward the horse. They now have 35ft of movement left. With more than half of their extended Speed remaining, the Elf can mount the creature. The horse now has a turn to use their Action and their Movement. Using a Dash Action themselves, the horse can sprint away to safety.

In total, on this Player’s turn, they will have moved 140 feet and still have a Reaction, and Bonus Action left.

The Elf could also have run up to the horse and then cast Haste for the same effect. This is because the Player’s Speed (not used movement) is counted. As the overall Speed is doubled, they now have time to mount.

Your Mount Falls Prone Or Is Pushed Back

The next part of the handbook might sound contradictory, but there is a method to the madness.

The manual says that if your mount is pushed against its will (while you’re on it), you must make a DC10 Dexterity Saving Throw or be made Prone. The next statement says that if your mount is made Prone you can use a Reaction to dismount and land on your feet, or you will also be made Prone.

It stands to reason that if you can use a Reaction to dismount, you can also do this if you fail your Dexterity Saving Throw. 

This means you can attempt the save, get a 5, then use your Reaction to stop yourself from falling Prone. Using your Reaction still means you are forced off your mount, but at least you have all of your movement.

Remember that if you are Prone, it will take you half your movement to stand up, and it takes another half to mount a creature.

Because of this, you might not want to use your Reaction. Instead you can save it, and use your full movement to stand and mount.

The handbook specifically states that if you fall off your mount, you land within 5 feet of the creature. To climb back on, you need to be within 5 feet. This means you will have full ability to simply climb back on.

If your mount is pushed back and knocked Prone at the same time, you can use your Reaction to jump off the creature as it gets pushed away from the encounter.

The Tidal Wave spell, for example, pushes creatures away regardless of if they succeed on their save. However, if someone fails, they are pushed away and knocked Prone. 

For example, if the Player Character is a Fighter (a melee class), they might want to stay close to the battle. The enemy casts Tidal Wave forcing the Fighter’s mount backward. Dice are rolled, and the mount fails their Dexterity Saving Throw. The Fighter decides that they want to stay in the heat of the battle, and so dismounts as a Reaction. This keeps them next to the enemy.

The Height Of A Mount

The eagle-eyed among you might have noticed that the Tidal Wave spell can reach up to 10 feet tall. 

Depending on the height of the mount, our Fighter might have been forced to make the Saving Throw too.

Let’s go with the standard Riding Horse again. This creature is considered Large. A Large creature is 10 feet tall and 10 feet wide. 

The rules do not state whether we should use the full height of the creature or the mid-way height of a creature to determine where the rider sits.

I believe this is a Dungeon Master’s call. A horse, for example, would likely have their rider sit 5 feet above the ground. However, an Owlbear, which is also a Large creature, doesn’t have their back midway down their height. The Dungeon Master may decide that a rider of an Owlbear sits 10 feet above the ground.

In the Tidal Wave example, a Fighter sitting on a Riding Horse would have to make their own Saving Throw. But, if they were mounted to an Owlbear, the Fighter would not be affected by the Tidal Wave spell and could use their Reaction to dismount once the spell was cast.

How Much Can The Mount Carry

All creatures, including Player Characters, can measure their carrying capacity in the same way.

Simply multiply the creature’s Strength Score by 15. This answer will be your carrying capacity in pounds.

Reach While Mounted

As we said before, the height of a rider while mounted is determined by the Dungeon Master. However, this matter should be discussed before playing the game, because most melee combat options are limited by a 5 foot reach.

If you are 10 feet in the air, riding an Owlbear, your 5 foot reach from a shortsword will not hit a 3 foot tall Halfling. 

Because of this, a mounted melee fighter should own these weapons:

Glaive1d10 Slashing DamageHeavy, Reach, Two-Handed
Halberd1d10 Slashing DamageHeavy, Reach, Two-Handed
Lance1d12 Piercing DamageReach, Special
Pike1d10 Piercing DamageHeavy, Reach, Two-Handed
Whip1d4 Slashing DamageFinesse, Reach

All of these melee weapons have the Reach ability, which means that they can hit people 10 feet away.

The best melee weapon to use while mounted is the Lance. This is because you don’t need to use two hands to wield the Lance while you are mounted (but you do if you are not mounted). 

The other weapons (not including the Whip) need two hands to wield with accuracy. At the Dungeon Master’s discretion, you will either forfeit your aim or your control over the mount when using these weapons. 

The Dungeon Master might force you into rolling with disadvantage, or they could roll a 1d6 to see which direction your steed goes (1 and 6 means the mount follows original orders. 2, 3, 4 & 5 represent South, East, North, and West).

The Whip would be the best option for a mounted Rogue due to the Finesse property. Finesse weapons can be used with a Rogue’s Sneak Attack feature.

We will go into more detail about mounted Rogues later on.

Controlling A Trained Mount

The definition of a trained mount comes under two categories; classic creatures that can be trained (like a horse, a donkey, and a camel) and creatures that can be trained in the Dungeon Master’s world.

Both of these options are up to the Dungeon Master (DM). For example, if a Player sees a horse in the wild, the DM can say that the horse is wild so hasn’t been trained. This is a valid option and sticks with the settings.

A trained mount only has three options for their Action; this is regardless of their actual abilities. 

Trained mounts can only Dash, Disengage, or Dodge. Dashing allows the mount to double their Speed for one round. 

Disengaging allows the mount to move away from an enemy without getting hit with an Opportunity Attack. This Action only lasts for one round.

Dodge forces enemies into attacking with disadvantage when aimed at the mount or rider; it also gives the mount and rider advantage to all Dexterity Saving Throws.

When in battle, you should optimize this extra ability to Dodge. As you are riding the mount, you are connected to all of their movements. Just as the mount carries you long distances, they can also grant you a Dodge advantage. 

However, if you plan on rushing through a crowd, and tell your mount to disengage, only they will be untouched by Opportunity Attacks. If your opponent can reach you, their Opportunity Attack can still strike.

Controlling An Untrained Or Independent Mount

Unlike a trained mount, an untrained or independent mount has their own initiative order. 

The difference between untrained and independent comes down to intelligence. 

An untrained mount is like a horse or an Owlbear that was never tamed. They run wild and may become distressed when you attempt to mount them. To them, it may feel like a grapple.

An independent mount understands what’s going on and can make their own judgments. 

Having a rider does not hinder the mount, and these creatures can do anything they want in combat. This includes using their Attack Actions as normal and trying to kick you off their back.

If a mount tries to throw you off their back, this would be a contested Athletics Check (mount) against either an Athletics or Acrobatic Check (rider). Both make their roll, and the highest number succeeds. 

Depending on the creature’s intelligence, the Dungeon Master could allow a Player try taming them. There is no official rule on how to train a mount. A Dungeon Master could create their own rules or use one made by online homebrewers like DragonCrown.

DragonCrown’s guide to training is simple and effective. They also have readjusted the whole mounted combat process! Check out their content for more options.

Druids As Mounts

A shapeshifter or wild-shaped druid can also become a mount. In this instance, they will be considered an intelligent, independent creature and have their own initiative count.

While they act as a mount, they can use their Creature actions as normal and are not encumbered by their rider as long as they can hold the rider’s weight.

Remember that the maximum any creature can carry in pounds (including Players) is their Strength Score multiplied by 15.

Classic Mounting Options

The best mounted option from the classic range is the Warhorse.

Out of all of the classic options, a Warhorse has the best Speed and the best Armor Class. However, if you want a tank for a mount, the Elephant has the biggest Hit Point count.

Small Player Characters, like Gnomes and Halflings, would benefit from a smaller steed, like a Mastiff or a Pony. Ponies have higher Hit Points, but Mastiffs have a better Armor Class.

There is nothing in the rules about Small Characters riding Large creatures, however visually they might prefer a mount that matches their size.

Although anything large enough could become a steed, this is the whole list of classic mounts:

If you want to ride something more unusual, try a homebrew creature or a monster. Elven Firefly’s Harrasaem mount is just one of the amazing creatures created by homebrew artists! Explore the community or create them yourself!

Back to the official guides – these are your Mount’s gear:

And here are the Saddles you can use:

Jousting

If your Players want to Joust, you can follow our homebrew setup for the encounter:

  1. Two players stand on opposite sides of an arena.
  2. Have both roll for Initiative, using the mount’s Dexterity Modifier.
  3. Whoever rolls the highest runs fastest. They get to Hit first.
  4. Roll to Hit and Roll for Damage as normal.
  5. If the damage (at any point) is half or more of the player’s total Hit Points, the player is knocked Prone and loses.
  6. After 5 rounds, the Player with the most Hits wins (if none is knocked Prone).

In this game, landing a Hit is more important than rolling high damage. However, if you produce enough damage, you can end the game early as your opponent is knocked off their mount.

Best Classes For Mounted Combat

All classes can be useful with a mount, but two, in particular, would benefit the most.

Cavalier Fighter 

The first is the Cavalier Fighter. This Fighter is designed to battle on the back of a mount.

At 3rd level, they have advantage on Saving Throws to stay on their steed, and it only costs them 5 feet of movement to mount their ride.

At 7th level, the Warding Maneuver allows them to use their Reaction to increase their mounts Armor Class. This also works on the Player and their allies within 5 feet.

And at 15th level, they gain the charging spirit of their mount and can knock someone Prone, after charging 10 feet in a straight line. They can do this whether they are mounted or not.

The Cavalier Fighter is built for a steed and is the perfect Class for mounted combat.

Soulknife Rogue

The second best Subclass for mounted combat is the Soulknife Rouge

In fact, all Rogues will benefit from riding a steed due to their Sneak Attack feature.

For the Sneak Attack feature to activate, the Player Character needs to have advantage or be within 5 feet of their target’s enemy.

If the mount attacks the target outright, they will be considered an enemy. However, to most Dungeon Master’s, being an active member of the party will be enough to count as the target’s enemy.

This means that the Rogue will automatically get to use their Steak Attack while mounted.

If they use a Whip, as we said before, they will be able to reach enemies 10 ft away and still manage to use their Sneak Attack due to the finesse weapon. Of course, that is only true if an enemy of the target is within 5 feet.

However, the Soulknife Rouge can take this one step further.

At 3rd level, a Soulknife Rouge can pull psionic power from their soul to create a finesse or thrown weapon, just like a Dagger. This means it can be used for Sneak Attack.

This Soul Blade does 1d6 damage, which is more than a Dagger’s 1d4 or a Whips 1d4. And unlike a Dagger, it will also return back to the Player.

The last thing that makes it impressive is its 60 foot range. 

Normally Rogues are in the thick of the battle, but with a Soul Blade and a mount, a Soulknife Rogue can act more defensively. They can ride into battle, use a Sneak Attack on their target using the Soul Blade. Next their steed can use Dodge and run away. Then the Rogue can use their Two-Weapon Fighting feat to hit with a second Soul Blade from 60 feet away.

Sneak Attack can only be used once per round, so getting out of the enemy’s melee range after hitting is a smart tactic. They can still use their Bonus Action for use their Two-Weapon Fighting feat, but be at a safe distance.

Granted, the second attack is only 1d4, but this Rogue keeps their weapon, has disadvantaged any enemy Opportunity Attacks, and always has Sneak Attack.

Mounted Combatant Feat

The Mounted Combatant feat can be found on page 168 of the Player’s Handbook.

No matter what class you pick, if you plan on riding a mount often, choose this feat. This is especially true if you are a Rogue.

Rogues always want advantage when attacking, so they can use their Sneak Attack. If your Dungeon Master doesn’t agree that your mount is your target’s enemy, then this feat can grant you a constant advantage instead. Just make sure your mount is the biggest in battle.

Summary

Apart from the jousting portion, everything in this article has used official rules from  Dungeons and Dragons manuals.

Now you know how to use mounts in combat, which weapons to use, and understand mount heights. 

The biggest confusion that most Dungeon Master’s face is around the trained mount’s actions. Remember, a trained mount can only use Dodge, Disengage, and Dash. The three Ds.

And if you Player Characters want to mount an unexpected creature, the creature can hold 15 times their Strength Score. It will usually be fine unless the mount is small.

Bookmark this page for future reference, as you’ll never know what mounted combat could crop up in your sessions!


Feature image by kudybadorota

How to Prepare Umbrage Hill Quest – Dragon of Icespire Peak

Umbrage Hill is a simple quest, which allows your players to choose between combat and conversation. 

If you or your players are new to Dungeons and Dragons, you might expect to fight your way out of every situation. That’s because the typical answer to most fantasy games is to kill your enemy; D&D is different. Umbrage Hill is the perfect example of how combat could be halted if the players use their knowledge or skills wisely.  

Connecting The Quest To The Players And Phandalin

The campaign suggests using a quest board to hand out adventures. In our article “Setting Up Phandalin,” we said that although this process is an easy method, it can feel a little boring. Instead, we suggested making the campaign feel more personal to the players; that way, they have a genuine reason to help out the town and not leave them to their own devices.

The original quest asked the players to find Adabra Gwynn and bring her back to Phandalin, where she would be safe (page 10 of the adventure book).

However, I felt that this type of request should come from a lover, “Come back and be safe.” But then why wouldn’t the lover find their partner themselves? Ah, maybe an ex-lover.

In “Setting Up Phandalin,” I suggested that maybe Linene the Smith is worried about Ababra’s safety, as she lives alone. But Linene cannot ask her to come back home due to their quarrel. This gives the players a human connection to link the healer to Phandalin. It also drops with a dash of a love story to provide the town with some history. 

If the players don’t naturally arrive at the Lionshield Coster (page 9), you can make the quest come to them. Maybe Linene is drinking in the tavern, and Toblen tells the PCs (player characters) that she only does this when she’s anxious. Here the players have a story-like beginning to a new quest without feeling railroaded.

Developing this story-like entrance just means adding a “cut screen” moment before the players enter the Lionshielf Coster or as they enter the Tavern.

For example:

You walk into the Tavern and see Toblin cleaning down some tables. Sitting in the shadows is a stocky-looking woman. With one hand cradling her head and the other hugging her ale, you can sense a sadness surrounding her.

If the players go over, you can add in some dialogue for the PCs to bounce off of.

“Toblin said you helped him, so I hoped you could help me too” Linene tries to focus on you, but you notice her eyes are dropping a little. “Ababra doesn’t know about that Dragon flying around. She’s all alone and too stubborn to listen to me. I need her to come back. To be safe, I mean….” A slight redness colors her cheeks. “Look, if I give you 25gp, will you bring her back here, so she’s safe? Just don’t tell her I sent you.”

The players could then dive deeper into this star-crossed lover storyline, or they could accept this drunkard’s money and run. Either way, the quest is theirs now, and the history of this village is developing.

What To Expect At Umbrage Hill

The map to Umbrage Hill is small. The makers have tried to add history to the land, but as I said with my “Dwarven Excavation” guide, these historical additions are fun but unnecessary. And to new DMs (Dungeon Masters), it will just add confusion.

The unnecessary history in Umbrage Hill is the lost feud of dwarven clans. At the top of the hill, you’ll notice rocks that are acting as tombstones from this long-forgotten battle. And under U.2, you’ll see a stone house fallen to ruins. These shapes will make excellent hiding spots and cover advantages if a battle commences, but other than that, you don’t need to add a ton of history or story to them.

If any players ask, you can say that Cryovain knocked down the stone walls, putting the dragon straight into the story, or that Ababra built around an old and forgotten building.

Arriving at Umbrage Hill

When you arrive at the quest destination, you’re meant to find a Manticore clawing at the windmill’s front door as a woman leans out the window, asking for your help.

The quest tells the DM that if the players try to talk to the Manticore, give him 25 gp in treasure, or offer him meat, the monster will fly away. But the entrance doesn’t suggest to the players that this is an option. 

So I suggest changing it up a bit. 

After a couple hours of walking, you notice a small windmill in the distance. Its blades slowly move in the wind as it sits atop a grassy hill. A wooden fence hugs the landscape around the building.

As the blades move, you notice something large between the wooden material and the wall.

You get closer still and start to see the figure’s shape. A large body of a lion, but with the wings of a dragon. Its main has spikes as long as your arm, and they trail down to the beast’s tail.

You are close enough, now, to hear the faint scratch of claw on wood.

“Don’t be scared, human. I’m only hungry.” The deep voice of the creature travels through the wind, and its steady tone holds a hint of sadistic intent.

The window on the second door flies open. “You there! Help me!” You see a young human woman waving a cloth in your direction. 

The beast hears her too and moves away from the door. In the light, you see its skinny frame with its bones visible through its skin.

It doesn’t speak, but you notice its expression holds a hint of apprehension. 

What do you do?

This intro is much longer than the suggested piece, but here the players can see the creature is hungry, ready to kill, but obviously malnourished. They also learn that the Manticore can speak. This opens up the encounter to the players, allowing them to think about the possible ways that they could help Ababra and maybe even the Manticore.

Just adding a little bit of detail will give your players ideas of how to go forward. I suggest playing the Manticore as scared but willing to fight. At this point, it is outnumbered and will want to live another day, use that to create this monster’s story.

The stats for the Manticore can be found on page 60 of the adventure book or page 213 of the Monster Manual.

Ababra’s Choice To Stay

The adventure book suggests that Ababra would rather stay at her windmill and brace the troubles that Cryovain will bring. She will even offer a written note as proof of the conversation. 

This is another fantastic way for the players to get involved with roleplay and social interaction. Will they try to trick her into coming back, persuade her by breaking their promise to Linene and explaining she is worried about her, or would they respect her decision?

There are so many things that the players could do, all of which could have a butterfly effect throughout the game.

For example, if they persuade Ababra to go back to Phandalin, maybe she will set up a herbal shop in town, allowing the players to receive potions more easily. Or if she stays, perhaps Cryovain could visit the windmill too, while the players are elsewhere, causing a new “damsel in distress” quest to appear.

Make a note of how your players deal with this situation and adapt the campaign to fit the changes.

Letting The Manticore Live

If the PCs decide to let the Manticore live, the adventure book suggests that he comes back every now and then to get more food or treasure from Ababra. 

We can be a little more creative than that. Maybe the Manticore comes back and settles near Ababra, creating an unlikely alliance between humans and monsters. Or perhaps the players notice their new friend dead on the road in the lead up to Cryovain’s big fight. This character could have been popping up every now and then for fun moments in the story, and just when everything is going too well, the players see a frostbite wound on their friend’s leg. Cryovain was clearly the culprit.

Depending on how the interaction went, make a note of how the Manticore will feel about these adventures, then create an extra storyline that could pop up later in the campaign. These moments can create amazing connections for the players later on, so have fun with the domino effect taking place.

Treasure

The only official treasure mentioned in this quest is a handful of Potions of Healing. These are super valuable items, but it doesn’t make sense to only have three in the whole campaign.

Depending on how the story goes, it would make sense for Ababra to make friends with the PCs after this quest. It also makes sense for her to make these potions for a living. I suggest that every time a quest has been completed, Ababra will have finished brewing one potion. She can then sell the positions for 25gp (a discounted price for saving her). This keeps the game from becoming too easy while also helping your players through tough spots. 

Learning The NPCs

As there are only two Non-Player Characters in this quest, it shouldn’t be hard to understand their motives. 

Ababra Gwynn

Depending on why the players have come to Umbrage Hill, you should develop Ababra’s backstory based on the information you have already given out.

With my suggestion, Ababra and Linene were ex-lovers who fell out, causing Ababra to start a new life in Umbrage Hill. So the question is, why did they fall out, and is the relationship mendable? 

For my players, I gave them all a love triangle and said that Halia from the Miner Exchange successfully seduced Ababra as a ruse to get her herbal shop and take over the small town’s real estate. Linene found out and dumped her true love, while Ababra ran away in shame.

The players persuaded Ababra to return to Phandalin, where Linene and Ababra mended their trust. 

Whatever stories you have already started, try to build a backstory for them, so you can answer any questions your players throw at you. Then try to reply as the NPC would. 

The adventuring book suggests that Ababra has commoner stats, but we can play around with the flavor of her weapon. If for some reason, Ababra joins in the battle, you could turn her “club” into a chair. If the Manticore makes it into the windmill, she could pick up the chair and try to smash it over his head.

Just replace the storytelling aspect while keeping the club’s stats.

Manticore

The Manticore has moved from his lands in the rocky mountains to a landscape filled with trees. His wings are not as useful in such an area, which should tell any intelligent character that something is wrong.

The adventure book suggests that the Manticore is trying to find food and a new home since Cryovain the dragon displaced him. In all honesty, his backstory doesn’t need to be much bigger than that.

It reminds the players about Cryovain and shows how the dragon needs to be stopped, as the ecosystem cannot handle the new threat.

Remember the Manicore’s stats too. He is at his most powerful when using the multi-attack, but because the creature can fly and has a ranged tail spike attack, it makes sense for the beast to fly up to the top of the windmill and fire his missiles when no one can catch him.

If you do use the tail spike, however, you need to count how many spikes get used up, as the Manticore can only grow so many in a day.

Remembering Cryovain

Although Cryovain is only the catalyst to this quest, we cannot forget that without him, the Manticore would not have attacked our lovely herbalist. Dripping the details of the dragon into the storyline will remind the players who the real enemy is. You only need to mention him once or twice for the players to pick up on this worry.

Summary

Umbrage Hill is a wonderful quest for first-time players and first-time DMs. You only have two NPCs to worry about, both of which can have detailed storylines that you can easily follow without getting confused.

The quest itself can be completed by the player’s choices. If they are a group that loves to battle, then the fight will be epic. If they are a group that wants to be diplomatic, then they can talk to this magical beast. Most importantly, the players will have complete control over how this quest plays out, and it will give the DM a lot of options for the future of the campaign.

My advice is to make notes throughout the session, so you can pick up on anything the NPCs might do in the session or in the future.

And remember, have fun!

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How to Prepare Dwarven Excavation Quest – Dragon of Icespire Peak

Like everything in Dragon of Icespire Peak, there is a lot of lore, history, and backstory to each area on the map. 

Most of the time, these added details would be great information for Dungeons Masters (DMs) who are used to making massive worlds or even those who have played a campaign near Phandalin before. 

But the majority of people picking up Dragon of Icespire Peak are new Dungeon Masters, so all of the extra detail just overcomplicates their game.

I aim to strip back the Dwarven Excavation content and leave you with a realistic guide to make this session epic for you and your friends!

What to Expect in the Dwarven Excavation

Here is a brief overview of the Dwarven Excavation quest. The parties’ one aim is to warn the dwarfs mining in this area that a white dragon has been spotted. After doing this, the players can go back to Phandalin and collect their 50gp.

You can find this information on page 10 of the adventure book.

Grateful for the warning, the dwarf offers the party a quest of their own. If the players can clear the mine of monsters, then the miners will give them some sending stones. This is what we call a “plot hook,” although it is a weak one as there isn’t a lot of plot involved. 

Still, the players don’t have any magical items yet, so this small addition to their bag will feel like a gold mine (pun intended).

The Sending Stones can be found on page 199 of the Dungeon Master’s Guide or in the packet of magic items handouts. 

If the players accept this quest, they will enter a dark cave searching for beasts. It’s only when they reach the middle that they find one or two Ochre Jellies. They are lost souls of the priests that used to live here, turned into unfeeling and hungry monsters. They can be found on page 61 of your adventure book or page 243 of the Monster Manual.

Once the monsters are defeated, there are no other threats in the cave. However, there is a hidden room with a glowing gem being held by a sketchy statue. If a player gets greedy and reaches for the gem, they risk receiving 22 piercing damage as the booby trap is set off. 

Lastly, as the players leave the mine feeling triumphant, they see Orcs stampeding into the clearing, and another battle begins.

Stripping away all of the empty rooms and (interesting, but never mentioned again) backstory, this is the essence of the quest. 

If you have a warlock player or a dwarven player, it might be interesting to weave Abbathor  (the dwarven god of greed) into the story, as this was the god prayed to by previous civilizations in the mine. 

However, Abbathor is never mentioned again in the campaign, so it would be easy to cut him out if you cannot find a connection. Remember that you are under no obligation to create a connection either. All you need to do is mold the story to match your vision.

Connecting Stories and Knowing Your Players 

In our previous article, “Setting Up Phandalin For Your First Session,” we suggested giving the quest to your players through the retired-miner-turned-tavern-owner Toblen.

If you used this suggestion or created your own mini-history to connect Phandalin and the dwarven mines, be sure to carry on this story. There are two Non-Player Characters (NPCs) in this quest, and they are called Dazlyn and Norbus. 

Dazlyn is meant to be forthright and honest, but Norbus is gruff and cautious. You can edit these descriptions depending on the backstory you have created to get the players here. They are only there to help you create believable and playable characters. 

When the players reach E3, “Courtyard and Temple Facade,” they are meant to meet these NPCs. The dwarves thank the player characters (PCs) and offer their quest, however, depending on your party, this might seem a little boring.

Hopefully, by this point, you will already know what your players will enjoy. If they like to roleplay, then you can use this entrance to make Norbus suspicious.

“White Dragon! What lies! These clean folk are after that legendary gem. I can smells it!”

The players could then roll persuasion to convince the dwarfs, and at the same time, learn about the tempting treasures within. If you use this method, you may want to create a more interesting item than a 100gp gem. Maybe it is cursed, and the PC who holds it becomes obsessed with getting more money even if it ends in pain. Who knows, have fun with it!

If your players are still new and not confident enough to roleplay, you might prefer more of a damsel in distress attitude. Maybe they hear a call for help and rush to the dwarf’s rescue. As they arrive, one dwarf is whacking their pickaxe against the Jelly, while the other is slowly being digested. 

Thrown straight into battle, the players have to kill their enemy before the dwarf dies. This makes the combat dynamic, includes a scary time element, and lets you play around with roleplay without it being core to the game.

If you have no idea what your players will find fun, create the scene to be fun for you. You are a player in this game too, so use your own entertainment as a guide and see how your friends react. 

Next time, it will be easier to see what they enjoyed.

Learn the NPCs and the Monsters

In this quest, there are only two NPCs and two monster types. This means you don’t have to focus on a whole village and what they all want, instead you can put some time and love into the characters in front of you.

Monsters

When it comes to the Orcs and the Ochre Jellys, you don’t need to give them backstories or names (unless you want to!). Instead, all you need to do is know their aim and know their attacks.

We will go into more detail about the Orcs later, but their main goal is to settle somewhere, and they are willing to die for their course.

The Ochre Jellies were once living dwarfs, but they were attacked by their god and turned into these hungry and ugly beasts. It’s unlikely that your players will have a way to communicate with the jellies, so you don’t need to understand their motives other than “attack.” The fun thing about Ochre Jellies comes from their movement. They cannot move fast, but they can climb walls without issue and squeeze through gaps as small as 1-inch without worry. 

When it comes to battle, remember the quirky and unique moves that each of your monsters have, and be sure to bring them to the table. Even if spider climbing up a wall gives a player an opportunity attack, the move will still be memorable!

Non Player Characters

The dwarves are given commoner stats, which you can find on page 55 of the adventure book or page 345 of the Monster Manual.

This stat sheet says that commoners only have a club for attacking, but let’s consider a real miner. They would likely have a pickaxe, at least! Just because the stat sheet says, one thing doesn’t mean you cannot add some flare to it.

I suggested earlier that a damsel in distress could consist of a dwarf being swallowed by a Jelly while another attacks with their pickaxe. In that scenario, I recommend keeping the mechanics of a club but adding some imagination to their weapon description. This way, you haven’t changed the details to become complicated, and you haven’t overpowered the NPCs.

Of course, there is more to an encounter than battling, and the NPCs will have their history. You don’t need to write a whole plot about these characters, but make them memorable in your head, so when the players talk to them, you can create a response consistent with their character.

I suggest making a character sheet for any NPC, with their attitude, goals, dislikes, and likes. This way, you have a quick reference for improvised conversation.  

Loot

If anyone dies, it’s always fun for the players to loot the bodies and try to find treasure. For the Dwarven Miners, they could find alcohol, small gems worth 10gp, and some pickaxes. For Ochre Jelly, they could find poison that could be filtered into empty bottles.

The Orcs, however, could be more interesting as the player can find armor and weapons. Orcs wear hide armor and carry Greatclubs along with Javelins. These could be added to your player’s inventory and increase their fighting power. These items can be found on pages 41 and 42 of your Essentials Kit Rulebook or pages 145 and 149 of the Player’s Handbook.

Break Down Each Area Of The Map

In the official guide to the Dwarven Excavation quest, there are 13 sections, including the arrival and the Orc attack. 

Temple Features

There is a helpful little guide on page 22 about the temple’s features, including its doors, ceilings, difficult terrain, and light. I suggest printing this part out and having it in view, as there will be many times when light and terrain becomes a problem during the game. These are easy features to forget but are an intricate part of the atmosphere building and difficulty challenge. 

Remember that difficult terrain takes twice as long for a character to go through (30 ft of movement turns into 15 ft, etc.), and having no light will make your characters effectively blind. This means that they will automatically fail any check which uses sight and will be disadvantaged when attacking, while their enemies will have advantage to attack them (if they can see).

Even if your players have darkvision, they will be disadvantaged on checks that rely on sight. 

Because of this, you should make a pre-worded description for every room the PCs enter, so both you and them are reminded of their limitations. If a character is blinded from the darkness, consider giving them the condition card found in the pack as an additional reminder.

Going Through The Rooms

I’m not normally a fan of maps with useless rooms, as the DM is forced to make it important somehow, or the players become bored by constantly seeing useless information. However, this map doesn’t have too many dead spaces, and because the Ochre Jellies can wiggle through 1-inch spaces, they can use these dead rooms as escape ways to run away from the party. 

You can even use the strange shapes in the Ruined Settlement (E2) as cover when the Orcs attack.

My only suggestion is to add more detail to the rooms. The priest’s room in E8, for example, could have jeweled silver daggers or blood-red leather armor for the players to find. If the players don’t go rummaging, then they won’t lose out on important items, but if they snoop around, they could find some worthy treasure. 

No matter what you do, be familiar with the rooms and understand how they could be used by your players or by the monsters. Read each section one at a time, and then go over them with a pen and paper to create your own descriptions and changes.

Change Abbathor to Talos

Earlier I said to ignore the history of this place, as it never comes up again in the campaign. If you really want a god in this temple, as you know your players will get interested in the history, then I suggest using Talos, the evil god of storms. 

If anyone investigates the rocks, you can suggest high levels of sea salt, despite being far away from the sea; almost as though previous landscapes would put this temple closer to the sea edge.

Talos shows up in at least four other quests as the Half-Orc anchorites constantly try to summon him or work on his behalf. This temple could be an abandoned worshipping site, which was left behind as the sea levels changed.

Swapping Abbathor to Talos will give you a recurring evil god that feels connected to the story. 

Getting Battle Ready

Unfortunately, the beginners kit doesn’t come with a battle map for every quest, so I suggest buying a reusable battle map that can be wiped away and recreated as the players destroy the temple within.

If someone uses a spell that knocks down a pillar, for example, then you’ll need to re-make this map as the ceiling collapses. 

The only problem with this method is allowing your players to run all around the mine while only having a limited battle map size. Although I would normally suggest using one massive and wipeable surface, for a map like this, you may prefer to use reusable battle blocks. Click this link to understand what I mean. You can add in more corridors as your players discover secret doors. These battle blocks create a more versatile and moveable map.

Avoid Player Disappointment

The one thing that every Dungeon Master hates is disappointing their players. If the Ochre Jelly encounter proved deadly, you need to give your players a break before letting them face the Orcs.

Encourage them to take a short rest at least, or even allow them a long rest in the creepy, moldy priest chambers. If they don’t take a rest (because they didn’t know they could), your players will feel ambushed as the Orcs come to attack. 

The tiny paragraph about the attack on page 23 suggests you go into a fight without explanation. This will feel like an unnecessary attack to your players, so instead, I recommend adding in a little bit of dialogue to show why the Orcs are fighting. 

If a player knows the language “Giant,” you could have the leading Orc give a speech while a timid one mumbles something only that player can understand.

“A cave!” The Orc says with a gaping smile that shows off his long, deep tusks. “Humanoid vermin, be off with you. This is our new home!” He raises his great club and charges before anyone gets the chance to run.

Point out your giant-speaking player, and tell them they notice this interaction too:

A smaller Orc raises his ax, but his enthusiasm is lesser than his friends. “Another fight? I’m too exhausted. Why won’t you let us be!” He mumbles in Giant, but with a huff, joins his comrades. 

If you don’t have a player character who can speak giant, you can still have this interaction through common.

When you add this level of information to your players before the attack begins, give them enough space to attempt to speak before the Orcs reach them. If the charge happens when they are over 40ft away, the monsters have to use the dash action to get into melee range. This gives the players one turn each to interact without attacking and get more information. 

Although Orcs have javelins, their low intelligence makes it easy to imagine them running into melee combat and not staying in ranged distance.

However you manage this element of attack, remember that the Orcs are searching for a new home after the white dragon displaced them. This can be a great way to weave Cryovain and his negative effects into the story. 

It will be easy to let this quest fall into a “dungeon grind,” especially at a low level. A “dungeon grind” is when the players experience battle after battle without any change. Even those who love battles still need a balance with puzzles, social interaction, and downright silliness.

You should decide whether this additional attack will be enjoyable and informative or if your players need a break from fighting. If you figure it’s the latter, you should abandon this extra fight.

Summary

There isn’t a lot going on in this quest, which is perfect for a new DM and new Players. There is a little bit of social interaction, a little bit of battle, and a little bit of investigation. I really like this quest and only felt the need to edit a bit of it.

When I played it through with my party, we had a Dwarf Wizard, so when they stole the gem, I made Abbathor talk to her in her sleep. Our campaign had two plots from then, stop the dragon and release the evil god. 

I highly recommend cutting out all the Abbathor stuff, unless you think your players will be interested in this back story. He doesn’t come up again in the campaign, so you won’t be missing out on information. If you want to add in an important god, add in Talos instead.

Whatever you do, make reminders about the light and difficult terrain either through pre-written entrances for each room or with a sticky note on your DM screen.

And remember to have fun!


Feature Image CC: David Calabrese

Dragon of Icespire Peak: Starting Your Preparations

First time Dungeon Masters picking up the Dragon of Icespire Peak module can have a hard time navigating the information. For one, it has a lot to work with, and secondly it can go in so many directions.

This is why many DMs love the campaign, but if you haven’t Dungeon Mastered before, the data can be overwhelming.

We are making an ultimate guide to DoIP (Dragon of Icespire Peak), to help anyone struggling to sift through the information and find the meat of the story! Today, we are starting at the very beginning – preparation.

We aren’t going to go through every single quest in the book right now; instead we are going to show you how to visualise the settling. If you want a more detailed guide for each part of the story you can search through our website by clicking here.

Warning – Spoilers Ahead

Reading Through The Module

It may seem obvious to read through the module you have picked up, but on page 10 the book explains that only 3 of the quests are listed on the quest board. This might lead you to thinking that only reading the first 3 is fine, however you may end up confusing yourself later on.

The first 3 quests don’t really connect to the overall storyline of the campaign. Instead they are more of a “get to know your character” and “have fun role playing” kind of session. This isn’t bad of course, but the players may start wondering why their characters are even following these quests.

If you read through the module, you will know what two things are happening in the world at the moment. Storyline one is that a dragon named Cryovain has moved into the area, forcing dangerous monsters into the humanoid lands. This displacement is actively causing chaos and harm. To solve the problem, you need to remove the dragon. That way the orcs, ogres and manticores can return to their homes, and leave the humanoids in peace.

The second storyline is that a group of orc cultists are attempting to bring their God Gorthok the Thunder Boar into this world. Their reasons are unclear, but there are a couple of instances where boars can be seen in the area.

I personally found the boar storyline more interesting than the dragon one, but (as a new Dungeon Master), I found the story too disconnected from the main plot to piece it all together. Unfortunately, I fell into the trap of only looking at the first three quests before reading on. If I had known that these random boars were important, I would have added more detail to their story.

The reason why the boar storyline is so flat is because the creators of the campaign expect you to add to it. As a Dungeon Master, you will have your own creative ideas about how this jigsaw fits together, and your players will end up influencing the story too. This gap is deliberate to allow everyone to have some control in the game. 

To ensure you don’t miss out on any juicy details that can help you create the world, you should read the whole campaign even if you are nowhere near that quest yet. Your Warlock Player’s patron could be Abbathor, your Cleric’s God could be Savras. These are Gods already in the book that can help your characters connect to the story. Reading through can help you pick out these details and develop the story from an open concept to a touching story.

Prepare A Skeleton

Just like the creators have left ideas and concepts for you, you shouldn’t overload your story either. Your players can and will have a massive effect on the continued world they interact with. Not everything will have a “butterfly effect” moment, but if your players persuade the villages of Phandalin to move to Butterskull Ranch for their safety, then you should have enough room in the story to let this happen. This idea is called a “skeleton”; the structure or “bones” of the story is written, but the “meat” is created as you play.

To give yourself some guidance but still allow your players to influence the world, you should only make a skeleton guide of the campaign. You could argue that the module already has a skeleton ready for you to pick up and run on the day, but most of us cannot read a piece of paper once and fully comprehend it. Instead, you should use this premade skeleton as a guide.

The best skeletons have fixed facts that will not change, readily prepared along with beginning speeches. The start of a session, no matter if it’s session 1 or session 20, will not be controlled by the Player. They cannot influence anything they haven’t had a chance to touch yet. This means you can set the scene, bring the drama and tell the characters what they see.

Apart from this beginning scene, there won’t be a lot of chances for you to give massive description speeches. You might think that the players will go through the front door of the Logger Camp, but instead, they jump through the window. If you already made a speech for this entry, then this sudden unexpected entrance means your speech doesn’t make sense. To some, that would be enough to make you lose focus and become confused. You might even seem angry that the players didn’t play the way you expected. That isn’t the issue, of course; it just means you’re suddenly unprepared, and that can be stressful. To avoid this issue, don’t make massive speeches. Instead, write a couple of notes about what you imagine your players will see. Then when they reach this location, through the window or the door, you can use your notes to paint the picture.  

Going back to the adventure’s premade skeleton piece, re-write the contents in a way that makes sense to you. For example, the detail in Gnomengarde was beautiful but crowded. On game day, I needed to pick up a piece of paper that had quick details and sharp notes so I could move as fast as my players. To prepare, I wrote bullet points for each room. The ability checks, devices, and monsters were reduced to a shorthand that I could understand at a glance. Then I wrote down all the gnomes’ names (and there are many) and put them on a separate sheet. I knew my players would care about what each NPC (non-player character) was called, so I wanted an accessible location to pick up the information. 

These are the ways in which I personalized the skeleton. You might care about other details, and long detailed paragraphs might not be hard for you to read quickly. However you like to play, edit the sessions to make them easier for you.

Utilize The Dragon: Cryovain

Cryovain is the main villain of the story. He is happy to cause destruction and eats humanoids, orcs, and livestock in what he considers his territory. In the beginning, the players will be too weak to battle a dragon. Instead, they need to level up with quests to gain the experience they need to be strong. 

However, if you ignore the dragon too much, the players won’t realize how much of a threat he is meant to be to the story. 

On page 11, the campaign suggests that you should roll a d20 to see where the dragon lands each day to feed. 

If the dragon lands in the same area as the players, they can attempt to hurt him, but he will run away after losing 10hp. 

The concept is good, as it allows the players to see Cryovain’s destruction and how powerful he is, but there is only a 5% chance of this happening.  Without this interaction, your players won’t understand just how much he can destroy the land.

Instead, I recommend noting every place he visits each day and creating a mini-story about what happened there. For example, the dragon could land at the Logger’s Camp. The players could find pools of freshwater near the river which an intelligence check can confirm shouldn’t be there. They might even find dead Ankhegs (the monster of the area) lying on the sand with wounds from a weapon no longer in the body. Again, an intelligence check could find evidence of a frozen exoskeleton. 

This way, although the players haven’t seen the dragon, they have seen its effect. This could even happen in locations the players have been to before. Maybe a letter comes from Butterskull Ranch, asking for further assistance after the dragon stole his pigs?

Making the dragon more destructive and visible will allow your players to create a strong dislike for the beast, and they will have a greater connection to the story. 

Don’t Be Afraid To Add To The Content

From everything we have said so far, it should be clear that these modules are meant to be used in collaboration with you and your party. Don’t stick to them religiously, instead explore what they could mean and how they can evolve as the story goes on. 

Maybe the cultists are calling upon their God because they want the boar to take down Cryovain. They might think the party is on the dragon’s side unless your players try to talk them into a truce?

These storylines cropping into your mind could turn this template into a world you can see and predict. Follow your ideas and your players’ ideas to create something you can all connect to. 

Don’t Be Afraid To Take Away From The Content

In the same thought process as adding to the module, you can take away from it too. The Wizards of the Coast (the creators of these games) often use The Forgotten Realms in their campaigns. These games have been around for years, and so it’s only natural that lore and easter eggs have developed. But as a new DM, these unnecessary add ons meant nothing to me. 

Easter eggs are fun but useless content that nods towards other content, like when one Marvel movie has an item from another Marvel movie in the background.

Halia, the human who works at the exchange shop, is one of these easter eggs. She is part of a secret organization called Zhentarim. With so much detail added to this NPC, you would expect her character to play a significant role, or at least the secret organization should be meaningful. Instead, she was just an insert to allow more experienced Dungeon Masters to connect their stories together.

Unless you can see potential in these one-off details, I would recommend taking them out of the story. Otherwise, your players might follow this red herring towards content that isn’t part of the campaign, and (as a new DM) you don’t know how to manifest. 

My advice is to avoid confusion. When you go through the module, pick up on these little extras and cross them out. 

You may find that other parts of the story seem pointless, unnecessary, or too complicated. If that’s the case, cross those parts out too. You want the game to be easy to follow so you don’t get tripped up on too many storylines. Follow your instincts and edit the campaign to make it more enjoyable for you.

Summary

Some of the information I have said in this article can be used on all or most other modules too. Always make personalized skeleton modules of the campaigns you are using, and always edit and adjust them to suit your table.

If you are reading this, then you are probably still a little new or nervous about being a Dungeon Master. Most people who pick up this campaign are just starting out. Don’t think of this advice as a cheat or a “dumb it down” method. Experienced Dungeon Masters will already be doing this level of preparation, and the module itself says to “modify the adventure to suit your tastes.” 

Dungeons and Dragons is all about collaborative role-playing, so remember that Dragons of Icespire Peak is an adventure suggestion, and you can collaborate with the creators to make it fit your fantasy. 

If you have any worries or questions, add them to our comments and I will do my best to help you. If you have any additional advice to help your fellow newbies, throw those into the comment section too! We can’t wait to see how you’ve been playing this game.


Turn Buying And Selling Into An Adventure 5e

Shopping in Dungeons and Dragons can feel like a real bore. If your campaign doesn’t have strong Non-Player Characters that the players want to talk to, then all you’re really doing is pointing out how much money the characters have and what the items are in the shop.

New Dungeon Masters often find this part of D&D a struggle because, apart from the odd teen montage, there isn’t a lot of TV or Film inspiration to go off. 

Buying and selling doesn’t have to be as dull as following a list. There are a couple of ways to bring the excitement which should fit into any campaign, and once you get the hang of these, you can adapt and grow more ideas as you play!

Buying Magical Items The 5e Way

Following Xanathar’s Guide To Everything on page 126, the official way to buy magical items is through a randomized chart. After rolling a persuasion check on the seller, the Dungeon Master then rolls a dice to see what items the players can buy. BORING!

This type of DMing is good for when your players move the game into an unexpected direction and are demanding shopping scene, but you usually will know how the game is going and when shopping is available. Randomized charts can give your players items they don’t care about and are entirely irrelevant to your campaign.

Instead, if you want to add magical items to your game, check your character’s level and roll on the Dungeon Master’s Guide hoard table on page 136. I know what you’re thinking: “didn’t you just say that randomized tables were boring and bad.” I did, and I stick to it! This table shouldn’t be used to blindly add to your campaign but to help you give a magical item that isn’t overpowered or underpowered. Use it as a guide and not as a “well, that’s what I rolled” answer.

Using this table, you can scroll through the book and see what items spark your interest. When you have a couple to note down, we can finally start creating this shopping adventure!

Making Each Town or City A Specialist

Depending on your campaign, magical items are a rare sight in the D&D world. This means that most shops will only have non-magical items.

To make shopping more of an adventure and less of a chore, make each town or city in your campaign a specialist in certain items; magical or non-magical.

Maybe the Wood Elves create the best bows, so they would pay a better price for a +1 Arrow as they understand it’s worth. Perhaps there is one city in the land that can create Potions of Healing, which means the players have to stock up before leaving. Suppose there is an amazing Artificer who will make you any magical item of your choice if you have the time and money for it. 

I personally like to make each location amazing at one type of manufacturing. In my latest campaign, the players all had bad Charisma stats, so when they visited a Halfling village, I made the community specializing in flowers. They had one magical item which was part of their heritage, the Perfume of Bewitching. They made this perfume with the flowers they grew and were the only ones in the lands who could sell it. The fragrance gave my characters advantage to Charisma checks, which they soon became hooked on. This meant coming back to the Halfling Village of Teatime (if you know the reference, well done) whenever they wanted to start a social encounter, allowing me to create an event in the community to spark an exciting adventure while they were there.

Spreading out shops like this forces your players to weigh up their money bags and decide which destination is worth the hassle. It also means they cannot waste their items without thinking about how hard it is to buy new ones. 

Creating An Interaction Without Explicitly Saying The Item’s Name

If you were hoping for more guidance while you are in the shop, then have no fear. I have an answer for that too!

Describe the item, show the characters what it can do, and then give the price. Basically, create a small cut scene. 

I’ve talked about this before in our Dungeons And Dragons Essentials Kit – Overall Review. Allowing your players to interact with the item will encourage them to roleplay and mess around with the adventure. 

In that example, I said to give the players a weapon and had them roll to hit and roll damage against practice targets. This makes the players the center focus of the scene instead of the items. Plus, we all love a good excuse to roll our dice.

When it comes to magical items, you can instead create a bit of mystery. For example:

The dwarf looks you up and down. With a huff, he mutters, “yeah, you might fit.” He walks down a small corridor without another word, ignoring the steel armor that hangs from the walls. Eventually, the smithy stops and looks up at a golden tinted plate of armor with thick boots and a helmet with only slots to see out of.

“Well, go on then.” He says.

At this point, you let your characters interact. When the character picks up the plate armor, make them do an Athletic Check. If they fail, the armor falls on top of them, the weight crushing them for 2 health points. If they succeed, describe how surprisingly heavy the item is. For example:

You go to lift the armor from its hooks, but it takes you a while to find a firm footing. The armor is clunky, with an odd weight distribution that you cannot balance. You manage to release it from the walls, and you carefully hold it in your arms. 

The weight alone makes you question how you would move in battle, but you put on the armor nonetheless. After 10 minutes, you finally tighten the last buckle and stand up strong. 

You go to move your foot but find your feet are firmly still on the floor.

The dwarf laughs at your attempt. “This is Dwarven Plate Armor. If someone uses magic to push you or move you against your will, this heavy tank will help you keep balance.”

At this point, you could have your other players roll attacks against the plated player. The plated player wouldn’t know if the attack hit or not, and you can announce if the +2 Armor Class bonus protected them.

Of course, this type of interaction takes up time, but sometimes a whole session dedicated to shopping is more interesting than whipping through it to get back to the action. This is the time when your players really get to roleplay and be silly without major consequences. A lighthearted session is often needed after a hardcore one, after all.

Selling Magical Items The 5e Way

Looking back at Xanathar’s Guide To Everything, page 133, the official way to sell magic items is through another Persuasion Check and a Percentile dice roll to see if anyone will buy it. Again this is too random for my taste.

How would my Halfling flower village know anything about Dwarven Armor, for example? If my party tried to sell the armor to the village, the Halflings would probably pay 50 gp maximum, enough to put a deposit on a mortgage. The armor is a very rare item, and so it is worth around 50,000 gp, so of course, my players shouldn’t accept that deal! And expecting the Halfling to have that much money doesn’t make sense either. 

This is why I would not use the table to sell a magical item unless the players have put you on the spot. If you have time, you should create an adventure instead! The adventure doesn’t have to be big. Just like before, it can just be a fun chance to play around.

However, using the Magical Item Sale Complications table on page 134 could lead to some interesting plot hooks…

Placing Plot Hooks for Special Buyers

Maybe your party found a +1 Longbow in an orc raid, but none of you are rangers and so don’t have a need for this item. They know that the Wood Elves would love an item like this and so would pay a great fee. The players tell this to you as the Dungeon Master, which means you have time to plan something interesting.

Maybe an orc survived their raid and is stalking them to get the bow back. Perhaps the Elves short-change the players and try to use the bow against them! Or suppose getting to the elves is the real problem. 

Summary

Before your players tell you that they want to buy or sell some items, have some plot hooks or magic item cutscenes ready at hand. You cannot predict everything your party does, so going with the flow might end up being your best option, but remember that everything is a storytelling moment, and every action is a chance to roleplay!

If you have any other suggestions to make buying and selling in Dungeons and Dragons fun, add them to our comment section! We would love to know what ideas you have!

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