‘B2’ Series: Warriors of the Gray Lady

The reputation of B2 Keep on the Borderlands and its influence on fantasy roleplaying is such that publishers keep returning to it. TSR, Inc. of course published the original as well as including it in the Dungeons & Dragons Basic Set, which is where many gamers encountered it. The publisher would also revisit it with Return to the Keep on the Borderlands for its twenty-fifth anniversary, and the module would serve as the basis for Keep on the Borderlands, part of Wizards of the Coast’s ‘Encounters Program’ for Dungeons & Dragons, Fourth Edition. Yet since then, Wizards of the Coast has all but ignored B2 Keep on the Borderlands and the module that preceded it, B1 In Search of the Unknown, barring the publisher’s 2012 Dungeon Module B2 The Caves of Chaos: An Adventure for Character Levels 1-3. This was the playtest scenario for D&D Next, first seen in Ghosts of Dragonspear Castle, which was essentially previewing what would go on to become Dungeons & Dragons, Fifth Edition.

Instead, it would be other publishers who would revisit both scenarios in the twenty-first century. So Kenzer & Company first published B1 Quest for the Unknown, a version of B1 In Search of the Unknown for use with HackMaster, Fourth Edition, and would follow it up with not one, but two versions of B2 Keep on the Borderlands. First with B2 Little Keep on the Borderlands: An Introductory Module for Characters Level 1–4 in 2002, and then again in 2009 with Frandor’s Keep: An immersive setting for adventure. Another publisher to revisit B2 Keep on the Borderlands was Chris Gonnerman, with JN1 The Chaotic Caves, a scenario written for the Basic Fantasy Role-Playing Game. In addition, Faster Monkey Games published its own homage to B1 In Search for the Unknown with The Hidden Serpent, whilst Pacesetter Games & Simulations has published a number of extra encounters and sequels for both scenarios, most notably B1 Legacy of the Unknown and B2.5 Blizzard on the Borderland.

Yet Wizards of the Coast did not ignore its extensive back catalogue. It would release numerous titles in PDF, and even allow Print on Demand reprints, including both B1 In Search of the Unknown and B2 Keep on the Borderlands. Further, in 2017, it published Tales from the Yawning Portal, a collection of scenarios that had originally been published for previous editions of Dungeons & Dragons, including Advanced Dungeons & Dragons, First Edition, Dungeons & Dragons, Third Edition, and even D&D Next. These scenarios though, did not include either B1 In Search of the Unknown or B2 Keep on the Borderlands. Which upon first glance seemed a strange omission, but then came the announcement from Goodman Games about Original Adventures Reincarnated #1: Into the Borderlands. 

Arguably, Original Adventures Reincarnated #1: Into the Borderlands would prove to be the ultimate version of the classic module, but authors have continued to revisit the original even since such as with the fanzine version from Swordfish Islands LLC, which so far consists of Beyond the Borderlands Issue #1 and Beyond the Borderlands Issue #2. Yet there remain oft forgotten visits to the famous ‘Keep on the Borderlands’ and the equally infamous, ‘Caves of Chaos’, which are worth examining and shining light upon. So it is with ‘Warriors of the Gray Lady’. Written by Jeff Grubb, ‘Warriors of the Gray Lady’ was published in 1999 as an insert in InQuest Gamer #50 (June, 1999), the monthly magazine for game reviews and news from Wizard Entertainment, which ran between 1995 and 2007 and had a particular focus on collectable card games. Nominally known as ‘IQ3’ and just sixteen pages in length, it was written for use with Advanced Dungeons & Dragons, Second Edition and designed as a prequel to the soon to be released Return to the Keep of the Borderlands. It is for Player Characters of between First and Third Level and takes place before they arrive at the eponymous keep on the borderlands.

‘Warriors of the Gray Lady’ opens with the Player Characters on the road to the frontier and the border castle there, aiming to use it as a base of operations as they explore and potentially clean out the Caves of Chaos that their parents told them about. Their path is blocked by a caravan where a cleric is vociferously complaining that the caravan’s guards failed to stop the theft of an important magical item, the Helm of Perception, he was taking to the keep. The cleric hires the Player Characters to go after the thief. When they accept, the thief’s tracks lead into the forest to the north and then to a clearing when his body, not far from a cave mouth in a low hill. Inside the cave is a classic kingdom of the mushroom men or Myconids, but it is a kingdom in disarray. Some time prior to the Player Characters’ arrival, another party of adventurers entered the cave in search of treasure. They were all killed in the attempt, but as both the last of the adventurers and the king of the Myconids lay dying, the king released the spores to create a new king, but the spores mingled with the dying human warrior and kept her alive—sort of. Now she is the ‘Gray Queen’, twisted by the fungus as much as her thoughts twist the shared thoughts of the Myconid collective mind and drive them all mad!

Although the final confrontation will involve combat, the Player Characters do not have to resort to combat in the earlier encounters in the caves. If they refrain, they will be able to learn what has happened in the caves since the invasion of the previous adventuring party. This is done in a pleasingly entertaining and alien fashion, which involves the Myconids still free of the Gray Queen’s disturbing influence blasting messages spores into the faces of the Player Characters! Although quite lengthy, the description of this is nicely done and the experience should be a weird one for player and characters alike—and actually one the Player Characters are likely to be wary off of if the Myconids have used spores on them earlier in the scenario. ‘Warriors of the Gray Lady’ should last no more than a single session.

Since the events of ‘Warriors of the Gray Lady’ do not take place at the Keep on the Borderlands, what does the scenario add to Return to the Keep on the Borderlands? Well, it sets things up for the Player Characters’ arrival. If they are able to recover the Helm of Perception, they will have made possible allies and contacts at the keep, ones who can supply ready healing. Very likely something they are going to need after a visit or two to the Caves of Chaos! One of the NPCs—the complaining cleric encountered at the caravan—is fully written and could become a recurring figure at the keep for the Player Characters, even though he is likely to be very annoying. The scenario includes some advice for the Dungeon Master which discusses most possible eventualities and outcomes of the scenario, including the Player Characters stealing the Helm of Perception or the annoying cleric getting killed.

Physically, ‘Warriors of the Gray Lady’ is done in full rich colour—something that not even featured in the official releases for Advanced Dungeons & Dragons, Second Edition at the time. Notably, it is illustrated with a range of fully painted pieces, all of them drawn from the covers of previous books for Advanced Dungeons & Dragons, Second Edition, including pieces from the Dragonlance line. One issue perhaps with this is that nearly all of the illustrations showcase Dungeons & Dragons in general rather than the scenario itself. This is confirmed by the pieces of descriptive text accompanying the artwork which are generic in nature and verging on the trite. At least for Dungeons & Dragons, that is!

‘Warriors of the Gray Lady’ is a serviceable scenario which could be run as a prequel to Return to the Keep on the Borderlands. However, it is not vital to that scenario, even though it does help set up the Player Characters and their reputation for when they do arrive at the keep. Similarly, the scenario would be a reasonable side quest or side trek adventure for most campaigns for low Level Player Characters. Overall, ‘Warriors of the Gray Lady’ is an interesting, if minor side note to the history of B2 Keep on the Borderlands.

'B2' Series: Dungeon Module B2 The Caves of Chaos

The reputation of B2 Keep on the Borderlands and its influence on fantasy roleplaying is such that publishers keep returning to it. TSR, Inc. of course published the original as well as including it in the Dungeons & Dragons Basic Set, which is where many gamers encountered it. The publisher would also revisit it with Return to the Keep on the Borderlands for its twenty-fifth anniversary, and the module would serve as the basis for Keep on the Borderlands, part of Wizards of the Coast’s ‘Encounters Program’ for Dungeons & Dragons, Fourth Edition. Yet until the advent of Dungeons & Dragons, Fifth Edition and then most recently Goodman Games with Original Adventures Reincarnated #1: Into the Borderlands, which covered both B1 In Search of the Unknown and B2 Keep on the Borderlands, it would be other publishers who would revisit B2 Keep on the Borderlands. Kenzer & Company visited it not once, but twice. First with B2 Little Keep on the Borderlands: An Introductory Module for Characters Level 1–4 in 2002, and then again in 2009 with Frandor’s Keep: An immersive setting for adventure. Another publisher to revisit B2 Keep on the Borderlands was Chris Gonnerman, with JN1 The Chaotic Caves, a scenario written for the Basic Fantasy Role-Playing Game. Yet Wizards of the Coast would give B2 Keep on the Borderlands one last hurrah in 2012.

Barely four years old, by 2012, Wizards of the Coast was already developing and playtesting a replacement for Dungeon & Dragons, Fourth Edition. Although Dungeons & Dragons, Fifth Edition would not be released until 2014—and before we continue, consider that was five years ago and Wizards of the Coast is still not considering developing Dungeons & Dragons, Sixth Edition—a number of playtest documents were released instead. These were for D&D Next, first seen in Ghosts of Dragonspear Castle, which was essentially previewing what would go on to become Dungeons & Dragons, Fifth Edition and they included the scenario, Dungeon Module B2 The Caves of Chaos: An Adventure for Character Levels 1-3.

Dungeon Module B2 The Caves of Chaos begins with some general notes. These highlight how “…[T]his module, originally titled B2: Keep on the Borderlands, has been the introductory module from the earliest boxed editions of D&D rules. The adventure consisted of a detailed keep, to be as a base, and a cave complex known as the Caves of Chaos. The latter has been included here.” Immediately, this establishes Dungeon Module B2 The Caves of Chaos as being focused on play. There is no keep for the player characters in which to wander around, do some shopping, and discover some rumours from the nameless inhabitants. Instead, it simply presents the dungeon, the infamous Caves of Chaos, and no more. In doing so, it is intended as a fairly faithful rendition of the original, designed actually to test out the freedoms of how Dungeons & Dragons might be played—not should be played or must be played, but might be played. The point is that as an adventure, Dungeon Module B2 The Caves of Chaos is designed to be open any style of play, whether that is hack-and-slash, dungeon crawls, guerrilla warfare and political manipulation, and so on.

It also highlights how the module does not present a single story or plot, the player characters being free to proceed how they want through the scenario. Nevertheless, in a sop to thirty odd years in roleplaying development, Dungeon Module B2 The Caves of Chaos does include numerous motivations which can be used to draw the players and their characters into exploring the Caves of Chaos. The five given are all strong hooks. Another point is that Dungeon Module B2 The Caves of Chaos is designed for ‘Free-Form Adventuring’. It states that, “Most adventures published for the latest editions of the D&D game have encounters tuned for balance and a structure meant to take the characters from one set-piece battle to the next. Sometimes, safe resting places were built in at just the right points. Although each cave has a recommended level for a party of four characters, The Caves of Chaos doesn’t work like such previous adventures.” So what it is saying is that the adventure is not like those of Dungeons & Dragons, Fourth Edition—and to some extent with Dungeons & Dragons, Third Edition with adventures like Scourge of the Howling Horde with their ‘Combat Encounter’ structure. Thus it would be more like the classic adventures of old—which of course, is what Dungeon Module B2 The Caves of Chaos is a version of—and indeed, would be more like the adventures, or rather, the campaigns to come for Dungeons & Dragons, Fifth Edition.

For the Dungeon Master, there is solid advice on handling the monsters and making the dungeon dynamic in how its denizens react to the activities of the player characters and on how to handle to avoid killer encounters, the latter a problem because the player characters could simply wander into a section of the Caves of Chaos for which they are not experienced enough to handle. The advice continues with each of the eleven caves which make up the Caves of Chaos. Each one is preceded by a section explaining the level of challenge it represents to a party and providing an overview. For example, the first cave, the Kobold Lair, is presented as a challenge for a First or Second Level party and that a higher Level party would trounce the Kobolds. The key location in the Kobold Lair is area 6 and that any fleeing Kobold will go there to warn the others, who will react as needed, though eight will always remain. It also highlights how the Kobolds are notorious for their traps. It does this in turn for each of the caves.

All of the individual location descriptions are clearly laid out. So there are notes on any sources of light or noise, what monsters are present, what features, treasure to be found, and if a possibility, any development. Thus for the Orc Leader’s Room in the first Orc Lair, there is source of light, but mutterings might be heard between him and his four formal mates. There is treasure to be found on the Orcs and around the room as well as a couple of secret areas, but in terms of development, the Orc Leader might slip behind a tapestry and flee through a secret door to get help from the other Orc tribe in the Caves of Chaos. This formating makes every location and every cave easy to read and the various skill and attribute Difficulty Class targets are easy to spot. 

Now anyone who has read, run, or played B2 Keep on the Borderlands will find much that is familiar. So the Goblins shout “Bree-Yark!”; the Ogre is open to bribery and hiring, though he cannot be trusted; the Bugbears offer hot meals and beds for the night; and so on. Yet, there would have been players and Dungeon Masters enough who had not seen B2 Keep on the Borderlands, so it would not have been as familiar to everyone. Especially that it would not be until January, 2013 that Wizards of the Coast made it available as a PDF for general sale.

Physically, Dungeon Module B2 The Caves of Chaos is a twenty-three page, 2.61 MB PDF. Barring the full colour painting on the front cover, there are no illustrations in the document and it is very clearly marked as a with ‘Playtest’ throughout. It does include a map of the Caves of Chaos, which looks to have been copied from B2 Keep on the Borderlands and is a little murky and difficult to read clearly.

Dungeon Module B2 The Caves of Chaos is not B2 Keep on the Borderlands and it is not intended to be. It is instead a version of the major parts of that module designed to test the limits—or the freedoms—of play in an open environment unshackled from an earlier set of rules. To do that it presents a facsimile of the Caves of Chaos from B2 Keep on the Borderlands in a very accessible format with some solid supporting advice and then just leaves the Dungeon Master and her players to just play however they want. In fact it is so accessible, that any Dungeon Master with any experience would be able to pick this up and start running it with relatively little preparation. Overall, Dungeon Module B2 The Caves of Chaos is a snapshot of a game in development, one looking forward to what would become Dungeons & Dragons, Fifth Edition, but still ready to look to—and acknowledge—the past.

The Monster Manual

In some ways, the Monster Manual is one of the cornerstones of the roleplaying hobby—and has been for almost forty years. The original Monster Manual, published in 1977, was the first hardcover title for Dungeons & Dragons—and quite possibly any RPG—and the first release for Advanced Dungeons & Dragons. Even before the Player’s Handbook and the Dungeon Master’s Guide. It presented some three-hundred-and-fifty monsters for the game, monsters that are now standard in Dungeons & Dragons. In the decades since, each of the subsequent iterations of Dungeons & Dragons has received its own version of the Monster Manual and in many cases received multiple bestiaries from the famed Fiend Folio and Monster Manual II for Advanced Dungeons & Dragons and the Monstrous Compendium for Advanced Dungeons & Dragons, Second Edition to the Monster Manual II and Fiend Folio for Dungeons & Dragons, Third Edition and Monster Manual 2 for Dungeons & Dragons, Fourth Edition. Then of course there are the multiple bestiaries released by third party publishers for Dungeons & Dragons, Third Edition, such as the Monsternomicon from Privateer Press, Sword & Sorcery’s Creature Collection series, The Tome of Horrors series from Necromancer Games, and Pelgrane Press’ recent 13th Age Bestiary.

So we come to 2014 and the Monster Manual for Dungeons & Dragons, Fifth Edition. The second release for the latest iteration of the game, it comes with some four hundred or so individual monsters each with a streamlined, easy-to-read stat block, as well as a superb full colour illustration. The book is decently organised and easy to use—once you get used to the idea that monster types are organised under that type, so that all of the Dragons are under the Dragon entry, the Demons under the Demon entry, and so on, and that many of the creatures given in previous iterations of the Monster Manual are listed with the more mundane creatures. 

The supplement’s introduction explains the stats used for its contents, but before it does this, it asks some two good questions—’What is a Monster?’ and ‘Where do Monsters Dwell?’ The first question is simply answered as being  “...[a]ny creature that can be interacted with and potentially fought and killed.” The latter question is answered with a plethora of ideas where monsters can be found and encountered—“A ruined wizard’s tower atop a lonely hill riddled with goblin-infested tunnels”, “A chain of rocky islands on a vast, sunless sea that’s home to aboleths and insane kuo-toa”, and so on. There are thirty of suggestions that each evokes a potential adventure idea and from the outset enforces the importance of the location in the game.

Many of the Monster Manual’s stats will look familiar bar one—Challenge Rating. This is a measure of determining which monster is suitable to be used as a challenge to the player characters. Simply, a Challenge Rating 1 monster, such as a Bugbear, a Harpy, or a Lion, represents a difficult, but not deadly Challenge to a party of four First Level characters. The same again at Challenge Rating 2, Challenge Rating 3, and so on. Some creatures have a Challenge Rating of less than 1, so for example, a  Kobold is Challenge Rating ⅛, so eight represents a challenge to a First Level party. This scales as a party acquires Levels, so that at higher Levels, monsters go from challenges with fewer numbers to challenges in mobs. This seems simple enough, but it does feel as if limits the use of a particular monster in the long term. Now there are rules for adjusting a monster’s Challenge Rating in the Dungeon Master’s Guide, but not in the Monster Manual. Which means that if the group just has access to the Player’s Handbook and the Monster Manual, there is no means for monster to grow and change as there was in Dungeons & Dragons, Third Edition.

Every monster, including its variants, gets stats and a description. The latter always covers the key points  about each creature or monster. A physical description, some history, where it lives, its habits, and so on. Over the years these monsters have been presented over and over again, not just in the pages of the different Monster Manuals, but also the pages of Dragon magazine and numerous supplements. In this Monster Manual these descriptions feel like succinct, but well written bullet points. In addition, there are nods to Dungeons & Dragons history throughout the Monster Manual. Every good player of Dungeons & Dragons should know the meaning of “Bree-Yark!”, while the inclusion of Strahd von Zarovich’s history adds substance to the entry for the Vampire.

Going through the Monster Manual it is clear that the designers have delved deep into Dungeons & Dragons’ weighty back catalogue of bestiaries to bring this collection to Dungeons & Dragons, Fifth Edition. So of course the classic, signature creatures are here—the Beholder, the Lich, the Stirge, and the Gelatinous Cube, as well as old standbys like Orcs and Goblins, Ghouls and Gargoyles, and so on. Of course this includes Dragons—some thirty pages are devoted to both the Chromatic and Metallic Dragons—and almost as many are devoted to Demons and Devils. The latter are presented free of the controversy that affected previous iterations of the Monster Manual and includes a discussion of the notable demonic and devilish figures, such as Orcus and Asmodeus. No stats are given, but then again at the starting Levels for most campaigns their stats are not really required. Plus stats for Tiamat, Dungeons & Dragons’ signature monster can be found in The Rise of Tiamat.

As much as the design of the individual monsters feels streamlined, many of the more powerful creatures possess both extra powers and abilities that hint at their great power. These Legendary Creatures have Legendary Actions—Lair Actions and Regional Abilities. The former are typically three actions that a creature can use to defend its lair. For example, the Beholder can make the ground around it slimy and slippery, cause grasping appendages to sprout up from nearby walls, and an eye to appear in a nearby wall and shoot out a random ray. The latter are Regional Effects that presage a monster’s influence and hold over an area. For example, anyone within a mile of a Beholder’s lair feels as if he is being watched and whilst the monster sleeps, reality within that mile is warped from one day to the next. Lair Actions and Regional Effects are also given for the Chromatic Dragons, Mummy Lords, and Vampires as well as Good-aligned creatures such as the Metallic Dragons and Unicorns. This is a fantastic pair of new mechanics that brings the power and influence of such creatures to bear far earlier than just the monster’s lair and makes encounters within the lair much deadlier where the creature should indeed should have the advantage of home ground.

Monsters from other Dungeons & Dungeons also make their way into the Monster Manual. So it includes the Bullywug, the Githyanki, and the Githzerai from the Field Folio and the Fomorian and the Gibbering Mouther from the Monster Manual II for Advanced Dungeons & Dragons, First Edition; the Crawling Claw from the Monstrous Manual for Advanced Dungeons & Dragons, Second Edition; the Chuul and the Grick from the Monster Manual for Dungeons & Dragons, Third Edition; and the Nothic from the Monster Manual II for Dungeons & Dragons, Fourth Edition. This makes sense, after all a new edition gives a chance for the designers to examine the game and each of its iterations and take the best from each. Thus the Monster Manual feels very much like Dungeons & Dragons’ greatest monster hits.

Three individual creatures stand out—the Cockatrice, the Ghoul, and the Wight—because of how their powers work now. In previous editions of the game, all three had powerful attacks that were essentially game disrupting. So the Cockatrice could turn a character to stone, the Ghoul could paralyse you, and the Wight made you lose Levels. Certainly in the case of the former, once turned to stone, there was nothing that your character could do unless the other player characters had the right spell or scroll. The Cockatrice can still petrify a player character, but the victim of the petrifying bite gets two turns before being petrified and it only lasts twenty-four hours. Likewise the Ghoul’s claws can still paralyse a player character, but it only lasts a minute, and the Wight can still do Life Drain, but rather than draining whole character Levels, it drains a character’s maximum Hit Points (as well as his Hit Points) and this lasts until the character has had a Long Rest. One might look at this design aspect of the game and suggest that its effect is to declaw Dungeons & Dragons, to make it not as challenging as it was in previous editions. Now that point of view may have some merit—and if you feel that it does, it is not as if there are not enough alternatives to Dungeons & Dragons, Fifth Edition to find the fantasy RPG that suits your ‘Iron RPG’ preference—but the design choice is to make the game playable by adjusting elements that in previous editions would have brought play to a halt.

Rounding out the Monster Manual is a pair of appendices. The first lists Miscellaneous Creatures and it is here that you will actually find some creatures that in previous editions would have appeared in the main listings. While many of the creatures listed are mundane—the Badger, the Constrictor Snake, the Horse, the Poisonous Snake, and others—many like giant versions of those creatures plus the Blink Dog, the Phase Spider, the Worg, and so on, have their entries here. This may well be disconcerting to Dungeon Masters and players of previous versions of Dungeons & Dragons and it does mean that many of these more ‘mundane’ creatures come without descriptions. 

If there is an issue with the Monster Manual, it is that this edition lacks lists. There is no list of entries by Challenge Rating and there are no lists of entries by terrain type. This undermines the utility aspect of the Monster Manual, making it less easy to use when setting up and writing an adventure. Fortunately, Wizards of the Coast has since released this list as a PDF.

The Monster Manual is a fine looking book. Of course as the cornerstone of the once-again best selling RPG in the world, it is a fundamental book for running Dungeons & Dragons, Fifth Edition. Even if the Dungeon Master does not buy the Dungeon Master’s Guide, he at least needs the Monster Manual. The Monster Manual is an essential supplement and gives the Dungeon Master the best monsters to play with.

The Demise of Tiamat

The fact that I have waited so long to review The Rise of Tiamat, the sequel to Hoard of the Dragon Queen cannot be seen as a good sign. Launched as the first part of Tyranny of Dragons, the inaugural signature campaign for the relaunched Dungeons & Dragons, Fifth Edition, Hoard of the Dragon Queen was disappointing for many reasons. It was repetitive, it felt flat, and it did not provide enough support for either the DM or the players, making it ill suited to play by those new to Dungeons & Dragons. Nor was it an interesting read and all together, it did not bode well for its sequel and concluding part.

The Rise of Tiamat follows on from the events of Hoard of the Dragon Queen and takes the players from eighth to fifteenth level. Their efforts in uncovering the activities of the Cult of the Dragon have brought them to the attention of the Council of Waterdeep. The Council wants to make use of both their skill and their expertise, asking not only their advice, but their aid in performing mission after mission. These include infiltrating a dragon’s lair, investigating the Cult of the Dragon’s attacks, seeking alliances with the great, the good, and the devilishly evil, and more, all before facing Tiamat herself as the Cult’s plans come to fruition. For the most part, the player characters will be interacting with the Council of Waterdeep before being sent out on these missions, so potentially with the politics and the negotiating there should be plenty of opportunity for both roleplaying and action in the campaign.

All of which sounds fantastic. This then is a campaign on an epic scale, presenting Dungeons & Dragons on a grand stage. Unfortunately, The Rise of Tiamat is never allowed to live up to this potential for it is handicapped by one problem after another.

The Rise of Tiamat is poorly organised. The campaign is undeniably linear with one mission presented after another. Yet two of the campaign’s episodes are ones that the player characters will return to again and again, the Council of Waterdeep and the Cult of the Dragon striking back at the heroes, both of which have problems of their own (see below). Yet parts of these episodes are interspersed throughout the campaign, so why have these parts actually placed between the other episodes when they occur during the campaign? This would make it easier to run, especially for the less experienced DM.

The Rise of Tiamat lacks grandeur. There is no lack of scope to this campaign. After all, it involves the heroes working directly with the Council of Waterdeep to save Faerûn, fighting dragons, parleying with dragons, negotiating with necromancers of Thay, and of course, fighting Tiamat. Yet many of these encounters, such as the parleying with dragons and the negotiating with an island of necromancers is dealt with in just three pages each. These are fantastic situations, but they never feel really fantastic, the writing never brings out the sense grandeur that these encounters should have. This applies to individual locations too, because no location or encounter is longer than twenty-five locations—and that includes each and every one of the campaign’s dungeons. Too many of these encounters and dungeons just feel small.

The Rise of Tiamat constantly undermines player agency. The player characters are working throughout the campaign to thwart the Cult of the Dragon’s plans to summon Tiamat. There is absolutely nothing that the player characters can do to stop the summoning from being set up or from making it more difficult for the Cult of the Dragon to set the summoning up. It does not matter if the player characters manage to kill any of the high ranking members of the Cult of the Dragon or their allies because the book’s advice is to simply replace them. In other words, it has no effect upon the end result. Further, the heroes are sent out twice on missions that would appear to attempting to stop the summoning—in both cases to try and get hold of constituent Dragon Masks that combine into the Mask of the Dragon Queen needed to summon Tiamat. In both cases, the heroes cannot obtain either Mask… (Although an editing error in the finale suggests that this might have been a possibility that has since been removed). Arguably, both scenarios are a waste of time.

The Rise of Tiamat is constantly undermining player agency even when the player characters have it. What the heroes are actually doing in the campaign is attempting increase the number of forces that can be arrayed against the Cult of the Dragon and its allies. This is done by performing the various missions presented in the episodes and if they are carried out to the satisfaction of one ally or another, then the player characters will have won their support towards the assault on the Cult of the Dragon’s summoning ritual. Yet when the heroes are sent out on a mission, they only know what their objectives are, rather than both their objectives and what any of the attendees at the Council of Waterdeep might want them to do. The result is that the campaign’s primary activity—influencing the forces that will be arrayed against the Cult of the Dragon—is a reactive activity when surely it should have been both proactive and reactive. Not for each and every mission, but certainly for some of them.

There is no price to failure throughout The Rise of Tiamat—except if the heroes actually fail at the end. At the climax of the campaign, if the player characters do not prevent the summoning of Tiamat, then she and her cohorts rampage across Faerûn  and essentially the campaign has become Fantasy Flight Games’ Midnight. Until then though, the only real price to failure is the possibility of player character death, but since  the Harpers or their allies can simply cast Raise Dead, that is moot anyway...

The treasure in The Rise of Tiamat is terrible. Part of the plot to Tyranny of Dragons is that the Cult of the Dragon has been collecting treasure from accross Faerûn in order to have enough tribute to Tiamat. So understandably treasure has been somewhat thin on the ground, but throughout the campaign the treasure rewards rarely amount to more than scrolls and potions and the occasional Arrow of Dragon Slaying. The one single item of colourful treasure in the book is a pair of goblets that grant a bonus for Saving Throws versus poison. Yet not once is there an opportunity for this to be used in the campaign. Except that there is and it is completely ignored.

The Rise of Tiamat lacks subtlety. For example, the Cult of the Dragon soon wearies of the heroes’ activities and strikes back at them. Not once, not twice, but three times, and each time, the cult sends forces to physically attack the player characters. Each time an attack fails, there are survivors or watchers who get away to inform their masters of their failure and when one band fails, the cult sends another band—only stronger, and then it does it again. Essentially the cult learns nothing from these failed attacks. Why does the cult  resort to the same method of attack again and again? Especially when the player characters attend the Council of Waterdeep, not once, not twice, not thrice, but four times! So why does the Cult of the Dragon not infiltrate the Council? After all, it would be a perfect opportunity to attempt to poison the heroes. Especially when it has the treasure to spend on such an attempt. Especially when there is one good magic item doing nothing…?

The Rise of Tiamat does not reward good roleplaying. The campaign uses the milestone system of advancement, where the heroes are rewarded with an advancement in level every few episodes when it is significant. The problem with this is that it does allow for rewards for good play. For example, the heroes may encounter and interact with a ghost. They may even find a way for the ghost to move on. Yet there is no reward for this and thus no incentive for the heroes to take such actions, and this despite there being a mechanism—that of Inspiration—present in Dungeons & Dragons, Fifth Edition that would be perfect for this.

The Rise of Tiamat does not show, it tells. Throughout the campaign, we are told again and again that the Cult of the Dragon and its dragon allies are laying waste to the Forgotten Realms, rounding up prisoners, and sweeping up treasure. Most of this becomes apparent to the player characters as they travel from the Council of Waterdeep to an encounter and back again, but whilst the heroes get to investigate the aftermath of such an attack, why not have the heroes involved in such a situation? That would reinforce the terrible effects of the events that the player characters are trying to stop and it make this second part of the Tyranny of Dragons campaign not feel as if it was removed from the everyday effects of the Cult of the Dragon’s campaign.

The Rise of Tiamat has poor descriptive text. Now no-one wants the dreaded ‘purple prose’, but The Rise of Tiamat never comes close to this. Indeed, it is often banal in its descriptions. For example, “Once your eyes adjust to the stunning chaos of Tiamat’s Temple, you see its interior is a single, cathedral-like space that towers far overhead.” What exactly does ‘stunning chaos’ look like? Nowhere is a description given. Yet this occurs at the climax of the adventure, it is a set-piece, and it should be memorable—and so it is. Yet for the wrong reasons, because it is so immemorable.

The Rise of Tiamat undermines player agency because it limits both their options and their involvement in the campaign’s climatic scene. As hard as the heroes have worked to bring a strong alliance of disparate forces to the summoning of Tiamat, these forces are really only used to distract the Cult of the Dragon’s forces away from the player characters’ efforts to fight Tiamat. Since their characters have the respect of the Council of Waterdeep, the players are free to assign the forces they have arrayed as they wish, but then all of the action that might involve such clashes is waved away without any player involvement. Instead the heroes are tasked with making their own way in and striking at the summoning directly. So riding in on the back of a dragon or leading forces into the field, just sneaking in as almost nothing else matters.

Now The Rise of Tiamat is not wholly without merit. Two of the early episodes—mini-dungeons both—are actually good, possessing flavour and feel. The first involves sneaking into a White Dragon’s lair within an iceberg where the great beast holds its minions in an icy grip. There is actually quite a lot going on in this adventure and by working with some the minions, the player characters may gain advantages that simply running in and hitting things would deny them. The environment and its difficulties are also reasonably detailed. The second is episode is more of a traditional dungeon, the tomb of an ancient diviner, which contains some nice little details. Some of its encounters are not as realised as they should be—arguably the encounters with a band of devils should be made more of than they are—but when the dungeon is good, it is really quite good.

Other dungeons are not as good. Notably, there is a tower that the player characters need to get to, but the only way is through a maze. The limits of the maze are actually quite constrained and what the player characters really have to do is work out how the puzzle that will get them through the maze works and then handle each of the subsequent encounters. There is actually some nice invention going on in some of these encounters—for example, a giant rock throwing competition with a pair of Cyclops—but the maze itself will be more than challenging because not every player likes mazes and this may end up as an exercise in frustration.

Physically, The Rise of Tiamat  is cleanly and neatly presented. Certainly the maps are much, much better than in Hoard of the Dragon, being detailed and easier to read. Whilst the illustrations are good, there could be more of them and they could be a bit easier for the DM to use in the game. The writing has its own issues, of course, many of which the DM will need to overcome in order to get a decent game out of the campaign.

The Rise of Tiamat really has one single problem. It is not campaign. It is a campaign outline, one that the DM will need to work up with further details to add depth and direction to. Arguably, it feels as if the designers wrote and developed a much longer, more detailed campaign and were forced to cut much of it to fit the ninety or so pages of the final book. Ultimately though, there is a one-hundred-and-ninety-two page campaign in The Rise of Tiamat, a ninety-six page book.

—oOo—

Finally, there is the matter of the Tyranny of Dragons campaign as a whole to consider. Beyond the core books of the Player’s Handbook, Monster Manual, and Dungeon Master’s Guide, this campaign was the intended to showcase Dungeons & Dragons, Fifth Edition. After all, it is set in the game’s primary campaign setting of the Forgotten Realms and it is does pitch the player characters against the game’s original signature villain—Tiamat. Yet as a showcase for anyone new to Dungeons & Dragons, this campaign can only be regarded as a failure, because fundamentally, there is not enough advice or help for the neophyte DM, let alone his players. In addition it does not explain enough and it does not present either the campaign or the setting of the Forgotten Realms in the colour or with the scope it demands. There is still a great campaign for Dungeons & Dragons to be had in the player characters preventing the summoning of Tiamat, but the Tyranny of Dragons is not that and the campaign is going to remembered more for its potential than its execution.

Board of the Dragon Queen

Hot on the heels of the Player’s Handbook comes the first adventure for Dungeons & Dragons Fifth Edition. Written by Wolgang Baur and Steve Winter—the ‘Kobold-in-chief’ for Open Design LLC and TSR and Wizards of the Coast veteran designer respectively—Hoard of the Dragon Queen is the first part of the Tyranny of Dragons campaign that will be completed with the publication of The Rise of Tiamat. It comes as a slim ninety-six page hardback that in eight chapters takes the adventurers from First Level up through Seventh Level.

At the time of publication, with just the Player’s Handbook available, it might seem that it would be impossible to play or run Hoard of the Dragon Queen. This could not be further from the truth. To begin with, the rules presented in the Player’s Handbook are more than sufficient to run the campaign. After all, if the rules presented in the Dungeons & Dragons Starter Set were enough to run ‘Lost Mine of Phandelver’, the scenario in box, then those given in the Player’s Handbook will more than suffice for Hoard of the Dragon Queen. One thing that the DM will need is the campaign’s online supplement—available here because whilst some are given in the book itself, the online supplement contains all of the magic items, monsters, and spells referenced in Hoard of the Dragon Queen. 

The setting for the Hoard of the Dragon Queen is the Forgotten Realms, specifically the Sword Coast, thus in keeping with recent releases from Wizards of the Coast, including the Dungeons & Dragons Starter Set. The Cult of the Dragon, ever a pervasive and pernicious influence in the region, has decided that it has tired of skulking in the shadows and is in the process of bringing an audacious plan to fruition. Drawing on its alliances with its draconic brethren and the Red Wizards of Thay, it seeks to free Tiamat from her infernal prison in the Nine Hells and bring her to Faerûn. 

Which is fair to say, sounds awesome! After all, this looks like a campaign that throws the adventurers up against the signature bad guy (sic) of Dungeons & Dragons—Tiamat herself. She was after all, the villain of the Dungeons & Dragons cartoon series, and thus will be familiar to many players of the game. The other villains of Dungeons & Dragons are probably the devil Asmodeus, the demon Orcus, and of course, Count Strahd von Zarovich of Ravenloft fame, but going up against a villain like Tiamat should whet the appetite of any Dungeons & Dragons player. Of course, that will not happen in Hoard of the Dragon Queen, but will no doubt be saved for The Rise of Tiamat, but investigating her cult should set everything up for a confrontation of memorable proportions. Unfortunately, as evidenced by Hoard of the Dragon Queen, getting to that confrontation may not be as memorable as it should be…

The campaign begins with a cliché as its solution to how to get the characters involved—the party is working as guards for a caravan that is travelling to the starting location for the campaign. Which is the same set up as that for ‘Lost Mine of Phandelver’, the scenario in Dungeons & Dragons Starter Set, but fortunately, this is countered somewhat by the first of the book’s appendices, which gives options to adjust any Background that a player chooses for his character to fit the setting. These can be rolled for, but it would make as much sense for the GM to assign these to the player characters according to suitability and their Class. Had much more this been done to involve the characters in the adventure in this way, it would have greatly strengthened the start of the campaign.

Once they get to the outskirts of Greenest, the characters discover that it is under attack. Fighting their way in, they are given refuge in the town’s keep, but being the town’s best hope, the governor asks the adventurers for help. This sets up a number of mini-missions that will see them help protect and rescue the townspeople and begin learn what the attackers want. These are nice way of getting them involved, sneaking out of the town’s keep again and again to help save the townsfolk, but it culminates in rather a disappointing encounter. The problem is not the encounter itself, but rather its effect—or lack thereof—upon the campaign. In this, one of the player characters has the opportunity to face the leader of the raiding party in duel, arguably a rousing climax to the chapter. It is a tough encounter, but if the player character is particularly successful, the campaign has the leader either ferreted away or simply replaced by with another NPC with exactly the same stats. Surely this undermines the players’ agency by making their efforts have no effect?

In the days to come, the adventurers will be asked to follow the raiders and scout out their nearby base, first to conduct a rescue mission and then return again to investigate what turns out to be the first dungeon in Hoard of the Dragon Queen. It is an unimpressive affair that feels flat and featureless, but whatever they find in the dungeon, the adventurers’ information will bring them to the attention of interested parties opposed to the Cult of the Dragon and they will be asked to undertake increasingly dangerous missions in the name of the safety of Faerûn.

In some ways, the first of these marks the highlight of Hoard of the Dragon Queen. Working for their patrons, the party is tasked with joining a caravan train that is travelling north along the Sword Coast and which is suspected of having been infiltrated by the Cult of the Dragon. The DM is presented with plenty of material to work with—numerous NPCs and encounters, both random and planned. There are opportunities aplenty for roleplaying and interaction throughout this section, but its primary purpose is to bring the adventurers to the attention of the cultists—and then earn their ire. One question not addressed is what would happen if the adventurers managed to stop this, another incidence of player agency being stymied. 

Whilst there are opportunities to roleplay later in this first part of the campaign, they grow fewer and fewer in number as Hoard of the Dragon Queen drives towards its climax. There is a marked shift in emphasis upon roleplaying and interaction towards infiltration and combat—typically with the adventurers disguising themselves in cult clothing—as the party follows the trail of the cult’s loot. The best of these opportunities is the potential for the adventurers to turn the various humanoid groups at the cult’s base in a swamp against each other. Which works in the one instance, but the campaign returns to it not once, but twice more, and once in mufti, the adventurers are expected to do no more than sneak in amongst the cultists, salute them, and then with a cry of “Surprise!”, draw their weapons and attack. It becomes all too one-note. Only the scenery changes…

In the last part of Hoard of the Dragon Queen, the party needs to board a Cloud Giant’s castle—before it flies away! The opportunity to do so is fleeting and the DM may well need to make some adjustments if the adventurers are in danger of missing their flight. Which is a distinct possibility given that it comes down to some difficult skill rolls involving the handling of wyverns… The consequences of failure are not really covered either. Once aboard the castle, the design never quite comes alive, again expecting the player characters to sneak in and divide the factions found therein. A  Cloud Giant’s castle should be amazing, a memorable experience, but again it just seems to fizzle out. 

Some players maybe disappointed at the dearth of treasure available in this campaign. Indeed, the adventurers may well rise through several levels before they acquire any magical items. The clue though lies in the title—Hoard of the Dragon Queen, for in truth, this is intentional. The point is that the villains of the campaign are hoarding the treasure—hence the title of this first part—rather than leaving it lying around for the player characters to find… What treasure there is though, is often generic and uninteresting. Indeed, the hoard itself is little more than a pile of coins.

Physically, Hoard of the Dragon Queen is unimpressive. The writing often feels flat and the tan colouring throughout does not help. In particular, all too many of the campaign’s minor NPCs are left for the DM to develop and bring to life, which although allows him to add his personal touch, does him more work to do and as written, hardly serves to make the campaign memorable. The illustrations are decent enough, but whilst pretty enough, the cartography thoroughly undermines the book. Too often the maps are murky and featureless, but worse, in they lack a key to their locations, whilst in others, they are too small, switch scales, and even orientation. Worse, in places, they do not have places marked upon them that are discussed in the text, leaving the DM to place them. Essentially, the book’s maps force the DM to do an awful lot of unnecessary work when they should be aiding him.

Although Hoard of the Dragon Queen is not the first scenario to be released for Dungeons & Dragons Fifth Edition—that honour goes to ‘Lost Mine of Phandelver’ from the Dungeons & Dragons Starter Set—it is the first to be released in the wake of, and to require the use of, the Player's Handbook. It is thus Wizards of the Coast's flagship campaign for the RPG, showcasing how the new edition of the game should be played, what a scenario looks like for Dungeons & Dragons Fifth Edition, and  of course, how much fun it offers.

Unfortunately Hoard of the Dragon Queen does none of that. The truth is that it is not a good scenario, it is not a well written scenario, and it is not a well presented scenario. The scenario is just not exciting, it lacks atmosphere—though not tone, which is grim; it fails to bring the NPCs to life or give the player characters enough options; and it just does not provide enough support for the DM despite the fact that he really, really needs it. Hoard of the Dragon Queen is not a scenario suited to first time DMs, whereas ‘Lost Mine of Phandelver’ from the Dungeons & Dragons Starter Set is and it is also much, much more fun. There is no doubt plenty of material for the DM to work with in Hoard of the Dragon Queen, but he will have to work unnecessarily hard to bring it out.

Your Player's Handbook

It seems appropriate that for its fortieth birthday, Wizards of the Coast give Dungeons & Dragons a whole new edition. So it has. After more than a year of public play testing and the input of hundreds of thousands of players, the Player’s Handbook, the first book for Dungeons & Dragons, Fifth Edition has been released. The question is, has both the wait and the very public play testing been worth it? Is this a version of Dungeons & Dragons that you want to play?

The starting point for Dungeons & Dragons Fifth Edition is obviously Dungeons & Dragon Fourth Edition. The sad, but truthful fact is that in the future, Fourth Edition will be the version that nobody talks about. There is no doubt that it got things right about playing Dungeons & Dragons, such as giving each of the Classes something to do on each and every Round, but fundamentally, it did two things wrongs. First, it drew too heavily upon the then contemporary play model of the MMORPG as typified by World of Warcraft, for example, by classifying all of its character Classes into four types—Controller, Defender, Leader, and Striker—and essentially making them feel all the same. Secondly, its adventure format took the two-page encounter format first seen to excellent effect in the Dungeons & Dragons 3.5 adventure, Scourge of the Howling Horde, one step too far, focusing too much on combat and relegating roleplaying and skill use to lesser encounters. The result was a game that in drawing too much from contemporary models pushed it back to its war gaming roots and away from roleplaying. Indeed, an argument could be said that Dungeons & Dragons Fourth Edition remains a good Dungeons & Dragons-themed skirmish game if not a good roleplaying game. Ultimately whilst there will be those that enjoyed Dungeons & Dragons Fourth Edition, that version is no more and will receive no more support.

So what of Dungeons & Dragons Fifth Edition? The good news is that it draws upon all of the best features of the versions that have gone before it and uses them to make it a game that is recognisably Dungeons & Dragons. Yet it also brings in innovations that make it an actual roleplaying game whilst also simplifying the rules and mechanics in order to emphasis ease of play. It also acknowledges that Dungeons & Dragons in the form of this new edition is a game with forty years of history, not a game that has sprung from nowhere… 

The Player’s Handbook is all about character, so the question is, what can you play? It offers the standard mix of Races and Classes, all bolstered by plenty of options. The Races include Dwarf, Elf, Halfling, Human, Dragonborn, Gnome, Half-Elf, Half-Orc, and Tielfling—with both the Dragonborn and Tielfing being retained from Dungeons & Dragons Fourth Edition. The Races are presented in this order because aside from the Dwarf, Elf, Halfling, and Human, the other Races are listed as uncommon and do not appear in every fantasy world. In other words, they are optional. Most Races gain an Ability score increase and various traits, for example, the Gnome has +2 to its Intelligence, Darkvision, and Gnome Cunning (the ‘advantage’ on Intelligence, Wisdom, and Charisma saving throws against magic—see below). Like several of the Races—Humans being a notable exception—the Gnome has two subraces, of which a player must choose one. They grant a further Ability score increase and further traits. The Forest Gnome gains +1 Dexterity, is a Natural Illusionist and knows the minor illusion cantrip, and can Speak with Small Beasts, whilst the Rock Gnome gains +1 Constitution, has knowledge of Artificer’s Lore and gains a Proficiency bonus on Intelligence (History) checks about alchemical, magical, and technological items, and is a Tinker who can make small devices. In comparison, Humans simply gain a +1 bonus to all Abilities. Similarly, the Half-Elf, the Half-Orc, and the Tielfing are singular in the Traits and bonuses granted to them, whilst the Dragonborn vary according to their Draconic ancestry.

The expected Classes are also present—Barbarian, Bard, Cleric, Druid, Fighter, Monk, Paladin, Ranger, Rogue, and Wizard, whilst the Sorcerer is retained from Dungeons & Dragons Third Edition and the Warlock from Dungeons & Dragons Fourth Edition. Like the Races in Dungeons & Dragons Fifth Edition, each of the Classes gives a player a choice of options at Third Level, each option a path that will further define a character as he gains Levels. For example, the Monk Class offers two Monastic Traditions, the Way of the Open Hand and Way of Shadow, while the Rogue Class has the Thief, Assassin, and Arcane Trickster archetypes. The Wizard selects a School of Magic to specialise in. Essentially these will define the type of character and variant upon the chosen Class that a player wants to roleplay in the game.

A character in Dungeons & Dragons Fifth Edition still looks very much a character from Dungeons & Dragons. The six Abilities—Strength, Dexterity, Constitution, Intelligence, Wisdom, and Charisma—are the same; a character has Hit Points and Armour Class and Alignment, and so on. 

Deng
Half-Orc, First Level Barbarian
Str 17 (+3) Dex 13 (+1) Con 17 (+3)
Int 11 (+0) Wis 12 (+1) Chr 11 (+0)

Hit Points: 15
Hit Dice: 1

Armour Class: 16

Alignment: Chaotic Neutral

Race Traits: Darkvision 60’, Menacing, Relentless Endurance, Savage Attacks
Class Traits: Rage, Unarmoured Defence

Skills: Acrobatics (+1), Animal Handling (+3), Arcana (+0), Athletics (+5), Deception (+0), History (+0), Insight (+0), Intimidation (+2), Investigation (+0), Medicine (+3), Nature (+2), Perception (+3), Performance (+0), Persuasion (+0), Religion (+0), Sleight of Hand (+1), Stealth (+1), Survival (+3)

Proficiency Bonus: +2
Proficiencies: Athletics, Intimidation, Nature, Perception, Survival; Light Armour, Medium Armour, Shields; Simple Weapons, Martial Weapons; Strength Saving Throws, Constitution Saving Throws; Navigator’s tools, vehicles (water)

Languages: Common, Half-Orc

Battle Axe (+5 Attack), 1d8 damage (1d10 2h)
Javelins (4) (+3 Attack), 1d6 damage
Plank (Shield)

Background: Sailor
My friends know they can rely on me, no matter what (Personality Trait); I’m committed to my crew, not to ideals (Ideal); I’ll always remember my first ship (Bond); I can’t help but pocket lose coins and other trinkets I come across (Flaw)

There are several noticeable details about this character. The first is the lack of Feats. Although that they are not a part of the character, they are part of the Player’s Handbook where they are included as an option. At Fourth, Eighth, Twelfth Level, and so on, a character can increase one of his Ability scores, but if the DM allows the optional rule, a character could instead take a Feat. The second is the inclusion of Proficiencies and the Proficiency Bonus, which are reminiscent of the Proficiencies and Skills rules from Advanced Dungeons & Dragons, Second Edition. In Dungeons & Dragons Fifth Edition they reflect a character’s talents and aptitudes, not just in terms of his skills, but also his armour and weapon use, his saving throws, and the tools and devices he is trained in. These Proficiencies come not only from a character’s Race and Class, but also his Background. The Proficiency Bonus itself is a flat number that rises as a character goes up in Levels.

Perhaps the obvious difference between this and another edition of Dungeons & Dragons is the inclusion of Backgrounds. These are not mere extras that a player adds to round out his character, but an actual part of the character creation process. Further, whether an Acoloyte, a Criminal, an Entertainer, a Guild Artisan, an Outlander, a Sage, or an Urchin, the character gains further Proficiencies and even a special feature. For example, the Sailor possesses’ Ship’s Passage’ by which he can gain passage aboard his old ship wherever it is going. Each of the thirteen Backgrounds has ones of these features as well as tables suggesting appropriate Personality Traits, Ideals, Bonds, and Flaws. A character has one each of these and they are much more than roleplaying hooks.

In play, the core mechanic is still the roll of a twenty-sided die against a Difficulty Class or an Armour Class. Where previous versions of the game gave you a list of modifiers, Dungeons & Dragons Fifth Edition streamlines them down to whether or not a character has Advantage or Disadvantage in a situation. When he has an Advantage, the character’s player rolls not one twenty-sided die, but two, and then uses the best result. Conversely, if he is at a Disadvantage, he rolls two twenty-sided dice and uses the worst result. For example, a character is defending against an Orc that is climbing up a ladder to attack him. The character would be at an Advantage when attacking the Orc. When the Orc comes to attack the character, then he would be at a Disadvantage. In play, this is fast and simple, and reflects the streamlining of mechanics to speed up play. Yet the Advantage and Disadvantage leads to one further innovation.

That innovation is Inspiration. When a player roleplays his character according to its Personality Trait, Ideal, Bond, or Flaw, then the DM can reward him with Inspiration. Once gained, a player can use this Inspiration—or give it to another player character— but when he does use it, he gains the Advantage in a situation of his choice. The player then, is being rewarded for his roleplaying, which means that Inspiration is essentially a roleplaying mechanic. Which is something that Dungeons & Dragons has not had before in its forty year history. This is highly laudable, especially given the singular failure to support roleplaying in Dungeons & Dragons Fourth Edition. Now in truth, this mechanic is hardly new, for example it can be seen in Evil Hat Production’s Fate Core, but it is a genuine innovation for Dungeons & Dragons, a roleplaying game whose design can be best described as staid and traditional.

Initiative in combat is handled by a Dexterity check and when a character acts, he can move and undertake one action. This can be a combat action or something else, but a character can also gain bonus actions or reaction actions under certain circumstances. For example, a common Trait for the Fighter is ‘Second Wind’ which gives him the opportunity to recover some Hit Points as a Bonus action. The most obvious type of Reaction is an opportunity attack, but it could also be a Dash, Disengage, or Hide under certain circumstances.

Characters begin play with the maximum number of Hit Points possible, equal to the Hit Dice for their Class, plus Constitution modifier. In addition, for each Level a character also has a Hit Die, equal to that of his Class. Whenever he has taken damage and takes a Short Rest—equal to an hour or so—he can expend these ‘temporary’ Hit Dice to heal Hit Points. Once expended, most of these Hit Dice and a character’s full Hit Points can be recovered with a Long Rest of eight hours or more.

As a party goes on adventures, it will gain Experience Points which will go towards each character’s next Level. Only 300 Experience Points are necessary for a character to go from First Level to Second Level, then 900 Experience Points for Third Level, and so on. Killing a Goblin is only worth 50 Experience Points, a Hobgoblin or Orc is worth Experience Points, and a Bugbear is worth 200 Experience Points—and this is typically divided amongst the party. In comparison with previous iterations of the game, this version of Dungeons & Dragons does lend itself to faster progression at the lower Levels, the aim obviously being to ensure that characters are being pushed to a level of competency as quickly as possible.

In terms of arms and armour, everything that you would expect to be present is in the equipment lists (the Morningstar is present, though no flail). The weapons list includes some interesting weapon properties. ‘Light’ weapons such as club or scimitar are used with the rules for fighting with a weapon in each hand; ‘finesse’ weapons like the dagger or rapier can be used with either the user’s Dexterity or Strength modifier for attack and damage rolls; and ‘versatile’ weapons, such as the quarterstaff or warhammer, can be used one- or two-handed and get a correspondingly bigger die for damage when used two-handed. The rule for the latter is really simple—light weapons only and only one of the weapons benefits from the Attack and Damage Modifier.

Armour is classed as being either light, medium, or heavy. Only light armour, leather or studded leather, grants the wearer full use of his Dexterity modifier to his Armour Class. Medium armour grants a maximum Dexterity modifier of +2 and heavy armour negates the use of the Dexterity modifier altogether. What this does is flatten Armour Class inflation. Even the most agile of characters, with Dexterity of 18 (+4 modifier) and wearing studded leather (AC 12) is never going to have an Armour Class of more than 16 without magical aid. Compare that to a fighter in medium armour like scale mail (AC 14), maximum Dexterity modifier of +2 and carrying a shield (AC +2) for a total AC 18 or in a heavy chainmail suit (AC 16) and carrying a shield (AC +2) for a total AC 18 for similar total AC 18, and it is obvious that the advantage goes to the wears of medium and heavy armour, but not by much. Further, the medium and heavy armours are obviously more expensive.

Torgga
Hill Dwarf, First Level Druid
Str 15 (+2) Dex 11 (+0) Con 18 (+4)
Int 12 (+1) Wis 18 (+4) Chr 09 (+0)

Hit Points: 13
Hit Dice: 1

Armour Class: 13

Alignment: Neutral

Race Traits: Darkvision 60’, Dwarven Resilience, Dwarven Combat Training, Dwarven Toughness, Stonecunning
Class Traits: Druidic, Spellcasting (+6)

Cantrips: Druidcraft, Guidance
Spells Known: Longstrider, Speak with Animals

Skills: Acrobatics (+0), Animal Handling (+6), Arcana (+1), Athletics (+2), Deception (+0), History (+1), Insight (+4), Intimidation (+0), Investigation (+1), Medicine (+3), Nature (+3), Perception (+4), Performance (+0), Persuasion (+0), Religion (+3), Sleight of Hand (+0), Stealth (+0), Survival (+4)

Proficiency Bonus: +2
Proficiencies: Animal Handling, Medicine, Nature, Religion; Light Armour, Medium Armour, Shields; Battleaxe, Clubs, Daggers, Darts, Handaxe, Javelins, Maces, Quarterstaff, Scimitar, Spears, Throwing Hammer, Warhammer; Intelligence Saving Throws, Wisdom Saving Throws; Brewer’s tools, Herbalism Kit

Languages: Common, Druidic, Dwarf, Goblin

Stone Warhammer (+4 Attack), 1d8 damage (1d10 2h)
Leather Armour, Shield

Background: Hermit
I am searching for spiritual enlightenment (Life of Seclusion); I’m oblivious to etiquette or social expectations (Personality Trait); ‘Live and let live’—meddling in the affairs of others only causes trouble (Ideal); I entered seclusion because I loved someone I could not have (Bond); I enjoy keeping secrets and won’t share them with anyone (Flaw)

The last part of the Player’s Handbook is devoted to spells and spellcasting. All of the main spellcasting classes—Bards, Clerics, Sorcerers, Warlocks, Wizards—get Cantrips or 0-level spells that can be cast as often as a character likes. Some spells can be cast Rituals—this takes longer and does not expend a spell slot, but what is interesting is the difference between spells known and spell slots. Essentially a spellcaster does not cast spells and forget them so much as he casts spells and uses up the slots for that day. Further, lower level spells can be cast in higher level slots for greater effect. So for example when a cleric casts the Bless spell in a second level or higher slot, it affects more people. Thus certain spells do not get better as a character advances in Level, but rather he chooses to cast them more effectively at the time.

One last addition in the Player’s Handbook is the inclusion of its own version of the Appendix N that first appeared in the Dungeon Master’s Guide for Advanced Dungeons & Dragons, First Edition in 1979. This was a list by the game’s designer—E. Gary Gygax—of books that inspired him in creating Dungeons & Dragons that he felt would also inspire his follower gamers (also known as us). Thus with the Player’s Handbook for Dungeons & Dragons Fifth Edition we have Appendix E: Inspirational Reading, an updated list. Inspiration then until the new Dungeon Master’s Guide appears and hopefully thereafter…

The inclusion of Appendix E: Inspirational Reading is a sign that the authors of the Player’s Handbook and thus the designers of Dungeons & Dragons Fifth Edition, which also means Wizards of the Coast, are all prepared to acknowledge the history of Dungeons & Dragons—that it even has a history! Not always a fact that Wizards of the Coast was prepared to acknowledge, but in what is another innovation for the game, that past is pointed out and made clear. Most obviously in the inclusion of excerpts from Dungeons & Dragons’ fiction from the likes of R.A. Salvatore and Margaret Weis and Tracy Hickman heading various entries, but a closer read finds mention of specific Dungeons & Dragons settings—Dark Sun, Dragonlance, Forgotten Realms, and so on. Read further and the Player’s Handbook also points each of the Race’s subraces at particular examples. Thus, for the High Elf subrace, the entry suggests that it models the Gray Elves and Valley Elves of Greyhawk, the Silvanesti of Dragonlance, and the Sun Elves of the Forgotten Realms. It does this for several of the subraces, and in doing so, it acknowledges that there have been previous editions of the game and it acknowledges the fact that the game does not exists in a vacuum.

As with previous editions, there is room for expansion beyond what is given in Dungeons & Dragons Fifth Edition. New Races, new Classes, and new spells obviously, let alone the campaign setting books, but the Player’s Handbook gives room anew for areas of expansion. In particular, new subraces, but also new paths within each Class, new Backgrounds, and Personality Traits, and they are also a way in which a world can be created and enforced.

Physically, the Player’s Handbook is a well-written book. In fact, it is an incredibly easy read, such the rules are very easy to understand. In terms of artwork, the Player’s Handbook for Dungeons & Dragons Fifth Edition has a softer, more effusive look. In fact, there is very much less of drive to define things in the artwork, almost as if the designers are trying not to stamp a brand identity on Dungeons & Dragons—as was done with the artwork for Dungeons & Dragons Fourth Edition. If there is an issue with the artwork it lies in the illustrations for Halfings—they are just plain odd… An obvious omission is an example of play, something would have helped those new to the game, but there is at least an example character generated and some example choices are discussed during the selection of character Backgrounds.

Now the Player’s Handbook is not quite perfect. What is missing is a decent example of play. This is an odd omission given that the Player’s Handbook is designed to be complete, for the purchaser and player to need no more than its contents. It is also an odd omission given that this is the first book for the hobby’s only RPG that matters beyond the hobby and an odd omission given that no such example of how to roleplay is given in the Dungeons & Dragons Starter Set either… In fact, this omission from both the Dungeons & Dragons Starter Set and the Player’s Handbook, is not just odd, it is absurd.

There is of course one issue in the writing that needs to be addressed. It is the disclaimer about sex and gender in Dungeons & Dragons, in which it is stated that the player does not need to be bound by binary notions of sex and gender. There have been complaints about its inclusion; there have been complaints about its language. In either case, those complaints and the issues that the complainants have with the disclaimer are their problem and not the problem or fault of Dungeons & Dragons, its designers, or indeed, of the publisher. There is only one response that can be made to the disclaimer. I am glad that it is there. Now move on.

My experience with Dungeons & Dragons Fifth Edition is limited to a single session, and no doubt issues will arise in due course as the game is played at higher and higher levels, but playing the characters that we did—and this was with the scenario, the ‘Lost Mine of Phandelver’ from Dungeons & Dragons Starter Set, we had fun. We enjoyed ourselves and we both roleplayed and gamed the scenario. The game felt like Dungeons & Dragons, it felt like a roleplaying game, and our characters felt capable, even at First Level. From this experience, it is a version of Dungeons & Dragons that I could not object to playing again.

Now the Player’s Handbook is another matter. This is the book to get started with beyond the confines of the Dungeons & Dragons Starter Set, and whilst the Player’s Handbook repeats the rules presented in that box, it gives a whole lot more. Obviously a whole lot more choice in terms of characters—Races and Classes to start with, but also Backgrounds and options for both Races and Classes. All of them are interesting in some way and there is none of them which feels unplayable or like something that you would not want to play. Further, it is possible to see within the rules building blocks for creating certain character types and backgrounds with the rules to fit settings already published or those of the DM’s devising. For example, it would be possible to create a Dedaratlkói* from Tékumel: Empire of the Petal Throne using the Monk Class, whilst the Fighter would serve as a Bushi in Legend of the Five Rings with the right Background. Which points to the potential sophistication of the new edition’s design despite the relative simplicity of the rules.

*With thanks to Simon Taylor for digging this out of the Internet and getting me the right spelling.

Further, the rules in the Player’s Handbook feel as if they are compatible with nearly all of the previous versions of Dungeons & Dragons—‘nearly’ all because there may be some issue with Dungeons & Dragons Fourth Edition… Reading through the Player’s Handbook and it is easy to imagine that the GM could take them and use them to run any number of adventures from the game’s history, whether that is TSR’s U1 Sinister Secret of Saltmarsh or DL1 Dragons of Despair, Judges Guild’s Dark Tower or White Dwarf’s ‘Irillian’, or TSR’s B2 Keep on the Borderlands or Paizo publishing’s The Shackled City Adventure Path, or Lamentation of the Flame Princess’ The Grinding Gear or Grognardia Games’ The Cursed Chateau. Adjustments would need to be made of course, but the familiarity of the rules is present in the Player’s Handbook makes this not as much of a challenge—and that only helps with their accessibility. What this also means is that Dungeons & Dragons Fifth Edition looks like it will be physically easy to write for, unlike the previous edition of the game.

Lastly, in acknowledging its history and in presenting a streamlined, easy to play set of rules, the book feels more welcoming, more inclusive rather than exclusive. Even if there had been no roleplaying mechanic present in the form of Inspiration, it also feels like a roleplaying game again. Experienced roleplayers will pick this up the new rules of Dungeons & Dragons Fifth Edition with ease, whilst anyone new to roleplaying may struggle a little, for although the rules are clear and easy to read, the lack of example of play is fundamental omission. This odd absence aside, this is the Player’s Handbook that the hobby has been waiting for, it feels fresh and light, it feels fun, and it feels like Dungeons & Dragons is our game once again.