Dungeon Master's Guide
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DARK FANTASY<br />
Vampires brood on the battlements of their accursed<br />
castles. Necromancers toil in dark dungeons to create<br />
horrid servants made of dead flesh. Devils corrupt the<br />
innocent, and werewolves prowl the night. All of these<br />
elements evoke horrific aspects of the fantasy genre.<br />
If you want to put a horror spin on your campaign,<br />
you have plenty of material to work with. The Monster<br />
Manual is full of creatures that perfectly suit a storyline<br />
of supernatural horror. The most important element of<br />
such a campaign, though, isn't covered by the rules. A<br />
dark-fantasy setting requires an atmosphere of building<br />
dread, created through careful pacing and evocative<br />
description. Your players contribute too; they have to<br />
be willing to embrace the mood you're trying to evoke.<br />
Whether you want to run a full-fledged dark-fantasy<br />
campaign or a single creepy adventure, you should<br />
discuss your plans with the players ahead of time to<br />
make sure they're on board. Horror can be intense<br />
and personal, and not everyone is comfortable with<br />
such a game.<br />
Novels and game products set in Ravenloft, the<br />
Demiplane of Dread, explore dark-fantasy elements in a<br />
D&D context.<br />
INTRIGUE<br />
The corrupt vizier schemes with the baron's oldest<br />
daughter to assassinate the baron. A hobgoblin army<br />
sends doppelganger spies to infiltrate the city before the<br />
invasion. At the embassy ball, the spy in the royal court<br />
makes contact with his employer.<br />
Political intrigue, espionage, sabotage, and similar<br />
cloak-and-dagger activities can provide the basis for<br />
an exciting D&D campaign. In this kind of game, the<br />
characters might care more about skill training and<br />
making contacts than about attack spells and magic<br />
weapons. Roleplaying and social interaction take on<br />
greater importance than combat, and the party might go<br />
for several sessions without seeing a monster.<br />
Again, make sure your players know ahead of time<br />
that you want to run this kind of campaign. Otherwise,<br />
a player might create a defense-focused dwarf paladin,<br />
only to find he is out of place among half-elf diplomats<br />
and tiefling spies.<br />
The Brimstone Angels novels by Erin M. Evans focus<br />
on intrigue in the Forgotten Realms setting, from the<br />
backstabbing politics of the Nine Hells to the contested<br />
s_uccession of Cormyrean royalty.<br />
MYSTERY<br />
Who stole three legendary magic weapons and hid them<br />
away in a remote dungeon, leaving a cryptic clue to their<br />
location? Who placed the duke into a magical slumber,<br />
and what can be done to awaken him? Who murdered<br />
the guildmaster, and how did the killer get into the<br />
guild's locked vault?<br />
A mystery-themed campaign puts the characters in<br />
the role of investigators, perhaps traveling from town<br />
to town to crack tough cases the local authorities can't<br />
handle. Such a campaign emphasizes puzzles and<br />
problem-solving in addition to combat prowess.<br />
A larger mystery might even set the stage for the<br />
whole campaign. Why did someone kill the characters'<br />
mentor, setting them on the path of adventure? Who<br />
really controls the Cult of the Red Hand? In this case,<br />
the characters might uncover clues to the greater<br />
mystery only once in a while; individual adventures<br />
might be at best tangentially related to that theme. A<br />
diet of nothing but puzzles can become frustrating, so<br />
be sure to mix up the kinds of encounters you present.<br />
Novels in various D&D settings have explored the<br />
mystery genre with a fantasy twist. In particular, Murder<br />
in Cormyr (by Chet Williamson), Murder in Halruaa (by<br />
Richard S. Meyers), and Spellstorm (by Ed Greenwood)<br />
are mysteries set in the Forgotten Realms. Murder<br />
in Tarsis (by John Maddox Roberts) takes the same<br />
approach in the Dragonlance setting.<br />
SWASHBUCKLING<br />
Rapier-wielding sailors fight off boarding sahuagin.<br />
Ghouls lurk in derelict ships, waiting to devour treasure<br />
hunters. Dashing rogues and charming paladins weave<br />
their way through palace intrigues and leap from<br />
balconies onto waiting horses below.<br />
The swashbuckling adventures of pirates and<br />
musketeers suggest opportunities for a dynamic<br />
campaign. The characters typically spend more<br />
time in cities, royal courts, and seafaring vessels<br />
than in dungeon delves, making interaction skills<br />
important (though not to the extent of a pure intrigue<br />
campaign). Nevertheless, the heroes might end up in<br />
classic dungeon situations, such as searching storm<br />
sewers beneath the palace to find the evil duke's<br />
hidden chambers.<br />
A good example of a swashbuckling rogue in the<br />
Forgotten Realms is Jack Ravenwild, who appears in<br />
novels by Richard Baker (City of Ravens and Prince<br />
of Ravens).<br />
WAR<br />
A hobgoblin army marches toward the city, leading<br />
elephants and giants to batter down the stronghold's<br />
walls and ramparts. Dragons wheel above a barbarian<br />
horde, scattering enemies as the raging warriors<br />
cut a swath through field and forest. Salamanders<br />
muster at an efreeti's command, poised to assault an<br />
astral fortress.