Quick and easy D&D adventures

Whether you’ve convinced a group of people to play Dungeons & Dragons for the first time, or a group of grognards gathers at the table for a new campaign with fresh characters, there’s one thing all D&D players need – an adventure.


The Player’s Handbook does a good job of explaining the dynamic of a D&D game, with DMs presenting the world and various scenarios to players, who then choose what their characters do in that world. The dice and the DM are there to arbitrate those choices and determine the characters’ successes and failures.

At its most basic, an adventure is a story seed that gives players a point of entry into the game world. Many adventures strung together over time evolve into a campaign, which is essentially the story that the players and their characters create together.

For an experienced DM, it can sometimes seem more challenging to create adventures than it is for a novice. Brand new players tend to approach D&D in a more lighthearted way, taking to heart its nature first and foremost as a game. Whereas longtime players might consider things like the tone of the longer campaign, the themes woven into intricate plots and how their character’s place in the world may evolve, there’s something to be said for keeping it simple. People new to the hobby generally view D&D as a game where characters fight monsters and win treasure.

Most DMs and players at some point begin to look beyond the current adventure and consider lengthier and loftier goals for their players. It’s inevitably that some sort of story will emerge, if only through the antics of the players. Nevertheless, in order to reach those heights a series of adventures is still in order.


Making memorable adventures can be tricky business, but it doesn’t have to be. Chapter 3 of the Dungeon Master’s Guide does a terrific job of walking DMs through the steps of creating great adventures, including structure, villains, encounters and complications. Depending on how much time and effort a DM wishes to invest, adventures can be designed to be mathematically sound in terms of balancing the three pillars of play (combat, exploration and social encounters), monster ratings vs. party power and complications like side quests and twists that make things less straightforward.

My DM style is very loosey-goosey, an approach that i apply to both small-scale adventures and campaigns as a whole. D&D is very fluid, and i omit a lot of details in adventures to account for what players do.

To start an adventure, the first thing i do is choose a primary antagonist. There’s so many cool monsters in books like the Monster Manual, Volo’s Guide to Monsters, the Tome of Beasts and more that spark the imagination. When i set out to DM for my current group, we had no idea if we’d play more than one session – a pretty common pitfall i’ve encountered as i’ve gotten older and people have increased responsibilities like children, erratic work schedules and so forth.

The sahuagin caught my eye while flipping through the Monster Manual. They’re different from the usual goblins, orcs and bandits that tend to populate low-level adventures, and lent themselves to challenging environments that i thought would make fun challenges for the players.


With interesting aquatic enemies in mind, i thought about what they might be up to. With the oft-recommended idea of starting small in new campaign in mind, a sahuagin plot to take control of an island village formulated. Starting the adventurers off on an small island was a practical way to keep the characters in a contained setting. Like many DMs before me, i plundered the work of others and drew ideas from the classic module Against the Cult of the Reptile God, as well as my experience with the Dungeons & Dragons Online MMO. The sahuagin, under the direction of the naga Explictica Defilus, fostered a cult devoted to a dark deity and isolated the island from the rest of the world with a curse that plunged the tropical fishing village into an unnatural winter. There was opportunity to introduce underwater adventuring as well – complete with sharks to fight!

Armed with a plot by a naga, with sahuagin and human cultist minions, to dominate a remote island, the next step was to give the players a few quests to do. To avoid railroading and to reinforce player agency, i came up with a three shorter quest locations they could tackle in the village, with two longer dungeons in the island’s interior. The plan was that the players could follow branching paths within the village that would prove their mettle, and afterwards the loyal guard captain would allow them out into the wilderness (it was gated to keep the village safe from dangers). Of course, the players almost immediately went off in a different direction than i anticipated, something DMs should always keep in mind – no matter what you think the players will do, they’ll do something different.

But for the matter at hand, i designed the in-village adventures to be relatively short and include elements of combat, exploration and social interaction in varying degrees.

One quest involved investigating the town’s temple. The goodly clerics had been converted to cultists and shut the villagers out, severely dampening their spirit. The map for the temple was relatively simple: a 20′ wide hallway that formed a big square. At three of the corners, doors led to side chambers were sahuagin necromancers were animating zombies of deceased prominent villagers to further demoralize them. The fourth corner had a secret door, beyond which the temple’s wealth was kept in a chest made safe by a trap that sprayed acid at anyone who opened it. In the center of the temple was a small vestibule where they party could take a short rest. Across from there, in the main chamber, a sahuagin priestess was conducting a complex ritual with several cultists, sahuagin and zombies, the chamber protected by a magical barrier puzzle. This quest was mainly combat-oriented, with a bit of exploration. Party ingenuity turned one of the combat encounters into a social encounter as well, which was a nice development.

For another quest the party learned that the village mage had traveled to the island wilderness some time ago to find a way to stop the cult activity. So naturally, the party broke into his house to find clues. Because this quest relied mostly on puzzles and skill challenges, i opted to describe the party’s surroundings instead of mapping out their explorations. The goal here was for the party to discover the mage’s notes and a map leading them to some ruins out on the island. In addition, they uncovered a hidden alchemy lab and an even more hidden puzzle that guarded a magical crystal. Unfortunately for the party, a group of sahuagin had been secretly watching them and, unable to bypass the puzzle themselves, attacked as soon as the puzzle was overcome. This quest was focused on exploration, with a combat encounter thrown in for liven things up.

Finally, there was a social encounter for the party with a crazy old retired adventurer. Admittedly, social encounters are not my strong suit as a DM. i often have a hard time coming up with NPC responses to player questions, which is something i need to work on. Exploring this topic is worthy of a future post all it’s own, but for the time being my best advice is make sure you know what an NPC’s motivations are at the very least. On a related note, this is one of my criticisms of many published adventures, that don’t effectively explain why NPCs do what they do. This quest was totally social. There was a possibility of combat, dependent on some behind-the-screen criteria like the time of day they visited and what they’d already done. Since it was the first branch the party followed, they hadn’t aroused the interest of the cult yet so they weren’t being watched or followed.

Designing adventures for your group is not terribly difficult. Many people cleave to the notion that DMing is an incredible amount of often thankless and complicated work. To that i say, rubbish! Like anything else, the more a person DMs, the better they’ll get at it but even novices can put together adventures pretty easily by keeping just a few points in mind, including the notion that it is the players who will develop the story.

And always remember – the players don’t know what you have planned and prepared, so if your adventure needs the characters to go to Point A to proceed, and they go to Point B instead, then just make Point B into Point A – they’ll never know!


Need to come up with an adventure for you D&D group? Here’s a few points to keep in mind that will help you come up with quests quickly and simply.

  • Pick a monster you think is cool
  • Consider what the monster might be up to
    • What’s their goal?
    • What is directing the monster’s actions?
    • What sort of environment does the monster live in?
  • Pick a handful of allies for the monster
    • Do they have a more powerful boss?
    • Do they have bestial minions?
    • Do they have any allies to help accomplish their goals?
  • Develop three short quests based on the pillars of play
    • One focused primarily on combat
    • One focused primarily on exploration
    • One focused primarily on social interaction
      • Sprinkle elements of the other two pillars in each quest
  • Keep the monster’s goals in mind, but let the players guide the story
    • After a session, think about how the players’ actions affected the monsters goals
    • Give the players options, even if limited
      • Avoid railroading
      • Point B can become Point A – players will never know!


Playing D&D with class: Bard

Coming up with a great backstory, personality, motivations and goals goes a long way toward making memorable D&D characters. But when it comes down to the nuts and bolts of what you can do, it’s all about class. Consider it your character’s vocation, calling, profession or craft, a character’s class picks up where their backstory leaves off, giving them the skills and abilities they’ll use on their life of adventure.

Rather than analyze the mechanics of each class, extolling the benefits of one option and admonishing the suboptimal drawbacks of another, what you’ll find in this “Playing D&D with class” is the usual musings that accompany any topic and hopefully some insight into different ways to approach the various classes in D&D 5E.

As a longtime player and DM, i’ve never put much emphasis on mathematical optimization, and when it comes to making characters i’m a purist – multi-class characters have never appealed to me. Instead, it’s always been about the concept, the who of a character more than the what.

We are the music makers

The dreamers of dreams. A jack of all trades, but master of none (and oftentimes better than master of one). Minstrels, poets, virtuosos, storytellers and loremasters.


The D&D bard is all of these things and more, tracing their origins way back to a 1976 edition of The Strategic Review.

In 1st edition AD&D, bards were sequestered away in the back of the Player’s Handbook. There, the bard was a hybrid multi-class/prestige class of sorts. A character had to gain levels as a fighter, then thief, and then a druid – but at that point the character is a bard under druidic tutelage. As a bard they gained bonuses to charm things, legendary lore knowledge, defenses against musical magical effects and abilities to inspire their comrades.

Refined in 2nd edition AD&D, the bard was a subclass of rogue, retaining the same inspirational, influential and musical abilities with the addition of some thief skills and wizard spells.


The bard didn’t change much since then, settling into its position as a multi-faceted class mixing skills, magic and fighting with unique performance-based powers. Often regarded as the ultimate fifth member of a classic party of fighter, wizard, cleric and thief, the bard can fill in or support any of those four roles, as well as bring a few of its own tricks to the party.

Better with age

Bards have been a favorite class of mine and a frequent go-to since 3rd edition. Prior to then i never much enjoyed magic and almost always played thieves or rangers. In 1st edition i wouldn’t have strayed from fighter and thief to pick up druid and a chance at a few specialty abilities, and since my days playing 2nd edition i’m almost always the DM.

But then came 3rd edition, and a rather large gaming group i joined with about ten players – the perfect situation to add a bard. These folks were all pretty power-gamey min-maxers so the idea of a character whose strength lay in helping others achieve success was anathema to them. They were more than happy to take their inspiration bonuses, and for my part i considered a significant (maybe even majority) amount of the damage being dealt out stemming from my otherwise weak and clumsy bard.

Because the group was so large, i was free to focus all the character’s advancement on his performance skill and utility spells. He didn’t even carry any weapons because a) he couldn’t carry very much at all thanks to Strength as a dump stat and b) he was terrible in combat. It was probably the most fun character i ever played. IIRC the campaign ended with a battle against a lich. The bard was the last man standing, and with his dirge singer prestige class was able to defeat the powerful undead with a haunting violin song.


5E bards are the pinnacle of a class that’s only gotten better with each edition. To be fair, all the classes in 5E are presented well. With their signature inspire ability functioning as a bonus action, bards of today can boost their allies AND do their own thing, giving players a lot more opportunity to feel bard-like without being just a mobile stereo system. Countercharming magic, bonuses to all skills and expertise in couple of them are built into the core chassis.

The pen or the sword

When it comes time to choose a bard’s archetype at 3rd level, the choices in the PHB offer one path focusing more on combat and the other further diversifying the bard with more interactions with skill bonuses and magical knowledge, plus the power to inspire yourself and a reaction to unspire (negatively inspire) other creatures when they attack an ally.

Represented by Colleges that the bard presumably studied at, the colleges of lore and valor stay true to the bard’s origins as a daring loremaster, while offering distinct methods to go about that task.

Unearthed Arcana adds two additional colleges: glamour and whispers. The former increases the bard’s performances to greater heights with illusory and captivating effects, while the latter offers a dark twist to the bard’s repertoire that makes them deceptive assassins who capture and use the shadows of others to mask their activities.

Looking for inspiration

Although it’s difficult to separate the idea a bard’s performance being musical, that’s one place to start thinking about a bard character.


Comedic bard

A bard’s specialty could be stand-up comedy, oration or rhetoric. Their performance might be juggling or whip mastery. A more martial-minded bard’s kata, shadowboxing or acrobatics routine perhaps inspires allies and intimidates enemies. An amazing performance and display of skill is moving regardless of the medium. Ballet, performance art, visual effects shows – these and more all have the potential to enthrall audiences and evoke emotional responses.


Dancing bards

Keep in mind, too, that D&D takes place in a world where magic is real. Not only does a bard hone their skill with diligence, their mastery imbues their actions with mystical qualities the same as wizards tap into arcane forces or even a highly skilled warrior can make multiple devastating attacks with unnatural celerity.


Object-manipulating bard

Classically, characters like the Pied Piper, minstrels, Norse skalds and the Kingkiller Chronicle’s Kvothe are excellent examples of audio-inclined loremaster types. Likewise, any musician can provide some inspirado for a bard’s adventures. Freddie Mercury, a high-level bard, sold out stadiums and inspired millions. Tenacious D literally went on an adventure to acquire an artifact and wound up battling the devil in a musical rock-off.

Without getting into a rules and mechanics discussion, the Performance skill in 5E is used for any sort of entertainment. This can certainly include such things as acrobatic demonstrations and magical light shows, for a different take on bardic (or any) performance. The skill check is determining how entertained audiences are, not necessarily how technically sound the performance is. A low-Dexterity character can absolutely attempt to entertain a crowd with juggling or tumbling, and if it were an Acrobatics check they’d more than likely fail miserably. Who’s to say their routine isn’t a comic spectacle that ensnares onlookers through sheer peculiarity?

It’s not hard to imagine Willy Wonka as a bard. He’s charismatic, sings, does a bit of tumbling, creates magical concoctions and has gathered strange lore from all over the world.

The public persona a bard affects might be a mask they wear while pursuing another agenda, too. Good bards are welcome most places, and a traveling entertainer is a perfect cover for a spy or other sort of clandestine operator to go about without arousing suspicion.

A bard at the core is an adventuresome sort with a smattering of skills, abilities and traits from several disciplines. Look at your bard’s ability scores, background and skills and imagine what performances they might enrapture audiences with. You can get a lot of roleplaying mileage out of what your bard’s talent expertise stems from.

Roles not rolls

As with any class in D&D, the best advice i can offer is to set mechanical concerns aside and instead focus on creating memorable characters. Unusual race, class and background combinations are just as viable as character built to take advantage of every stat and ability. What you’re giving up from category A only means you’ll be stronger at something in category B or C.

D&D gives players a chance to create the kind of game they want to play, using as many or as few of the rules as those gathered at the table wish. At the core, it is a group-centered game and your characters come to life as individuals working with others to achieve their goals, so what works in one group might not be optimal in another, and that’s something number crunchers might overlook.


Epic-level bard

More than anything else, bards rely on high Charisma for their primary abilities. Inspiration and spellcasting are both dependent on a bard’s force of personality that Charisma represents and even if all the other stats are low, a bard can still do pretty well with a high Charisma. Vicious Mockery as a cantrip never gets old; despite low damage, which is of the psychic variety and does scale with level, it doles out the ever-important disadvantage for the target’s next attack. The Performance skill is Charisma-based, as is the pool of Bardic Inspiriation dice.

If you imagine your bard as a daring warrior in addition to their charismatic persona, by all means the bard can hang in there with other warriors, or likewise providing cover fire from range. A bard more interested in lore and NOT getting into life-and-death battles can tap into more magical secrets or rely on skills more as an adventurer.

The bard is a great class that leverages complete mastery of a single pursuit for decent aptitude in several. With so many options, a bard can evolve in many different ways and come up with solutions to problems that surprise the bard player themselves as much as their companions and fellow players.

The next time you’re creating a character for your game, consider giving the bard a chance to perform. At their core, bards are charming, personable, confident, entertaining and inspiring. Their big personalities are as diverse as the focus of their skills and abilities. No matter what methods the bard employs, bards are going to be influential performers whose allies count themselves lucky to have them along.

Think about what role your bard will play in their group. Will they shy away from bloodshed, preferring to aid more aggressive companions to overcome perilous monsters? Will they use their talents to cover the party’s activities from enemy eyes? Perhaps your bard has little taste for dangerous journeys and adventures, instead building a career and reputation as a performer who has fell in with more adventuresome folk as protection from the threats the world poses.

Letting D&D players tell the story

i spend a great deal of time on my D&D hobby, that includes reading through various rules and source books, organizing campaign notes, updating a narrative account of my players’ adventures and maintaining our group’s Facebook page.

Outside of that, i watch a helluva lot of YouTubers and listen to podcasts related to D&D both for enjoyment and to glean whatever tidbits of tips, tricks and advice a DM might find useful.

The scope of variety in the kinds of games people play is endlessly fascinating. Whether a group plays together on a virtual tabletop like Fantasy Grounds; gathers at a customized gaming table with built-in computer screens; deploys intricate maps and minis; or shares a single PHB, set of dice and runs the entire game in their imaginations, the goals and results all share the commonality of enjoyment by weaving a fantastic tale together.


As a DM, it’s very easy to get carried away with story ideas between sessions, regardless of your group’s playstyle or the sorts of adventures you’re running. Part of the fun for DMs is expanding your ideas outward. Just remember to give those ideas time and space to contract, too.

With published campaigns, for example “Tyranny of Dragons,” “Curse of Strahd” or “Out of the Abyss,” it’s exciting to think ahead to when your players will confront Tiamat, Strahd or Demogorgon.


In a similar way, a classic dungeon-delving group hopefully survives long enough to leave Keep on the Borderlands and Hidden Shrine of Tamoachan behind and tackle the Temple of the Frog or Descent into the Depths of the Earth.


And then there’s homebrew adventures, with the additional level of anticipation for the players to uncover the themes, plots and stories DMs devise (or “borrow” from our favorite media).

The important thing for any DM to keep in mind though is that the story that emerges from your group is never yours alone. In fact, it is entirely the story of the players. In many ways, the DM is essentially opening a toychest and letting the players decide which ones look fun. What’s inside the toychest is up to the DM, and includes lots of dangerous things that players might get a peek of and want to try out.

A DM can certainly let players pull out the hazardous stuff as they wish, but as the referee and guide to the action, an important function is conveying safety warnings ahead of time. For example, a setting like the popular Underdark is alluring to many players, and DMs alike look forward to confronting their players with mind flayers, aboleth and other nasty denizens of the dark. The Underdark may in fact play a huge role in the campaign, whether something like Night Below or a powerful threat of the DM’s design.

If a group of low-level PCs is hellbent on exploring the Underdark, its the DMs duty to relay a sense of foreboding about the place. Accomplished adventurers or survivors of drow slavepits could offer dire warnings for instance. But if the players agree amongst themselves and insist on braving the dangers despite the DMs fair warning, it’s perfectly all right to let the group’s story play out in that direction. More than likely, an unprepared group of adventurers will meet an early end this way.

But that’s okay.

D&D is a storytelling game, and certainly, innumerable would-be heroes live short, unfulfilling lives. Their individual stories may not have become epic legends, and it can be upsetting when character die. But after about 30 minutes, players come up with exciting ideas for new characters, and the story continues. These new PCs might even be related somehow to their previous ones, and incorporate the story of their short-lived adventures into the new characters’ backgrounds.

All this is a wordy, roundabout way of saying it’s a good practice for DMs to get into letting go of your anticipations and allowing the players to steer the ship. Away from the gaming table is the time for a DM to let their imagination soar. Reflecting on what the players showed interest in and their adventuring style provides a context for developing what comes next.

This is why so many sources advise DMs to start small. There’s no telling what the PCs will do, and more often than not they’ll do things the DM never considered – no matter how many possibilities the DM plans for! This isn’t to say it’s fruitless to outline the big picture of your campaign. But keep aware that the path you envision to reach the end will without a doubt take many detours as the players follow their own interests along the path.

In my experience, the best approach to a campaign is to keep distill your big ideas into a few major plot points. On the road to reaching them, the players will do their part to fill in the details. That way you’re preserving their agency in the game by maintaining the sense that they’re in control of their destinies. Through their actions and words, players let DMs know what they find interesting and those engagement spark the DM’s imagination in a continuous cycle of feedback and implementation in the game.

For an example from the 5E Spelljammer-esque game i’m currently running, there is an overarching story taking place in the spheres that the PCs have been exposed to in small tidbits here and there. For various reasons, both through the characters’ and players’ perspectives, they’re not overly interesting in engaging with that story. Instead, they’re having a blast with the logistics of running a ship, maintaining a crew, making a living taking on various jobs and building their reputation. The major plot points continue to progress regardless if they are involved. Since they never set out to be heroes in the first place, it’s not hard to imagine they wouldn’t selflessly pursue a traditional heroic journey, and we’re all perfectly fine with that. Along the way, they’re moving in whatever directions appeal to them as a group. In turn, they’re challenging and fueling my imagination and together we’re developing our own story and fleshing out a lot more of the setting than i’d thought of on my own.

One of the best D&D YouTubers out there, Matt Colville touched on some of these concepts in his most recent video. The focus of his discussion is the idea of “Fantasy vs. Fiction” and he explores two approaches to D&D storytelling – the world as a manifestation of the characters’ internal story vs. the characters are the products of the world. Intriguing stuff to think about.

Of course, there are lots of things to keep in mind for your game like railroading vs. truly open-world adventuring, the value of improvisation vs. preplanning and keeping in mind the veil of separation between what the DM knows vs. what the players and their characters know. Those and many more are all topics worthy of being explored on their own here later on.


For D&D DMs (or any TTRPG GMs) it’s important to keep in mind that whatever story emerges at the table is a result of players’ choices and actions. DMs present scenarios, NPCs, locations and plot threads that can be woven into a much larger picture…but it’s up to the players to decide what their story will be. They may be adventuring in your world, but the tale they tell is theirs to shape.

There are lots of tips, tricks and tools DMs can use to point the needle in different directions. Just as vital, though, is allowing the players enough agency to be able to move the needle as well.

Start small, and keep your big picture in mind while PCs adventure in your game, but give them the freedom to take the story in their own direction. Don’t stick to a rigid structure of where you as the DM think the game ought to go. Instead, leave the trail of breadcrumbs but feel free to get lost right alongside the players. Remember – you can always alter where the breadcrumbs lead to anyway!


Playing D&D with class: Artificer

Coming up with a great backstory, personality, motivations and goals goes a long way toward making memorable D&D characters. But when it comes down to the nuts and bolts of what you can do, it’s all about class. Consider it your character’s vocation, calling, profession or craft, a character’s class picks up where their backstory leaves off, giving them the skills and abilities they’ll use on their life of adventure.

Rather than analyze the mechanics of each class, extolling the benefits of one option and admonishing the suboptimal drawbacks of another, what you’ll find in this “Playing D&D with class” is the usual musings that accompany any topic and hopefully some insight into different ways to approach the various classes in D&D 5E.

As a longtime player and DM, i’ve never put much emphasis on mathematical optimization, and when it comes to making characters i’m a purist – multi-class characters have never appealed to me. Instead, it’s always been about the concept, the who of a character more than the what.

Blinding them with [magical] science!

The weekly Unearthed Arcana articles have for a while now been focused on releasing new character options in the form of archetypes for D&D 5E’s core classes. But this past week they took divergence from that and instead introduced a very popular class from previous D&D editions to 5E: the artificer!


Originally a core class in 3.5’s Eberron campaign setting, the artificer is a caster class that focuses their magical prowess into invention and creation of magic-infused objects. An inventor and crafter, artificers bring a unique skillset to the array of class options that explores an aspect of D&D – the making of magical items – in a practical way for players. In various editions, crafting options are available but they require heavy investment of time and resources, usually resulting in characters forgoing more adventuresome character options in lieu of gaining skills needed to make their own magical items.

The artificer puts those abilities to use in the field, creating ad hoc items on the fly or by infusing their spells into temporary items to be employed by other party members.

There’s certainly no small number of folks with a distaste for artificers. The concept might not have a place in their campaign, or it might come across as too crunchy. For the former, like all the classes there are common perceptions of what each class is like that tend to become fixed in players’ minds and perhaps looking at things in a different way can overcome that. As to the former, like many new and alternate classes artificers include new systems for utilizing their abilities. It can be challenging to imagine a place for a noncore class in a setting.

But on the other hand, don’t all the classes have their own unique properties? Rage, ki, sorcerer points, maneuvers – without these individual systems and the options they allow players, what are any of the classes but vanilla warriors and wizards? When it comes to your group’s setting, perhaps the party’s artificer is the only one of his kind. The PCs are after all, extraordinary heroes. It’s not hard to imagine such a character with a very unique set of powers. That has huge potential for storytelling right there.

Choose your specialty

Like the rest of 5E’s classes, the presentation of the artificer is nicely streamlined. At its base is a reasonably tough caster with a nice mix of proficiencies including thieves’ tools, skills and saving throws plus some super useful adventuring abilities to detect and identify magic. The way they implemented magical item crafting – allowing you to choose from a list of magic items that the character has created in the same way casters get new spells – as early as 2nd level!

Even without the archetype abilities, the 5E artificer is a great chassis who will gain useful spellcasting ability, a nice selection of magical items, a capable construct and the ability to attune to more than the standard three magical items.

The specialty archetypes offer two very popular concepts for D&D players: alchemist and gunsmith. Both have a fairly reliable and definitely flavorful option that takes the place of casters’ combat cantrips.


Alchemists gain a magical satchel right off the bat, filled with all the compounds, reagents and substances needed to throw together fire or acid bombs, speed potions and even healing potions – each for the cost of an action (bonus action in the case of speed potions). In essence, these are akin to the alchemist’s cantrips, but i do like that they tempered the healing potion with the restriction that a character can only drink one per long rest. (The alchemist can create many of them but characters can’t just chug them ad infinitum.) The fire and acid bombs have a nice progression of damage based on level as well, making them a useful go-to attack throughout the character’s career.

Gunsmiths are centered around their “thunder cannon,” essentially a magical sniper rifle. Like the alchemist’s satchel, gunsmiths get a magical ammo bag for making rounds. Over time, the thunder cannon gains several interesting ways to control the battlefield, but overall its a one-trick pony. Gunsmiths have a magical gun and use it to lay down damage and employ tactics from afar.


Much of the mystery or mechanical questions the artificer presents are handwaved away, which speaks to the design of 5E being a streamlined version of D&D. Concerns about lead shot, black powder and chemicals are answered through the magical bags similar to a wizard’s spellbook. Likewise, the Wonderous Invention ability that provides tiered magical items at various level breaks is assumed to take place during downtime, without a bunch of clunky mechanics.

Looking for inspiration

Any sort of inventor, tinkerer, engineer or mechanic can provide a good starting point for imagining your artificer, who take a more scientific approach to magic. Unlike wizards, whose understanding of arcane forces translates into complex gestures, incantations and rituals to manifest that power through themselves, the artificer’s approach instead binds those energies into objects.


Forge, from the X-Men lore, is an interesting role model. In fact his background as a medicine man who broke from traditions by incorporating technology into his responsibilities would lend itself to something like the outlander background. Perhaps your artificer has some training and aptitude for wilderness survival and knowledge.

Edward Elric from “Full Metal Alchemist” could spark your imagination. Maybe as a character quirk, your artificer feels compelled to offer items of similar value in exchange for the magical objects they create and the spells they infuse.


Certainly, artificers lend themselves to being smart and resourceful. It’s difficult to get away from imagining artificers that don’t have some sort of studious background – their abilities rely on Intelligence and there’s no intuitive way around that.

On the other hand, an alchemist could be a rustic sort whose knowledge of the natural world gives them the know-how to put together various useful substances on the fly. This sort of character could just as easily be a tribal herbalist as they could a university chemist.

Likewise, the gunsmith could be a military weapons developer, or maybe a field tester charged with experimenting with new technology who over time learns to master it themselves. They could be a noble, with access to strange new technologies, or a folk hero using their village’s legendary weapon.


Your primitive intellect wouldn’t understand alloys, or compositions, or things with molecular structure…

Either archetype could be a person who has unusual knowledge but is otherwise a simpleton. Think of a character like Ash from the “Evil Dead” films. He was smart enough to make gunpowder and a mechanical hand for himself, but beyond that wasn’t too bright and certainly not very wise.

In my spelljammer game, one of the characters is a human fighter with the guild artisan background who took up the gunslinger archetype that Matt Mercer shared at the DM’s Guild. With the release of UA’s artificer playtest material, i would absolutely allow him to rebuild his. Matt Mercer’s gunslinger is definitely well thought out with some really cool abilities, but it has a very narrow focus on gun combat. As an artificer, my player could have the same fun time sniping enemies from afar but with lots of other options – including magic with the added benefit of spelljamming capability.

Roles not rolls

As with any class in D&D, the best advice i can offer is to set mechanical concerns aside and instead focus on creating memorable characters. Unusual race, class and background combinations are just as viable as character built to take advantage of every stat and ability. What you’re giving up from category A only means you’ll be stronger at something in category B or C.

D&D gives players a chance to create the kind of game they want to play, using as many or as few of the rules as those gathered at the table wish. At the core, it is a group-centered game and your characters come to life as individuals working with others to achieve their goals, so what works in one group might not be optimal in another, and that’s something number crunchers might overlook.

For the artificer class, high Intelligence and Constitution lend themselves to making smart tactical decisions to help the party and survivability in the thick of things to be wherever you’re needed. Both archetypes lean towards remaining at range, but don’t rule out heading to the front line and spreading around the magical inventions to support allies.


Your artificer might have no interest in fighting monsters at all, instead focusing their attention on supporting the rest of the party.  Besides, you’ve got a magical mechanical construct to do the fighting for you.

Outside of combat, artificers will prove their worth when confronted with any mechanical or crafted in nature. Beyond all the neat spell-infused items you can dole out to companions, at the end of the day the artificer is highly skilled with mundane crafting as well. There’s nothing stopping you from putting expertise with various tools to use making lots of useful stuff.


The next time you’re creating a character keep the artificer in mind. At their core, artificers are resourceful and creative, with unique and clever solutions to lots of different situations. Both archetypes are focusing primarily on combat, with the core abilities providing the wealth of other options.

It’s worth noting that there is some roleplaying hooks built right into the artificer class as well, suggesting that the curiosity that drives artificers lends itself to the development of intense rivalries amongst their kind, as well as motivation to explore and perform valuable field research. The class description prompts players to consider whether the character has a rival, and how and why they learned the ways of artifice.

Consider what role your artificer will play to their party and the world they adventure in. Will they share their amazing discoveries or keep the secret workings for themselves? Does their mechanical construct grow to become a trusted friend and ally, or simply a shell of metal and magic to be used like any other tool?  Like any character, your artificer arrives with their own tale to spin, as well as one that has yet to be cobbled together.

Tremendous value of D&D Session Zero

Whether you’re gathering a group of players together for a new D&D game or you and your friends are in the midst of a long campaign, investing time in a Session Zero is a terrific practice that benefits DMs and players alike.

The idea behind a Session Zero is providing a platform for the DM to present the setting, introduce nuances and quirks of the world and explain their expectations of playstyle and how they imagine the game might run. For players, it is an opportunity to let the DM know how they envision their characters interacting with the world, and their goals, motivations and expectations both for themselves as players and for their characters.

Typically, a Session Zero unsurprisingly takes place before any actual gaming begins, but depending on the circumstances of your group can be an effective resource at any time. In later cases it’s more of a “state of the game” session, but the spirit is the same.

In the game i’m running, i have players from a variety of tabletop RPG experiences. Our first session included a mishmash of players. One has never played any TTRPG before but was interested to dive in and become a regular at the table. Another had played 1st edition AD&D many years ago in high school, and he brought along a friend visiting from Japan for just the one session, who also had no TTRPG experience. A friend of mine who i’ve been gaming with for over ten years was there as well.

As the DM, i was excited for the simple chance to play at all, and i wanted to get the group right into the action. To that end i pulled out a sort of tutorial adventure i’ve had for a while that thrusts the characters into a pivotal battle as conscripts in a conflict between three human kingdoms, beginning in medias res on the front lines.

Taking time for a Session Zero in our situation wasn’t in the cards, since everyone wanted to dive in and start playing. They received a short introduction to the world and their place in it, and they were off and running.

One of the greatest joys i get as a DM is running a game for new players and watching for that moment when recognition clicks that they can try to do anything they can imagine, and with two new players at the table i got that secret glee twice. Everyone had a blast that first session, so i considered my DMing a success.

With a rotating cast of characters in subsequent sessions, running through the tutorial adventure, i began to think of ways to do things a little differently. Once the idea for adding elements of the Spelljammer setting came to mind, my imagination took off for the stars. At the end of our third session and the climax of the tutorial quest – a quasi-adaptation of the classic Against the Cult of the Reptile God – the party discovered a strange vessel after defeating the deadly spirit naga Explictica Defilus. At that point the party were all 3rd level characters and they were shocked and delighted to find the universe literally open up to vast possibilities for adventure.


Because of the dramatic change in the campaign and setting, we started our next get together with a Session Zero. All of the players were excited for the opportunity to slow things down and really start discovering who their characters are beyond the numbers on the character sheets. Until then, they’d been plowing ahead at a breakneck speed, approaching D&D more along the lines of a video game. They wanted to get through the quest, defeat the evil cult and free the tropical island of the curse of winter that had isolated it from the rest of the world.

Our Session Zero took place as the party, aboard Illrigger, their newfound spelljamming ship, was escorted to the Rock of Bral for debriefing. As such, members of the escort ship Resolute’s crew came aboard Illrigger to aid in piloting and share supplies for the long journey. i let the players direct the action, asking questions of Resolute’s crew and talking amongst themselves.

What i picked up from them is that they all seemed eager to approach their characters from a more realistic perspective. As one player pointed out, they had acquired a lot of treasure and were essentially very wealthy. The entire party could live a comfortable lifestyle for about a year. With their own ship, they surmised that they could take on various jobs of their choosing, instead of letting adventure come to them.

They discussed coming up with a business name and hiring themselves out, using examples of shows like “Firefly” and “Cowboy Bebop” as inspiration for how they envisioned their characters’ lives. Looking over the blueprint of Illrigger they began planning how they’d renovate the ship, hire a crew and so on.


Several other things emerged from their conversations as well that helped their characters become more fully realized. One of the characters is a dragonborn warlock, Krex, with a Great Old One pact. We’d never explored what that meant beyond the game mechanics. Krex’s player described that an otherworldly draconic presence reached out to him, offering magical might. One of the major features of the setting is a draconic threat from the Void, so it was a perfect fit that Krex’s patron was a part of that arc.

Another character, played by the brand new player, was an eladrin swordsman with the sailor background. He’d come up with a basic backstory previously, but was excited to explore how his background interacted with their situation running a ship now. He became quite interested in establishing a crew and making sure the ship ran efficiently.

The other core player, playing an elven monk with the hermit background, decided that his Discovery involved wildspace and the crystal spheres, paths that his mind wandered to during his hundreds of years in meditation.

As a DM, this was wonderful material that the player was adding to the campaign. The stuff that comes out of a Session Zero gives DMs a wealth of ideas to implement into adventures. They could be the basis of a grand adventure or a small detail the party comes across. Either way, the players will feel like they had a hand in the creation and that their characters have a unique place in the world.

The sailor swordsman player offhandedly asked if there were illicit substances like drugs out there in space, and found it hysterical that indeed i’d made some notes about that very topic. While making a stop to refresh their air and supplies, the party encountered a shady tiefling and one natural 20 Persuasion check later they had established a minor link to the illicit drug trade. The player seemed fascinated by this and took a few more opportunities to explore this aspect of the setting.

The most noteworthy moment of our Session Zero came while the party visited an underground club owned by a beholder. Chazzledazzel is also a popular crooner and the party was just in time to catch his show. Although i described the lounge and the performance area, when one of the players asked more about it, another player described how the room was deeply inclined with seating arranged in tiers down towards the circular pit in the center from which Chazzledazzel floated up to perform his show. The noteworthy part was that i hadn’t said anything about the seating arrangement, but the player let his own imagination add to the setting. It was a small moment, and i doubt anyone else thought much of it, but to me as the DM i felt like i’d achieved success by inspiring the player’s imagination. It was pretty cool.

A lot of our Session Zero played out that way. While it wasn’t a true Session Zero where the discussions take place outside of the game, the results came across the same way. We integrated the dramatic change in playstyle and setting, with the players presenting a lot of how they’d like their game to be through actual gameplay. Instead of instinctively looking to me to guide them on what to do next, they invoked their agency. It was a subtle shift from relying on the DM for prompting, to them telling me what they wanted to do.

It was less of me asking “what do you want to do?” and “can I try to intimidate the guard to open the gate?” and more of the players initiating the action by telling me “I want to persuade him to join our crew.”

After a while, when the thirst for adventure became too great, the players started their own investigations to find some action. There were a few hooks they discovered and ultimately decided to pursue a bit of clean up work for Chazzledazzel, who had a financial interest in some old docks that were disused and infested with vermin.

With his eyes towards renovating the area, and a natural 20 Persuasion check, the party struck a deal with the beholder for 3 percent of the profits over six months on whatever the old docks develop into in exchange for clearing the area up. They proceeded to do so in a somewhat unorthodox way (as players will always do).

For my part, i was thankful that i’d spent a lot of time developing vast amounts of random information to pull out as needed. These players want to know everything! As a DM, it is extremely satisfying to be able to provide as many good answers as possible. But that is a topic for another post.


Taking time from regular play to have a Session Zero is an invaluable resource for DMs and players. It gives the DM an opportunity to speak outside of the game to let the players know how they envision the game world and what sort of game they are offering. Players have the chance to let the DM know how they see their characters and what they expect to do in the game.

It’s not much fun to create a character who is an expert in Nature, for example, if the adventures never involve a need for that skill, or a character who is exceptional in social situations if the party never encounters other rational creatures.

Likewise, a DM can spend a great deal of time developing plots, arcs, timelines, NPCs, towns, cities and the like, but if all the players want to do is kick down dungeon doors and slay monsters, then that disconnect is going to make the game suffer for everyone.


Session Zero works best at the start of a new game, when everyone is creating characters and the DM has prepared a starting point for the party. But a Session Zero can be implemented any time. Perhaps there is a dramatic shift in the campaign, or the players come or leave the group.

In my case it was a combination of all of those things as well as giving my players new to TTRPGs a chance to understand more what the game is like before exploring bigger concepts. They had a chance to do some adventuring and learn the ropes of the game itself for a few sessions, and develop ideas on how they wanted to play from there.

Call it Session Zero, a “state of the game” or simply table talk, spending time to let your players tell you what kind of game they’d like to play gives DMs invaluable information that helps them craft and guide experiences for everyone to have fun.