Everything outlined about the story of an adventure in chapter 4 is true of a campaign’s story as well: a campaign is like a series of comics or TV shows, where each adventure (like an issue of a comic or a TV episode) tells a self-contained story that contributes to the larger story. Just like with an adventure, a campaign’s story isn’t predetermined, because the actions of the players’ characters will influence how the story plays out.
The characters are the focus of every D&D adventure, and their players are your partners in developing their characters’ epic journeys.
By working with your players to understand what excites them most, you can craft stories they want to see their characters star in. You can also more effectively draw players into adventure plots (see “Draw In the Players” in chapter 4) if you understand what motivates both them and their characters.
It’s not up to you to create every aspect of a D&D campaign. Players contribute through their characters’ actions and by directly sharing what they want to see in a campaign. You can learn about your players’ preferences in two ways:
Direct Input. Ask your players what they want to do in a campaign. Regularly inquire about how they think the campaign is going, what they’d like to experience more of, and what elements they’d like to explore further. After a session concludes and between sessions are great times to ask players for thoughts about the campaign.
Indirect Input. The choices a player makes, starting at character creation, can indicate what they want to see in the game. For example, a Rogue player likely wants opportunities for subtlety or skulduggery, while a Barbarian player likely craves combat. Take note of what encounters players are enthusiastic about, and seek ways to help the players’ characters shine.
Like most protagonists in film and literature, D&D adventurers face challenges and change through the experience of overcoming them. By incorporating each character’s motivations into your adventures and setting higher stakes through play, you’ll help characters grow in exciting ways. You can use the DM’s Character Tracker sheet to keep track of key information about each character. See “Getting Players Invested” in this chapter for more ideas.
Character Motivations. For each character, think about what motivates them to adventure. Motivations generally fall into the following categories:
Goal. A character’s goal is a short-term reason for the character to adventure. At the start of a campaign, this might be a desire for treasure, a thirst for excitement, or some need from a character’s backstory. As characters continue to adventure, they’ll find different goals to pursue, such as finding a lost relic, honoring an ancestor, avenging a fallen mentor, or defeating a villain.
Ambition. A character’s ambition is a broad, personal aspiration the character hopes to achieve through a lifetime of adventuring. A character might dream of becoming a legendary knight or bringing peace to their homeland. Ambitions might be unrelated to the character’s current goal.
Quirks and Whims. Quirks and whims are a character’s preferences, impulses, or other traits. They often emerge during play, such as a character’s tendency to one-up a rude innkeeper or their oft-expressed fondness for displacer beast fur.
Players often reveal their characters’ motivations through play. If you’re uncertain or a character’s motivations seem to have changed, it’s OK to ask players for clarification.
Family, Friends, and Foes. A character’s origin (species and background) implies some amount of backstory, suggesting the character’s family and what the character did before becoming an adventurer. Take note of specific background characters—friends, foes, family members, and others—who might appear in the campaign.
Should these background characters become important to the campaign, work with the player to develop them in detail. Revealing a character’s lost sibling or childhood rival midcampaign should be handled carefully to avoid straining credulity. Make sure a player is comfortable with new developments about their character before introducing them.
Character-Focused Adventures. Adventures should occasionally highlight character motivations or elements of their backstory. Here are a few examples of character-focused adventures:
Any adventure that focuses on a single character should incentivize the whole party to participate—even if just to help their companion. Avoid focusing adventures on one character too often, and look for opportunities to have character-focused adventures for each character from time to time.
Setting New Goals. Characters can change their goals whenever they please, but you can encourage them to do so by giving them significant victories roughly every 5 levels. When characters accomplish their goals, consider the following questions:
Use the answers to these questions to develop new character goals and to inspire further adventures.
Building on the Characters’ Actions. Sometimes it can be fun to let the players steer the campaign by having their characters’ actions dictate future adventures. For example, if the characters buy a tavern using the treasure they’ve amassed, you can adjust the campaign so that the tavern has a role in future adventures. One adventure might involve a competitor trying to put the characters’ tavern out of business. Another might use the tavern as the setting for a murder mystery.
One way to ensure your campaign’s longevity is to come up with three compelling conflicts you can create adventures around. Introduce these conflicts early in the campaign. As the campaign unfolds, focus adventures on different conflicts to keep the players’ excitement high.
Use the Campaign Conflicts tracking sheet to record your campaign’s conflicts (with room to add details or notes). A conflict can be as big or as small as you like, and it’s nice to have at least one conflict that can be resolved quickly. Each conflict should involve the adventurers against some antagonistic force, though you can also create conflicts between two powerful forces without necessarily knowing which force (if either) the adventurers will align themselves with. The “Flavors of Fantasy” section below provides examples of conflicts that reinforce particular themes.
If a conflict reaches a satisfying end before the end of the campaign, create a new conflict to replace it. You can also replace conflicts that don’t resonate with your players as well as conflicts you’re having trouble building adventures around.
In the same way you think about character arcs over the course of a campaign, think about how each conflict might manifest over the course of the campaign. How do the characters first encounter the conflict? How does the conflict develop over time? What might a climactic ending to that conflict look like?
One helpful way to structure a conflict arc is to use the tiers of play described in chapter 4. Levels 5, 11, and 17 represent milestones in character power and capabilities, and they can also be story milestones in the arc of your campaign. The shift from one tier to another is an ideal time to wrap up a campaign conflict and introduce a new one that has a broader reach and represents a greater threat. The threshold of a new tier can also be an opportunity for characters to realize the scale of a conflict they’ve been dealing with—to realize, for example, that the bandits they fought throughout their first four levels are merely puppets of an enemy nation they must confront in the second tier.
The “Greyhawk” section in this chapter has examples of conflict arcs.
Your D&D campaign might be inspired by a particular flavor of fantasy, several of which are discussed in the sections that follow. Any of these fantastical subgenres can be informed and inspired by the cultures, myths, legends, and fantasies of any culture: an epic fantasy campaign could draw on French romances or Chinese wuxia stories, a mythic fantasy campaign could be based on Greek myth or the Epic of Gilgamesh, and so on.
Heroic fantasy features adventurers bringing magic to bear against monstrous threats—the default subgenre presented in the core D&D rulebooks.
Heroic Fantasy Conflicts. Heroic fantasy campaigns often revolve around delving into ancient dungeons in search of treasure or to destroy monsters or villains. Consider conflicts like these to drive the action of a campaign:
Evil Cult. Wicked cultists infiltrate a peaceful realm to free an ancient evil entity trapped in a dungeon. Releasing the entity would surely spell the realm’s doom.
Fungal Plague. To protect a primeval forest from the encroachment of hunters and settlers, druids unleash a fungal plague that quickly gets out of hand.
Old Enemy. An elusive villain who plagued the characters years ago resurfaces, giving the characters a chance to finally bring the villain to justice.
A sword-and-sorcery campaign features a grim world of evil spellcasters and decadent cities, where the protagonists are often motivated more by greed and self-interest than by altruistic virtue.
Sword-and-Sorcery Conflicts. In this flavor of campaign, magic-users often symbolize the decadence and corruption of civilization, and mages are the classic villains of these settings. Magic items are therefore rare and often dangerous. Consider conflicts like these to drive the campaign:
Evil Adventurers. An evil band of experienced adventurers wields power and influence to oppress hapless folk.
Evil Weapon. A knight under the influence of a sentient, evil weapon terrorizes a peaceful realm. Cultists worship and protect this weapon, which must be seized and destroyed to end the threat.
Forgotten Dynasty. The long-lost seat of a forgotten dynasty rises from the sea or the desert sands, and its people launch a campaign of conquest.
An epic fantasy campaign emphasizes the conflict between good and evil, with the adventurers on the side of good. These heroic characters are driven by a higher purpose than selfish gain or ambition. Characters might struggle with moral quandaries, fighting the evil tendencies within themselves as well as the evil that threatens the world. And the stories of these campaigns often include an element of romance: tragic affairs between star-crossed lovers, passion that transcends even death, and chaste adoration between knights and nobles.
Epic Fantasy Conflicts. Conflicts like these highlight the themes of an epic fantasy campaign:
Apocalypse. A prophecy predicts the end of the world unless the adventurers intervene. Apocalypse cultists oppose the characters at every turn.
Dragon Tyrant. An evil and powerful dragon moves into the region, upsetting the ecology and demanding tribute from nearby settlements.
The Foe Time Forgot. An evil foe believed long dead emerges from the Feywild, alive and well after being lost in time. This foe seeks revenge against the descendants of long-dead enemies.
Fortresses on the backs of dragon turtles rise from the depths, heralding the return of a long-lost dynasty.
A mythic fantasy campaign draws on the themes and stories of ancient myth and legend, from Gilgamesh to Cú Chulainn. Adventurers attempt mighty feats of legend, aided or hindered by the gods or their agents—and the characters might have divine ancestry themselves. The monsters and villains they face might have a similar origin. The chimera in the dungeon isn’t just a random beast but the product of a divine curse.
Mythic Fantasy Conflicts. Conflicts like these highlight the themes of a mythic fantasy campaign:
Divine Trials. Seeking a gift or favor from the gods, the adventurers undertake a series of trials that lead them to the realms of the gods, where the adventurers can plead their case.
Divine Wrath. After a temple is sacked, a vengeful god sends an escalating series of woes upon a kingdom until the temple’s relics are returned.
Giants. An enormous castle on a cloud settles over the land. The characters can battle the giants living there or try to broker a lasting peace.
If you want to put a horror spin on your campaign, the Monster Manual is full of creatures that suit a storyline of supernatural horror. An essential element of such a campaign is an atmosphere of dread, created through careful pacing and evocative description. Your players contribute too; they must be willing to embrace the mood.
Whether you want to run a full-fledged horror campaign or a single creepy adventure, discuss your plans with the players ahead of time. Horror can be intense and personal, and not everyone is comfortable with such a game. (The advice on discussing limits under “Ensuring Fun for All” in chapter 1 is particularly important for a horror game.)
Supernatural Horror Conflicts. A supernatural horror campaign often features Undead or demonic foes whose evil transcends the merely mortal. Consider conflicts like these to drive the campaign:
The Faceless Lord. Juiblex, the Faceless Lord, oozes out of the Abyss and into the Underdark. The characters hear from subterranean folk who need help defeating the demon lord and its minions.
School of Necromancy. Vampires open a college of necromancy, attracting evil necromancers who need fresh corpses for their studies. An order of vampire hunters seeks the characters’ help.
Undying Monarch. A venerable monarch clings to power by worshiping Orcus and becoming a lich.
Political intrigue, espionage, sabotage, and similar cloak-and-dagger activities can provide the basis for an exciting campaign. In this kind of game, the characters might care more about skill proficiencies and making friends in high places than about attack spells and magic weapons. Social interaction takes on greater importance than combat. Make sure your players know ahead of time that you want to run this kind of campaign. Otherwise, a player might create a combat-focused character, only to feel out of place among diplomats and spies.
Intrigue Conflicts. Conflicts like these are ripe for an intrigue campaign:
Feuding Fiefs. Two fiefs or settlements have been feuding for years. The characters are drawn into the ongoing feud after helping one side.
Royal Rivals. The sudden death of a sovereign plunges a kingdom into chaos when the rightful heir is challenged and threatened by rivals.
Scheming Adviser. After a monarch takes an interest in the characters, they become targets of the monarch’s most trusted adviser, who is scheming to become the true power in the realm.
A mystery-themed campaign puts the characters in the role of investigators, perhaps traveling from town to town to crack tough cases that local authorities can’t handle. Such a campaign emphasizes puzzles and problem-solving in addition to combat prowess. An adventure composed of nothing but puzzles can become frustrating, so be sure to mix up the kinds of encounters you present.
Mystery Conflicts. A mystery might set the stage for the whole campaign. The characters might uncover clues to this mystery from time to time, while individual adventures might be only tangentially related to it. Consider conflicts like these for a mystery campaign:
Criminal Syndicate. A many-headed criminal syndicate seeks economic and political power. The syndicate has spies everywhere, including among the adventurers’ families or friends.
Shape-Shifting Assassins. A secret association of doppelgangers or other shape-shifters slowly assassinates prominent figures one by one.
To Catch a Thief. An extraordinary thief steals only the most valuable jewelry and works of art. The characters might become a target of the thief when they acquire a priceless treasure.
The swashbuckling adventures of pirates and musketeers make for a dynamic campaign in which dashing, charming heroes weave their way through palace intrigues and leap from balconies onto waiting horses to escape dogged pursuers. In a swashbuckling campaign, the characters typically spend a lot of time in cities, in royal courts, and aboard seafaring vessels. Nevertheless, the heroes might end up in classic dungeon situations, such as escaping from a prison cell block or searching storm sewers to find a villain’s hidden chambers.
Swashbuckling Conflicts. Conflicts like these highlight the themes of a swashbuckling campaign:
Inherited Antagonists. A character inherits a magic item from a deceased relative, unaware that this relative’s enemies are after the item.
Pirates and Privateers. A new monarch cracks down on piracy by commissioning privateers and naval officers to hunt pirate ships.
The Waking Deep. A monstrous horror slumbering in the depths of the ocean stirs, driving minions such as sahuagin, merrows, or dragon turtles to attack seafaring vessels.
A campaign focused on warfare centers on heroes whose actions turn the tide of battle. The characters carry out specific missions: capture a magical standard that empowers undead armies, gather reinforcements to break a siege, or cut through the enemy’s flank to reach a demonic commander. The party might also support the larger army by holding a strategic location until reinforcements arrive, killing enemy scouts, or cutting off supply lines. Information-gathering and diplomatic missions can supplement combat-oriented adventures.
War Conflicts. Conflicts like these highlight the themes and flavor of a war campaign:
Freedom Fighters. Poorly armed and disorganized subjects of a tyrant revolt.
Invaders. A militaristic nation invades its benevolent neighbors.
Pawns in a Game. A war rages on for decades, its original cause all but forgotten. The people caught up in it strive to find meaning and purpose in a bleak and violent world.
Deep in D&D’s roots are elements of science fiction and science fantasy as well as a wide-ranging collection of fantasy inspiration, and your campaign might draw on those sources as well. You can send your characters hurtling through a magic mirror to Lewis Carroll’s Wonderland, put them aboard a ship traveling between the stars, or set your campaign in a far-future world where laser weapons (see “Firearms and Explosives” in chapter 3) and Wands of Magic Missile exist side by side.
Crossing the Streams Conflicts. Conflicts like these create opportunities for crossing the streams:
Beyond the Magic Mirror. A mysterious mirror in a strange dungeon is a portal into a different world where whimsical tales unfold—or perhaps some version of the modern world.
Gamma World. The characters inhabit a post-apocalyptic wasteland that is largely medieval in feel, but isolated outposts still hold futuristic technology from before the cataclysm.
Invaders from Wildspace. Spaceships land on the characters’ world and disgorge hostile creatures armed with advanced technology.
Just like an adventure’s setting (as described in chapter 4), a campaign setting is an essential part of a campaign’s premise, shaping the kinds of stories that unfold there.
As the DM, you have two options when choosing a campaign setting:
Whether you create your own campaign setting or use a published one, the world of your game is always your own. You can customize it to suit your tastes and those of your players.
One advantage of using a published campaign setting is that much of the world-building is done for you. However, this means your players might know as much about the setting as you do. You can get around this by changing key aspects of the setting to better serve your needs, which has the added benefit of challenging your players’ expectations.
The D&D Settings table describes several established campaign settings.
| Setting | Description |
|---|---|
| Dark Sun | Heroes make their mark on a postapocalyptic world defiled by magic and forsaken by the gods. |
| Dragonlance | The forces of good battle the evil queen of dragons and her armies in the world-shaking War of the Lance. |
| Eberron | In the aftermath of a deadly war, magically advanced nations rebuild as a cold war threatens lasting peace. |
| Exandria | Heroes make names for themselves in the world made popular by the streaming show Critical Role. |
| Forgotten Realms | Larger-than-life heroes and villains struggle to determine the fate of the world as they explore the ruins and dungeons of fallen kingdoms and long-forgotten empires. |
| Greyhawk | As tensions rise among warring nations, heroes plunder dungeons to gain the magic and might they need to defeat the growing forces of evil. |
| Planescape | Sigil, the City of Doors, is where heroes begin to explore the wonders of the D&D multiverse and its many planes of existence. |
| Ravenloft | Heroes are drawn into the gloomy Domains of Dread—cursed realms ruled by evil lords—and must find a means of escape. |
| Ravnica* | In a world-spanning city, ten disparate factions draw heroes into a web of adventure and danger. |
| Spelljammer | Travel among the stars on a spelljamming ship, and visit worlds floating in the majestic oceans of Wildspace. |
| Strixhaven* | Strixhaven, a school of magic, serves as a hub of learning and adventure. |
| Theros* | Heroic destinies wait to be fulfilled in this setting inspired by the myths of ancient Greece. |
*This setting is based on a Magic: The Gathering world.
One advantage of creating your own world is it can be whatever you want it to be. Your players will never know more about the world than you do, which can be both a comfort to you and a source of wonder to your players. Moreover, you don’t need to memorize any source material about the campaign setting, other than what you create for yourself.
Whether you create a setting from scratch or borrow elements from established settings, the result needs to resonate with your players. As you create your world, ask your players what settings and genres they enjoy, then use those sources for inspiration to create compelling locations, memorable inhabitants, exciting conflicts, and an internal logic that will resonate with your players.
Five Questions to Consider. As you contemplate a new campaign setting, think about your answers to the following questions:
What’s Your Campaign Setting Called? Choose an evocative name for your setting. It can be a word or phrase that reflects the theme and tone of the game, or just a made-up name that sounds cool to you. Keep a running list of ideas as you decide on other aspects of your setting.
What Factions and Organizations Are Prominent? Nations, temples, guilds, orders, secret societies, and colleges shape the social fabric of the setting. What organizations or societal groups play an important part in your setting? Which ones might be involved in the lives of player characters as patrons, allies, or enemies? What organizations can characters join, becoming part of something larger than themselves?
How Common Is Magic? Spellcasters and magic item shops might be common, rare, or practically nonexistent in your world. How readily available are spells such as Lesser Restoration, Raise Dead, and Teleportation Circle? Is magic so widespread that it’s part of daily life, or so rare that it conjures all sorts of superstitions?
What Mysteries Does the World Hold? Every campaign setting has mysteries: a fabled land across the sea, a grim forest hiding a terrible secret, restless spirits haunting a ruined keep for reasons unknown, an ancient dungeon built for a forgotten purpose, and so on. Dream up as many mysteries as you wish—you never know which ones will seize your players’ imaginations and become central to the campaign—and record them in your campaign journal.
What Roles, If Any, Do the Gods Play? What greater gods, lesser gods, and quasi-deities are present or worshiped in your world? If there are gods, how involved are they in the world? Are they distant and detached beings, or do they appear before their worshipers and meddle in mortal affairs?