Monthly Archives: April 2022

Credit D&D’s Push Into to the Multiverse for Spelljammer

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Wizards of the Coast releases new settings for Dungeons & Dragons faster than ever. Those settings include worlds borrowed from Magic: The Gathering like Ravnica and Theros, a world taken from Critical Role, older settings like Eberron and Ravenloft, and now the Spelljammer setting. The last time the D&D team released so many settings, the flood of options split the D&D market and helped send TSR, the game’s owner, to the brink of bankruptcy. Then as now, D&D players only have so much time and money. Faced with a game store full of D&D campaign options, most customers will skip some. Each setting still costs to develop, but it competes with others, splitting the D&D customer base and potentially leading to financial losses.

Clearly, today’s D&D team doesn’t fear repeating the history that brought TSR to ruin. Part of that fearlessness comes from D&D’s surging popularity. So many folks play the game now that numerous campaign releases can profit despite a diluted audience. Of course, some enthusiasts buy them all, so more of my money goes to Hasbro.

Also, the product lines for D&D settings released now just include a set of miniatures and a book, or for Spelljammer a slipcase of 3 slim harcovers. From 1989 to 1993, the original Spelljammer line included 4 boxed sets, 6 adventures, 11 accessories, plus novels and comics. A committed Spelljammer fan could spend their entire budget on D&D in space without buying other products. TSR spent money creating all these products to support a setting that surely trailed other D&D settings in popularity.

In 2015, Wizards polled to rank their campaign settings’ popularity and then reported the results. “Our most popular settings from prior editions landed at the top of the rankings, with Eberron, Ravenloft, Dark Sun, Planescape, and the Forgotten Realms all proving equally popular. Greyhawk, Dragonlance, and Spelljammer all shared a similar level of second-tier popularity, followed by a fairly steep drop-off to the rest of the settings. My sense is that Spelljammer has often lagged behind the broad popularity of other settings, falling into love-it-or-hate-it status depending on personal tastes.”

Gamers mostly remember Spelljammer for its silliest ideas, like hippo people and giant space hamsters powering ships by running on wheels attached like paddle wheels. “The infamous giant space hamster also came out of ship designs,” writes original Spelljammer designer Jeff Grubb. “The gnome ship looked like a galleon and a sidewheeler slammed into each other. Someone asked what the big paddle wheel housings were for, since there was no air other than in the air bubbles. I said they were giant hamster wheels. Roger Moore (editor of Dragon) thought that was hilarious and it was off to the races with the giant space hamster.” Sometimes Spelljammer treats D&D as seriously as the 60s Batman TV show treated the dark knight. To some fans, Spelljammer felt like a setting that mocked their passion for D&D by making the game seem ridiculous and childish.

For years, D&D enthusiasts online joked about any slim hint of a Spelljammer revival by announcing, “Spelljammer confirmed!” The humor came from treating a sometimes ridiculous second-tier setting as an eagerly awaited release when in truth Spelljammer seemed like one of the least likely targets for return. Even Chris Perkins, the architect of Spelljammer’s return, jokes about Spelljammer’s lesser popularity.

So if the gleeful shouts of “Spelljammer confirmed’’ come from a joke rather than a groundswell of fans, then how did Spelljammer get confirmed? Credit Chris Perkins’s true passion for the setting. He even embraces the setting’s gonzo elements like killer space clowns and murder comets—ideas that made some gamers snub the original.

Mainly credit D&D’s new emphasis on the multiverse for Spelljammer. D&D’s lead rules designer Jeremy Crawford explained the shift. “We’ve been letting fans know for the last year or two that we are going out there to other worlds, to other planes, and there’s going to be a lot of exciting journeys ahead.” D&D is headed to “this wonderful array of worlds that make the D&D multiverse special because it’s not just one fantasy setting, it’s a dizzying array of fantasy settings, including each DM’s home setting all in one massive multiversal setting.”

Rather than asking players to select a world and stick to it, the focus on a multiverse encourages D&D fans to dabble in different settings, skipping from world to world or gathering their favorite bits for their own worlds in the wonderful array. Hints of a D&D multiverse date back to Queen of the Demonweb Pits (1980) where the Demonweb included gates to parallel worlds on the material plane, but Spelljammer made the game’s worlds accessible by Spelljamming ships.

The multiverse gives D&D room for settings that feel less conventional. By design, Spelljammer delivers. “I wanted to push the envelope on what D&D fantasy was,” Jeff Gubb writes. “We had done Forgotten Realms and Dragonlance, but those had been written down as typical fantasy worlds. Vanilla fantasy. Default fantasy. Background static. Here was a chance to go out on more of a limb and push the envelope. So this was the chance to do D&D in space. I’m sorry—Innnnn Spaaaaaaace!” Spelljammer brings a different tone than those grounded settings. Fans love the setting’s swashbuckling flavor, ships like the mind flayer nautiloid, heroes like the hippo folk on safari, villains like the half-spider/half-eel neogi, and the chance to explore strange new D&D worlds.

Jeff Grubb pitched Spelljammer by describing a knight standing on the open deck of a ship in space. Based on the preview of the new Spelljammer, the setting moves from shining armor and wizards in pointy hats to the Guardians of the Galaxy and a cast as varied as the Star Wars cantina scene.

Spelljamming lets characters take the scenic route while they travel the D&D multiverse, leading to more adventure than using spells like plane shift. “Spelljammer was initially thought of as being AD&D in space, but soon became obvious as a way to tie the existing campaigns together.” In the revised setting, D&D worlds exist in spheres of magical space called wildspace. In wildspace, even objects as small as ships have enough gravity to capture bubbles of air and for sailors to walk the decks.

The emphasis on the multiverse shows in changes to the Spelljammer cosmology. In the old version, indestructible crystal spheres locked each world into a bubble suspended in phlogiston, “a turbulent, unstable, multicolored, fluorescent gas.” The designers imagined the crystal shells to account for different gods and rules in different spheres. “Want to run a hard science version? It works that way in the sphere. Want the constellations to move around? There you go. Want a flat world resting on elephants, with iterative turtles below? Go for it.” But the crystal barriers strike me as unnecessarily clutter separating magical pockets. Meanwhile, phlogiston overlaps too much with existing D&D lore around the astral plane. So at the edge of wildspace, the bubbles now transition to the astral sea where explorers might meet gith, astral dreadnoughts, and planetoid-sized bodies of dead gods. Here, Spelljammer blends into Planescape. Planescape confirmed!

The No-Prep Way to Use Character Backstory In a Campaign

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When dungeon masters connect the characters’ backstories to their campaign, the game feels more personal to players. Revisiting a backstory shines a spotlight on a character and includes them in a way that highlights a character’s unique importance to the campaign. Through character backstory, players contribute to the campaign world. Using that backstory in the game recognizes the value of the player’s creative contribution. That recognition feels great.

But the Dungeons & Dragons rulebooks include no advice for dungeon masters aiming to use these backstories in play. I’m here to help.

The easiest method for pulling a backstory into a D&D game follows the techniques of another type of real-time, collaborative storytelling: improv theater. “The first rule of improvisation is AGREE. Always agree and SAY YES,” Tina Fey writes in Bossypants. “When you’re improvising, this means you are required to agree with whatever your partner has created. So if we’re improvising and I say, ‘Freeze, I have a gun,’ and you say, ‘That’s not a gun. It’s your finger. You’re pointing your finger at me,’ our improvised scene has ground to a halt.”

Improv’s “Yes and…” principle enables DMs and players to work together to bring character backstory into scenes. Suppose the party visited Waterdeep and you, as DM, wanted to use something from a character’s backstory to draw them in. If a character’s backstory included a history as a gambler wandering from town to town, fleeing angry marks and gambling debts, then the scene might start like this.

DM: Zand, have you ever gambled in Waterdeep?

Zand’s player: Yes, and I’m keeping my eyes open for… (looks at hands) …Knuckles. I owe him.

DM: As luck would have it, you spot Knuckles going across a crowded market square. He looks your way.

Zand’s player: I walk to Knuckles and say, “Hello friend, I have an irresistible opportunity that will pay you back for what I owe.”

Sometimes players can contribute backstory to suit a scene without much improvisation, because they imagined more of their characters’ histories than the DM knows or remembers.

“Yes and…” builds creatively. The scene and the game moves forward instead of getting stuck finding agreement. Second City explains, “The basic concept of these two words is that you are up for anything, and will go along with whatever gets thrown your way.”

Unlike performers in an improv scene, players don’t need to be up for anything. When a DM elaborates on a character’s backstory to fit the campaign, the additions might not fit the player’s vision. In a game, players invest time and imagination in their characters, so they deserve to keep control of their proxies. Players can always pause the game and explain that a bit of invented backstory doesn’t match their vision.

This sort of spontaneous addition of character backstory resembles another technique where the DM has the players contribute to the world-building during a session. Examples range from asking the players to invent a distinguishing feature for a monster to having players describe the folks in the inn. That practice can become a jarring reminder that the characters live in a made-up world without any truth. Inventing or recalling backstory feels more comfortable because players feel accustomed to imagining that part of the story. The DM asks questions and the characters know the answers, even if the players have to dream up the details.

Of course just a few actors and storytellers understand this sort of in-game collaboration. Sometimes such offers stumble. The DM says, “As you eat your meal, someone you recognize from your battalion walks in. Which one grew up here?” And then the player locks up. I don’t remember anything about that, the player thinks. What do you want from me? You can nudge the scene along by spelling out the offer. “Would you like to expand on your character’s backstory by telling me the name of someone you fought beside in the last war? What do you remember about them?”

When the technique works, it feels like creative magic—the best case for connecting backstory to the game in progress.

Related:

Next: More on bringing backstory into campaigns.

The Best D&D Spells to Cast With a Higher Level Slot

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Last week when I asked D&D enthusiasts to name their favorite spells to up-cast at a higher level, I learned a fault of my own to confess.

I’m guilty of choosing spells without reading the full descriptions, and I suspect I’m not alone. This misdeed always follows the same pattern: When my spellcaster gains higher level spells, I pick a couple to prepare and dutifully read the descriptions, skipping the bits at the end labeled At Higher Levels. Why bother? My character can’t cast at higher levels yet. But when my character reaches those higher levels, I never return to the spell descriptions.

So when people cited spells like command, blindness, and mass suggestion, their picks surprised me because I never realized that those spells included options for higher levels.

The spells that deliver the biggest boosts when cast at higher levels fit two categories:

  • Spells that deal damage every turn over a longer duration. When cast at higher levels, these spells typically multiply extra damage by many turns leading to big effects. I love playing clerics who cast spirit guardians at levels as high as 8, dealing 8d8 damage to every foe within 15 feet, and repeating the damage every turn.
  • Spells that add an extra target for each level cast above the base level. Often this means doubling from one to two targets with just a spell slot one level higher. Evil archmages could wipe out a lot of adventurers by up-casting banishment at 7th level to dismiss half the party, enabling their allies to kill the stragglers. However, most players won’t enjoy facing this tactic.

Warlock spells like armor of Agathys tend to scale well at higher levels, but I skipped listing those because warlocks never face a choice to cast at higher levels. They always cast at the highest available level.

What are the best spells to cast at higher levels?

Aid (3rd level) – You raise the hit point maximum and the current hit points of 3 creatures by 5. When you cast this spell using a spell slot of 3rd level or higher, a target’s hit points increase by an additional 5 for each slot level above 2nd.

Animate Objects (5th level) – You animate 10 small objects. If you cast this spell using a spell slot of 6th level or higher, you can animate two additional objects for each slot level above 5th.

Banishment (4th level) – You banish one creature. When you cast this spell using a spell slot of 5th level or higher, you can target one additional creature for each slot level above 4th.

Bless (1st level) – You bless up to three creatures. When you cast this spell using a spell slot of 2nd level or higher, you can target one additional creature for each slot level above 1st.

Blindness (2nd level) – You blind one foe. When you cast this spell using a spell slot of 3rd level or higher, you can target one additional creature for each slot level above 2nd.

Call Lightning (3rd level) – You create a storm cloud that lasts 10 minutes and can strike lighting that deals 3d10 damage. When you cast this spell using a spell slot of 4th or higher level, the damage increases by 1d10 for each slot level above 3rd.

Chain Lightning (6th level) – You create a bolt of lighting that forks to strike a total of four targets. When you cast this spell using a spell slot of 7th level or higher, one additional bolt leaps from the first target to another target for each slot level above 6th.

Cloudkill (5th level) – You create a cloud of poison fog that deals up to 5d8 damage per turn. When you cast this spell using a spell slot of 6th level or higher, the damage increases by 1d8 for each slot level above 5th.

Command (1st level) – You speak a one-word command to a creature. When you cast this spell using a spell slot of 2nd level or higher, you can affect one additional creature for each slot level above 1st.

Hold Monster (5th level) – You paralyze a creature. When you cast this spell using a spell slot of 6th level or higher, you can target one additional creature for each slot level above 5th. The creatures must be within 30 feet of each other when you target them.

Invisibility (2nd level) – You make a creature invisible. When you cast this spell using a spell slot of 3rd level or higher, you can target one additional creature for each slot level above 2nd.

Mass Suggestion (6th level) – You magically influence up to twelve creatures. When you cast this spell using a 7th-level spell slot, the duration is 10 days. When you use an 8th-level spell slot, the duration is 30 days. When you use a 9th-level spell slot, the duration is a year and a day.

Moonbeam (2nd level) – You create a beam of light from above that deals up to 2d10 radiant damage per turn and that lasts a minute. When you cast this spell using a spell slot of 3rd level or higher, the damage increases by 1d10 for each slot level above 2nd.

Sleep (1st level) – You send creatures with up to 5d8 hit points into a magical slumber. This spell offers no saving throw. When you cast this spell using a spell slot of 2nd level or higher, roll an additional 2d8 for each slot level above 1st.

Spirit Guardians (3rd level) – Spirits circle you at a distance of 15 feet, dealing up to 3d8 radiant damage per turn for 10 minutes. When you cast this spell using a spell slot of 4th level or higher, the damage increases by 1d8 for each slot level above 3rd.

Spiritual Weapon (2nd level) – You create a floating weapon that you can use to attack for force damage equal to 1d8 + your spellcasting ability modifier. The weapon lasts a minute. When you cast this spell using a spell slot of 3rd level or higher, the damage increases by 1d8 for every two slot levels above 2nd.

Storm Sphere (4th level) – You create a 20-foot radius sphere of whirling air that lasts a minute, deals 2d6 bludgeoning damage to creatures inside, and can throw a lighting every turn for 4d6 damage. When you cast this spell using a spell slot of 5th level or higher, the damage increases for each of its effects by 1d6 for each slot level above 4th.

Summon Fey, Shadowspawn, Undead and other summoning spells from Tasha’s Cauldron of Everything (Levels 3-6) – You summon a creature. The creatures’ AC, hit points, and damage all increased when cast with a higher-level spell slot.

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