Credits
Lead Designer. Robert Marriner-Dodds
Article Author. Darren Pearce
Character Illustrator. Cassandra Dodds
Cover Illustrators. Alex Tooth and Cassandra
Dodds
Dungeon Map. Robert Marriner-Dodds
Producers. Brandon Wright, Chris, Christos,
Courtney Kim, J Wall, Mark W Wyrick, MRC, Scott
Jernigan
Special Thanks. Thank you to all of our
Patreon supporters that made this magazine
possible.
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Any reproduction or unathorized use of the martial
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express written permission of Dragon Turtle
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1
 Contents
Credits 1
Foreword 1 Foreword
About Dragon Drop Adventures 1
Welcome to the very first issue of Dragon Drop
Contents 1
Monthly!
Thank you very much for supporting us on
The Black Tar Goblins 3
Patreon and directly supporting the creation
Adventure Background 4
Customising the Adventure 4 of this monthly adventure magazine. We’ve
The Black Tar Goblins 5 wanted to do a 5e magazine like this for a while
The Burial Mound 6 now, and we’re glad there is so much interest
The Hillside 6 and support from the community.
Within The Sinkhole 6 Each month we’ll be releasing a new one shot
Wide Corridor 6 adventure that is both self contained, and easy
The Burial Mound Map 7 to adjust to any campaign setting or world, and
Chamber of Fire 8 an article on running fantasy tabletop games.
Faux Final Chamber 8 With the continued support of you; our patrons
Laboratory 8 we’ll be able to unlock upgrades to these
The Source 9 adventures and increase the number of articles
Seya’s Study 9 in each issue!
Seya’s Quarters 10 For now, let’s get into it!
What Next? 10 Robert Marriner-Dodds

How To Make Combat Interesting 11

License 15
About Dragon Drop Adventures
Dragon Drop Adventures are simple to run
one-shot adventures that have self contained
stories and adventure locations. Aside from
reading the adventure, no other prep work is
needed to run one of these in your campaign
seamlessly.
Ever had a party wander off and completely
ignore their plot hooks, leaving you scrambling
for ideas? Simply grab one of these adventures
to entertain your players while you work out a
way to get them back on track!

2
The Black Tar Goblins
Level 1

3
 Black Tar Goblins is designed for a party of four
1st-level characters.
If your party has more or fewer characters, you
can appropriately adjust the number of monsters
present in each encounter using the official
guidelines for the 5th edition of the world’s most
popular roleplaying game.
This adventure has enough encounters to advance
the a party of four or less playing through to the
next level.
Adventure Background
The people of West Wratting have always coexisted
peacefully with the daggertooth tribe of Goblins
nearby. Neither the Goblins, nor the farmers are
particularly fond of each other, but they stay out of
each other’s way.
Recently the shepherd Eimhir who herds her
sheep near the daggertooth territory has been
reported missing sheep, and disturbing sightings of
Goblins wandering around late at night, covered in
thick black tar.
Minor investigations by the locals have turned up
patches of withered plants and desiccated animal
carcasses near the reported locations of these
Black Tar Goblins.
Unable to mount a defensive force capable of
dealing with a Goblin tribe, or whatever may be
4
uncovered, the concerned locals have turned to a
group of unlikely heroes to investigate the sightings
and missing sheep.
Customising the Adventure
By design, any part of the adventure can be
customised to rather easily to fit your setting and
campaign.
We’ve included a few examples to show you how
we might adapt certain things.
Locations. The location of West Wratting and
the daggertooth tribe’s territory and cave are never
explicitly mentioned, but are implied to be rather
close together.
This close proximity and vague location means
that the sleepy village and minor tribe could fit just
about anywhere in a setting, provided they are a
reasonable distance from any large towns or cities.
NPCs. The shepherd Eimhir as well as the cor-
rupted druid Wosk can be replaced with characters
that may already reoccur in your campaign, or ones
that you may wish to have some connection to an
important NPC or character in your world. For
example, the shepherd Eimhir may be the cousin
or sister of a party member.
The Black Tar Goblins
The adventure begins after the party has accepted
the job of investigating the peculiar goblin
sightings.
“The peaceful farming village of West Wrat-
ting is home to less than 50 families. Idyllic
thatched roofed cottages are scattered loosely
around a cobbled town square.
The atmosphere in the town is unusually tense,
and sitting across from in the village hall, the
town elders seem even grumpier than usual.”
The town elders are a group of four elderly
townsfolk. They have hired the party to investigate
Eimhir’s claims of tar covered goblins.
What the Shepherd Eimhir Knows
For the past tenday sheep have been going
missing every evening from Eimhir’s flock.
The usually astute shepherd has no idea how her
sheep are disappearing while under her watch.
A recent clue came three nights ago when late in
the evening, she saw what appeared to be a
goblin covered completely in black thick tar
sulcking around near her pasture.
Wisely deciding to keep her distance until the
goblin left, Eimhir investigated the area the goblin
was seen the following day with her guard dog
Rebus.
They found several mutilated, but not eaten, animal
corpses, and varies wilted and withered plants.
She doesn’t know any more than this, but suggests
investigation the hillside where she normally herds
her sheep.

“‘Let’s talk gold’ Elder Rolan firmly barks at you

‘We know you aren’t going to do this for free,
but as you know we are not a wealthy town.
How much do you want?’.”

Elder Rolan is not lying when he says West Wrat-

ting is not a wealthy village. The combined hold-
ings of the elder council is 19 gold pieces. They
are unwilling to pay any more than 9gp to the
party, but will attempt to haggle as low as possi-
ble.

Once the party and the elders have settled on

payment, Eimhir will make herself known to the
group.

“Hearing you agree to terms, a young thin

woman sat by the fire speaks up
‘I’m Eimhir. I was the one who saw that disgust-
ing thing. Occasionally I see the daggertooth
goblins in the distance, but they always keep
their distance. This was different. This thing
was almost like a wild animal caked in tar.’”

5
 Grazing Spot
The hillside where Einhir grazes her sheep is not
actually a natural hillside at all, but rather is the
side of a large burial mound of the long dead
corrupted druid and necromancer Wosk.
Something has recently reawakened Wosk from
her slumber, and is surely behind the peculiar
goblin sighting and missing sheep.
The Burial Mound Features
Within the hillside, the areas have the following
features, unless otherwise noted in the description
for that area.
Ceilings. The Ceilings are 9 feet high in
tunnels and 15 feet high in the chambers.
Doors. The doors are made of heavy stone
and require either two people, or three goblins to
push them open.
Floors. The floors are smooth natural stone
tiles. Some are cracked and loose with age, but this
does not make them any harder to walk on.
Lighting. There are no light sources within
the burial mound, unless characters have brought
them here.
Sound. Faint gurgling and bubbling noises
can be found throughout the tunnels and caves,
originating in area 6.
The Hillside
As the party approaches the hillside, they
immediately realise that a sinkhole has opened up
while they were in town.
“Approaching the hillside, you see a large
sinkhole in the place Eimhir usually herds her
sheep.
What appears to be two small corpses covered
in a thick black liquid laying next to the
sinkhole, facedown in the dirt.”
Since Eimhir was here last, a large sinkhole 15ft.
across has opened up under where she usually has
her flock. This sinkhole opened up a full tenday
ago, but was only 2ft. wide and in dense under-
growth.
This is where the sheep were disappearing.
The sinkhole is 30ft. deep and 15ft. in diameter.
The goblin corpses at the edge are undead black
tar goblin (appendix) under the control of Wosk.
6
If approached or touched, the goblins wakes up
and attack the party.
Treasure
Each of these goblins has a potion of healing on
them, caked in the thick black liquid.
XP
Evenly distribute 100xp among the party if they
defeat or otherwise bypass the black tar goblins.
1. Within The Sinkhole
The sinkhole is actually the roof of a collapsed
chamber within the burial mound. Natural light fills
this area.
“The chamber below the sinkhole appears to
be not very much larger than the sinkhole itself.
It’s hard to judge what the original purpose
of this room was as it is now covered in large
amounts of dirt from the collapse of the roof. A
singular heavy stone door leads north.”
Above the door, on part of what remains of the 30ft.
high ceiling is a singular piercer that will drop
onto and attack any creature that approaches the
door.
It was in here that the sheep fell to their deaths
and were consumed by the many piercers that in-
habited this chamber. As a result of the collapsing
roof, only the one piercer remains.
XP
Evenly distribute 100xp among the party if they
defeat or otherwise bypass the piercer.
2. Wide Corridor
“The heavy stone door opens onto a wide corri-
dor that extends into darkness. Rows of ancient
skeletons clutching rusted longswords and cov-
ered in a black tar-like substance are propped
against either wall, facing inwards.”
These skeletons were once the minions of the
necromancer Wosk. The majority of these
skeletons are inanimate, however about halfway
down the corridor, two skeletons on either side
Wosk’s Burial Mound Map - Patreon Exclusive Version by Robert Marriner-Dodds 2019

7
 will animate when approached, and attack the
party.
At the northernmost end of the corridor is a large
set of double stone doors.
XP
Evenly distribute 200xp among the party if they
defeat or otherwise bypass the four animated
skeletons.
3. Chamber of Fire
There are no light sources in this room at all.
Assuming the party has some way of illuminating
the room, read the following;
“The northwestern corner of this otherwise
rectangular room has crumbled away. It ap-
pears as if a very small tunnel from elsewhere
has been dug into this room. Part of this room
has a checkerboard pattern of black and grey
stone tiles. Beyond the checkered floor is what
appears to be a chest, and another door. ”
This is where the goblins accidently awakened
the tomb. Tunnelling goblins from the daggertooth
tribe looking to expand their home accidently dug
into these chambers. The tunnel is just 2ft. by 2ft.
and carries on for half a mile before reaching the
now deserted home of the daggertooth goblins.
The black tar like substances covers every surface
in the tunnel.
“Three black tar goblins emerge from the
tunnel as you enter the room.”
Whether or not they witness it, the three black
tar goblins (appendix) emerge from the tunnel
and attack the party.
Trapped Floor. The checkerboard pattern on the
floor is a flame trap. Each time a creature steps
on a light grey tile that is adjacent to a black tile, it
triggers the entire area of checkerboarded floor to
become engulfed in bright blue flames. Creatures
within the area must make a DC 10 Dexterity
saving throw to avoid being burned.
Those that fail take 2d6 fire damage, or half that on
a success.
8
XP
Divide 150xp evenly among the players if they de-
feat the goblins, and a further 200xp if they survive
the trapped floor.
4. Faux Final Chamber
“This stone burial room is brightly illuminated
by the five giant fire beetles surrounding the
large stone sarcophagus in the middle of this
room. The lid of the sarcophagus is ajar.”
This was supposed to be Wosk’s final resting place.
He has since reawoken and gone to his hidden
laboratory in area 5. Inside the coffin is actually
a black tar goblin (appendix) that will rise and
with help from the five giant fire beetles attack any
creature that enters the room.
“From within the sarcophages, a singular black
tar goblin rises, crossbow in hand!”
When killed, the giant fire beetles explode into the
same black tar-like substance found throughout the
burial mound.
Hidden Door. It is a DC 15 Perception (Wisdom)
check to find the hidden door that leads to area 5.
If characters follow the sounds of gurgling, they do
not need to make a check to find the door.
XP
Divide 50xp evenly among the players if they defeat
the goblin, and a further 50xp if they defeat or
otherwise bypass the giant fire beetles.
5. Laboratory
Regardless of whether or not the players enter this
room from area 2 or 4, Wosk is surprised that
people are here so soon after her awakening.
“This dark natural cavern is lit only by the
green flames flickering around the almost skel-
etal black robed figure.
‘I thought I’d have more time than this before
anyone found me!’ the figure proclaims.
‘I am the legendary Wosk, and you are about to
join my undead army!’”
Wosk (appendix) will attack any creature that
enters her laboratory, eager to turn them into a
black tar version of themselves. If Wosk is killed,
she explodes into black tar much like the beatles in
area 4.
This room is filled with all kinds of magical tomes
and equipment, all of which turns to tar after
Wosk’s death.
A heavy curtain leads south into area 6, the source
of the gurgling noises heard throughout the dun-
geon.
Treasure
Not everything in this room turns to tar upon
Wosk’s death. There are five shaped red opals in
this room worth 40gp each, as well as a wand of
magic missiles that Wosk does not use.
XP
Evenly distribute 200xp among the party if they
defeat, or survive their encounter with Wosk.
6. The Source
“The bubbling and gurgling heard throughout
this tomb is louder here than anywhere else.
As you pull back the heavy curtain, a fountain
bubbling with a black tar-like substance sits in
the ground. A great sense of unease overcomes
you as you look at the fountain.”
Creatures who look at the fountain must make a
DC15 Wisdom saving throw, or be compelled to
either cover their eyes, look away, or otherwise
block the fountain from their site.
Anyone who views this fountain knows that its
power is well beyond their abilities, and they feel
an urge to warn people about it.
Place Of Great Evil. Creatures who touch the tar
within the fountain are instantly reduced to 0 hit
points and knocked unconscious, but are otherwise
stable.
This part of the adventure expands upon the story
found within, and is Patreon exclusive content that
will never be available elsewhere.
P1. Seyas’ Study
“An extremely old elf woman sits hunched
over a desk in this room. As you enter she says
‘Close the door! You’ll let the breeze in!’.”
The old woodelf woman here is a corrupted druid
called Seyas. She is the former apprentice of Wosk
who has been guarding the tomb for centuries. She
regrets that the goblins reawakened Wosk via their
tunneling.
“Aside from the elderly elf and writing desk,
every surface of the room is covered with
charcoal drawings of plants, trees, and animals.
Some you recognise, some you do not.”
If they try, the players may be able to talk Seya
into switching to their side. She has grown tired
of guarding the tomb, and may be willing to betray
her old master in exchange for the chance to see
the outside world again.
Even if she switches sides, Seyas will not attack
her master, but will stay out of the party’s way.
If attacked, or if the party do not attempt to per-
suade her to switch sides, Seyas will attack the par-
ty fiercely, viscously and with great energy, showing
absolutely no mercy.
What Seyas Knows. Everything. Seyas knows
everything that has happened, and the reasons for
it all. She will happily reveal this information, as
she is happy for the company.
XP
Evenly distribute 450xp among the party if they de-
feat Seyas or convince her to stay out of their way.
9
 P1. Seyas’ Quarters
This is where Seya spends most of her time in
meditation. The room is trapped to kill anyone who
enters through the door except Seyas.
Trap. If a creature enters the room without first
saying ‘friend’ spikes will shoot from both walls,
attempting to impale any creature that enters. It is
a DC 12 Perception (Wisdom) check to spot the
trap.
Creatures who spring the trap must make a DC 10
Dexterity saving throw or take 2d6 piercing
damage, taking no damage on a successful save.
“The heavy door slides open to reveal a room
almost entirely empty. Peering in, the only
noteworthy thing is that it appears that the floor
is slightly worn in the center of the room, with
odd imprints worn into the stone.”
The indents in the middle of the room is where
Seyas mediates. The stone has worn away
underneath where she sits over hundreds of
thousands of hours of meditation.
Those who look closely can clearly see this.
Treasure
Hidden behind a loose brick (DC 15 Perception to
spot) in this room is a Decanter of Endless Water.
10
What Next?
Once Wosk is defeated, any remaining black tar
goblins simply die.
If you intend on using this adventure as a seed for
future adventures, you could use the following plot
hooks, or add your own:
The Daggertooth Tribe
A few members of the daggertooth tribe survived
the initial infiltration and infection, and will return
to their home to attempt to rebuild.
They will request assistance from the people of
West Wratting to rebuild their former tribe.
The People of West Wratting
The people of West Wratting will be very thankful
to the party for saving the town from a the future
danger Wosk would have posed if left unchecked.
They are rewarded with a small abandoned saw
mill outside of town.
Eimhir
Eimhir is distraught to learn that her favourite
grazing spot was so corrupted, and decides to take
her flock elsewhere.
The Evil Fountain
The evil fountain cannot be contained by anybody
in the party, nor anybody in town. Somebody must
travel to a city and retrieve a powerful cleric to
cleanse the area. The elders may ask the party to
do this task.
 How To Make Combat
Interesting By Darren Pearce
When I hit up the UK Games Expo every year, I’m over-enthusiastic fellow adventurer works wonders.
usually asked to join panels or run my Adversity brings out the heroic side of characters,
workshop/seminar which focuses on adventure so you could have someone who is belligerent to
design. It’s a two hour informal affair which lets another player, or an NPC.
the people who attend get to grips with thinking
outside the box of adventure design, which isn’t an Just as they are about to do their thing, there’s a
easy thing to do. sound, an ear-shattering explosion that shakes
One thing I get asked a lot is how to make encoun- the air. Describing this as vividly as possible, then
ters more interesting, now this doesn’t just cover deliver the news that the coach they’re travelling
combat or dramatic encounters per-se, but that’s in rocks violently and in best movie/Hollywood/TV
part and parcel of it. So when I was asked to write style careens until it crashes to a halt.
this little article for the magazine I wanted to share
some of my experiences, tricks, tips, and ideas I’ve You can throw down various skill or attribute
had or used over the years. checks here if you feel like it, or just let the whole
thing play out in a narrative fashion.
It’s the hook which pulls your players in.
Fancy starts, and other things
We’ve all been there, eager to start a roleplaying
What are they going to do?
session with the GM and ready for what the world
Is anyone injured?
might throw at us. The GM delivers the preamble,
What’s the state of the coach?
there’s a cool backstory, and we’re in a tavern or inn
– perhaps there’s a storm – but we’re in a tavern.
What happened? Well, that’s a good question, the
Or a cantina, you know, with music and dancing
coach was struck by a cannonball fired by an
aliens.
opposing faction as the coach happens to cross the
It’s still a tavern…
path of a very sudden skirmish between heroes and
villains, monsters, or in the case of my own use of
We’re going to talk fantasy for the most part, but
this trick – the Empire in the Old World and the
you could adapt a lot of these ideas into sci-fi or any
forces of Khorne the Blood God.
other genre you’re looking to run. But we’re assum-
ing you’re here for the fantastic, the dragons, the
Players will ask a lot of questions, but remember
elves and the shady hooded figure in the corner
there’s a small war going on, so feel free to
who wants you to find their long lost artifact.
embellish other explosions and the sounds of battle
There’s nothing wrong with tavern starts, but you’re
going on around them. They might want to help the
here for something more fun.
folks on the coach, unless they’re the only passen-
gers, so again – feel free to let them do just that
So how about this:
and don’t rush them.
Pick a stretch of road on your world map, a good
place where a coach might be trundling from A
Unless the coach is on fire and there’s a horde of
to B and have the player characters on that at the
monsters bearing down on them, feel free to do
start. From here you can narrate a bit of the jour-
that too if they’re high enough level to handle the
ney and use the interior of the coach as a way to
heat.
gauge the player characters, and even the players.
Let them talk, let them converse and see what they
You can use the coach in another way; you can
do. If they’re shy or quiet about coming forward,
start in-media-res and have the villains getting
have an NPC get in their face. A nosy cleric or an
11
 away on one coach, the heroes in another and run Observing and so on until eventually he sort of did
a start as a good old fashioned Saturday Morning his own thing. So I asked him if he’d mind if we did
Swashbuckling TV chase. Nothing clears the cob- something different to start with, his eyes lit up.
webs away, makes a player feel like a hero, or kicks
an adventure off than chasing someone down for This time he was on the run from an Imperial Offic-
some reason. er, with Storm Troopers in hot pursuit and he had a
blast (literally) involving the PCs in his opening run
Villainous landlord making off with a tenants by moment.
prized possessions, and that tenant just happens
to be friends with the PCs. Evil tax collector, you The bottom line: unless you want the Hobbit, think
name it. Put someone bad on that coach and let of a different way to start things rolling and build
the heroes chase after them. from that. You’ll find the players will have a lot of
fun, and you might even get some cool scenario
Always remember too, this is the kick-off, and even ideas out of their reactions too.
if PCs fail as they might do, let them fail forward
and achieve something if their dice rolls go badly.
No one wants the whole scenario to come crashing
Getting Fighty
Sooner or later, no matter how much your player
to a halt in a few scant seconds because the PC
characters try and avoid it (or rush headlong in)
driving the coach failed to avoid a cow on the road.
there’s going to be a fight in your scenario or one-
shot adventure. Swords are drawn, spells sizzle
If you are doing some kind of tavern/inn/cantina
ready to fly, and then the GM puts down 1d4
start, you can still make that interesting by picking
goblins and everyone sort of going:
a player character and telling them they’re being
Oh, goblins… well … I suppose we’d best stab them
pursued by thugs or some kind of villains. The pur-
and get onto the more interesting things.
suit takes them through the location the other PCs
are at and all sorts of hi-jinks can ensue.
This part of the article discusses how to make
combat encounters a little more interesting. For a
For example, a player in my old Star Wars RPG
start, the whole idea of combat is to frame some
sessions was always fond of sitting at cantina
exciting moment to moment action and build a
tables and waiting for other people to join in.
12
narrative battle story for the players – isn’t it?
I mean, it should be. This is why I encourage a
couple of tricks from Feng Shui (no, this isn’t
arranging the combat environment for the most
optimal energy flow and fortune – this is the RPG),
which is a brilliant RPG for handling combat
which takes place outside the regular hack and
slash of: roll to hit.
Within reason, unless you’re dead against it, the
players should be able to embellish the fight envi-
ronment themselves. By letting players add small
interesting narrative elements you give them
agency, and have a lot more fun with a battle as a
GM as well.
Celebrate their inventive nature, reward it, and
don’t think of this as a: ‘I must win at all costs’
situation.
Imagine a battle took place on the deck of a
moving ship, now if the sea’s calm; the fight will be
fairly simple and fun. There are a lot of things on
the deck of a ship you can play with as a narrator;
you can have the swarthy sea-goblin throw
cannonballs at the player characters for instance.
Or try to entrap them in a net or you can even
swing a pulley attached to a long rope at someone.
Maybe the main villain goes for a cannon and tries
to use it on the players, can they stop him in time.
Or does he take to the upper rigging and engage
in a swashbuckling duet of blades with the heroes
from his lofty vantage.
What happens if the ship is in a storm?
Things can be thrown around the deck during that
kind of battle, barrels of fruit, gunpowder, and other
things can careen about and even become
narrative tools for taking villains out of the scene.
Sure, Throngar the Barbarian might cleave the
goblin in two with his sword, but how about the
goblin ducking backwards and being punted off the
side of the ship by a rolling barrel of tar which
narrowly misses the player character in question.
See if you can encourage, and reward players who
narrate cool things like that. Give them combat
bonuses, a leg up, an advantage, anything which
gives them a cool thing for doing a cool thing.
Cool for cool!
TV and movies do it all the time, so it’s fine for you
to borrow from these media and use them to em-
bellish the combat scenes.
Take our coach scene, the villain being chased, the
heroes chasing them down at breakneck speed.
Video games get away with this as well, so it’s OK
to draw from them if you want to frame exciting
action scenes.
The coach is just one part of the environment to
think about, and really, this is what the purpose
of the article is for – illustrate how you can alter
your scene to change things up and provide a fun
and hopefully exciting encounter for the players to
remember.
13
 Our coach can try and smash into the heroes’
coach, or take a different route. Combat can
transpire between henchmen and the heroes atop
one coach, or between both, jumping back and
forth as the coach rattles on. Is this an urban chase
scene? If so, then there are streets and other ele-
ments which can provide fun moments and haz-
ards for both villains and PCs to encounter.
Is it rural? Then there are also wild animals, sud-
den treacherous drops, bridges out or low-hanging
branches to contend with. All these elements can
combine to change the way a simple coach chase
combat might play out.
Examine your environment and pick two or three
elements to change things up.
A sword fight with villainous henchmen of the
wicked lord becomes even more interesting, when
it takes place in the lord’s burning manor after an
angry servant sets fire to it during the PCs visit.
Whilst the lord attempts to escape he sends his
thugs after the heroes.
So what elements can we pick here?
• The fire: The fire is a great device to add a
doom clock to the scenario. The fire spreads,
and you can track where it is at any given
point. There’s a great moment in one of the
Uncharted games where this happens and it
really changes the whole scenario.
14
• The collateral damage: The fire destroys parts
of the lord’s manor, these debris are a hin-
drance to the PCs and perhaps even cut them
off from enemies. Use the change in environ-
ment to frame some interesting encounters.
• Servants: So you’re fighting the bad folks, now,
what happens if a servant is trapped in a burn-
ing room at the same time? What do the heroes
do? Do they fight the henchmen, or do they split
up and try to hold back the swords of their en-
emies whilst going to save the trapped person.
• A henchman is trapped by the burning debris,
what do the heroes do?
These are just some of the questions you can ask,
or ideas you can draw from to change a fight in a
burning building to something a bit more
interesting.
There’s probably a lot more that I could say on this
subject, but these ideas should give you a solid
foundation or spark some concepts of your own for
when you run intros and battle scenes in D&D 5E
as well as other RPGs.
I hope you found it useful and you have some great
encounters to share with your players and friends.
By Darren Pearce
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