Tomb Raider in D&D

Over the summer, I replayed through some of the latest Tomb Raider games. I’m a big fan. For me, they achieve a really nice balance between several different gameplay elements: exploration, puzzles, stealth, and, of course, combat. And these are all elements you can embrace in D&D!

In this article, I’m going to explore how you could recreate the ‘feel’ of Tomb Raider in your Dungeons & Dragons campaign. If you’re a fan of similar games – the Uncharted series or even some of the old LucasArts Indy games – much of this advice is transferable. However, this is not really a guide to recreating Lara Croft as a D&D character. But, hey: if you want to be a thief-archetype human rogue with dual hand crossbows and the noble background, I’m sure no one will mind.

A few limitations

There are a few stumbling blocks to cross with a Tomb Raider–style approach to D&D.

Firstly, Tomb Raider is a very visual video game, and many of its platformer elements – jumping, climbing, balancing, tumbling, etc – may need to be stripped back a bit for tabletop play, especially where there are multiple moving parts involved and the exploration takes place across all three dimensions at once (eg, here and here).

Secondly, D&D is a fantasy game with spells and magic, and some of the Tomb Raiderstyle puzzles are going to prove less of a challenge to groups with access fly, teleport, telekinesis, and so on. Even low-level spells like misty step and mage hand could be used imaginatively to negate many Tomb Raider puzzles.

Finally, for most of the games in the series, Lara is on her own and has to be self-sufficient, whereas D&D is fundamentally a party-based game. This last problem is arguably less significant than the others (not least because solo play is possible) but could still prove tricky for the dynamics of the game. If a puzzle requires athleticism and acrobatics, for example, and you’re playing a slow and clumsy dwarven cleric in full plate . . . you’re going to have a hard time.

Rise Of The Tomb Raider Guide: Finding The Ice Ship Optional Tomb | Attack  of the Fanboy

What are the solutions?

  • Work with the group to create characters who are better suited for the game style you have in mind. If players are happy to eschew magic and make their own versions of Lara (or Nate or Indy come to that), then it could be a very fun diversion from traditional D&D!
  • Tone down the physical aspect of the puzzles, and focus instead on puzzles that are more cerebral. Tomb Raider puzzles often involve pushing objects around, moving around a 3D map, timing a jump just right . . . as a DM, this can all be wearisome to describe without a decent visual aid to help you. Consider reducing the movement to simple skill checks and make the puzzle itself the interesting part.
  • Up the ante and give the characters multiple threats to deal with at once. Puzzles are harder to solve when enemies are trying to kill you, and the range of threats on offer will give all the players in the party something to focus on.
  • Very occasionally, use your DM powers to negate some of the party’s powers. In Tomb of Annihilation and Dungeon of the Mad Mage, for instance, many divination and teleportation spells don’t function normally. Be careful not to overuse this, though, as it can be frustrating for a player to have their character ‘nerfed’ like this.

The world of Tomb Raider

By default, D&D settings are quasi-medieval fantasy. Gun-toting Lara Croft, on the other hand, is fundamentally modern. So what makes a D&D world feel like Tomb Raider?

  • Myths and legends are real. So far, the Tomb Raider series has given us, among other things: Atlantis; Area 51; the Egyptian god Set; Excalibur; Thor’s hammer, Mjölnir; the Dragon’s Triangle; Kitezh; Baba Yaga; Paititi. Whatever the lore of your world, these people, items, and places need to be central to the story.
  • Powerful enemy organizations. Whether it’s Natla Technologies, the Fiamma Nera, R.X.Tech, or Trinity, your world needs some kind of well-outfitted international hit mob. In Faerûn, this could be the Red Wizards or the Zhentarim; in Eberron, the Order of the Emerald Claw or the Aurum would be a good fit. Make sure the leader is misguided and power-hungry
  • Ancient wonders. In Return of the Lazy Dungeon Master, Mike Shea encourages us to make locations fantastic using age and size. Never has this been more relevant.

Puzzles and exploration

Tomb of the Nine Gods | Forgotten Realms Wiki | Fandom

Wizards of the Coast

Tomb Raider has never been just an action game, and if it were a D&D game, exploration would be the most important of the three pillars. How, then, can we capture the excitement of exploring a new tomb and solving ancient puzzles?

  • Exploration is all about pathfinding. Make the journey as exciting as the destination. Give players meaningful choices and intriguing obstacles to overcome.
  • Go big on your descriptions. As alluded to above, make your locations big, old, and wondrous. Make your players gasp with awe, and make sure it keeps getting cooler and cooler. A zigguarat in the desert is one thing, but having a lost city beneath it is even cooler.
  • Don’t overthink the realism of it. In Rise of the Tomb Raider, Lara finds a lost Byzantine ship preserved in a glacial cavern. Who cares how it got there? D&D is a world of fantasy. If something seems a bit crazy and fantastical, you’re doing it right. Just say a wizard did it.
  • Make the environment interactive. Water, mud, lava, natural gas, pits, chasms, machinery, ropes: whatever it is, make your locations a playground. I have written about battlefield environments here. Don’t be afraid to change or even destroy your adventurers’ surroundings. at some point in the reboot series, Lara will always have to escape a tomb that is falling apart. It might be a cliché, but it’s fun: embrace it.
  • Steal puzzles from everywhere. Stories, films, video games, subreddits, old modules: don’t be afraid to take inspiration for your puzzles from a variety of sources. Tomb of Annihilation has some particularly good puzzles, both in Omu and within the eponymous tomb itself. Players won’t necessarily notice if you reflavour the details in some way. Heck, steal from the Tomb Raider games themselves!
  • The natural world can be Lara’s playground, too. How will your D&D characters survive in frozen mountains? Desert sands? The deepest jungles? This is more a feature of the rebooted series from 2013 onwards, but it’s a welcome addition to the game. Give your players scenarios where they lose everything and have to hunt for resources to survive.
  • Make rewards feel special and part of the game’s lore. Like Indiana Jones and Nathan Drake, Lara Croft is an archaeologist who prizes historical artefacts. Consider portioning off your treasure in small parcels, and go big on your descriptions to make them feel special. Let the players learn about the world and its stories through the items they find on their travels.

Combat

Lara Croft Fights a Bear in Rise of the Tomb Raider - YouTube

Gunfights seem to have become a bigger part of the Tomb Raider series over time, especially since the 2013 reboot, but it’s clearly an element that many fans of the series are OK with. Tomb Raider is still not a first-person shooter, though, and combat in the game comes with its own particular flavour.

  • Aim for waves of enemies over big solo boss fights. Actually, this is good advice for 5th edition D&D in general. More than ten can start to get a bit unwieldy, so start with, say, five or six enemies, and add more and more as the battle goes on.
  • Make boss fights a puzzle in their own right. In the Tomb Raider games, a boss is rarely just a bag of hit points. There needs to be some kind of vulnerability that the characters can exploit: a weakness or ‘trick’ that will bring the enemy down.
  • Give players the chance to see enemies get tougher as they level up. In the rebooted Tomb Raider series, Lara starts off against lightly armoured opponents, wolves, and the like, before progressing to better equiped soldiers and, ultimately, supernatural threats. D&D is good at simulating this anyway, but it bears mentioning. Guards (CR ⅛) are replace by veterans (CR 3) who are replaced by barbed devils, mezzoloths, or wraiths (CR 5).
  • Give players the chance to avoid combat. Sometimes Lara doesn’t have a choice, and the challenge is surviving wave after wave of enemies. But often, with a bit of planning and stealth, there’s an alternative route. Let players choose their own path.

A Tomb Raider–style game might be a fun one-shot or it could form the basis for a whole campaign. Give it a try!

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The Perfect D&D Party

Wizards of the Coast

D&D has always worked on the assumption that adventurers work together as a group. Which group, then, works best? With at least twelve character classes to choose from, and a gamut of subclasses, it’s not a straightforward question. This article aims to approach the question from two angles: one narrativist, one gamist.

Before that, though, a full disclaimer: there is, of course, no such thing as a perfect D&D party. It’s perfectly possible to play in a party that isn’t particularly ‘optimized’ and still enjoy it. Similarly, a perfectly balanced party is a rather Pyrrhic victory if everyone is miserable with the character they’ve ended up with.

Fortunately, 5th edition is fairly forgiving when it comes to party composition: if your group is lacking in one area, it will probably make up for it somewhere else, especially if the number of players is reasonably large. There are stories online about parties composed entirely of bards, and that sounds hilarious. So, rock out. If in doubt, play what you want to play.

The gamist approach

Wizards of the Coast

From a gameplay perspective, party composition is about ensuring versatility and power. In other words, a balanced party can respond effectively to a range of different situations. They have all bases covered: they can take hits, dish ’em out, avoid threats through stealth and subterfuge, gather intel, charm NPCs . . . the list goes on. An optimized party can take on ever greater challenges, which in turn can feel more fulfilling (‘woah, did we just kill a red dragon at 4th level?’). Conversely, a suboptimal party can find themselves coming up against the same difficulties over and over again, and this can start to get frustrating in the long run (‘why do we all keep failing our Dex saves?’).

If you’re striving for versatility and power, two things really matter: one is working together as a group, and the other is knowing your role. This might seem obvious, but every group is different, and some players are naturally better at this than others.

For a group to be at its most effective, players need to talk to each other. Are you proficient in a range of skills, tools, and languages? Do you have access to spells like detect magic and cure wounds? If you do have gaps, do you have a way around them? A group can survive without thieves’ tools if it has access to spells like knock and shield or levitate, say. But it can be a risky strategy.

As for roles, this is where things can get a bit more contentious. In 4th edition, every class was designed to fit one of four functions: striker, controller, leader, and defender (roughly analogous to rogue, wizard, cleric, and fighter, respectively). D&D faced criticism at the time for trying too much to be like a video game. (These roles map over quite neatly onto familiar online gaming terms like ‘tank’, ‘DPS’, ‘buffer’, and so on.) 5th edition is less straitjacketed. Thus, a bard can be a supporter (like a traditional cleric) or a spellslinger (like a wizard). A ranger can be melee skirmisher or a ranger marksman. A Circle of the Moon druid can fight on the front line like a paladin. But some classes are less flexible than others.

At this point, I must recommend Keith Ammann’s book, Live to Tell the Tale (not to mention his fantastic blog, themonstersknow.com). Ammann breaks down each class based on its ‘ability score contour’ and unpicks why certain classes lend themselves to particular combat roles as a result. Buy his book. I’m not going to plagiarize it. What I will say, though, is this: you will probably want at least one ranged attacker and at least two front-line fighters (and that doesn’t necessarily mean the fighter class). Beyond that, there’s room for flexibility, but I will let Mr Ammann go into more detail on this.

So far, this has looked at party composition exclusively from a gameplay perspective approach. What about the story?

The narrativist approach

New Line Cinema

It’s all well and good having a balanced group of carefully optimized characters, but what is their reason for adventuring together, and how do they fit in with the story?

Here again, knowing your role helps. What links your character to the rest of the group, and what sets them apart? Think about your favourite ensembles from film and TV, whether it’s The A-Team, Buffy the Vampire Slayer, Star Trek, or the original heroes of Star Wars. These groups work because the characters are distinct yet still complement each other.

Party composition isn’t just about power and versatility: it’s about making your own individual character more enjoyable to play. From a gamist perspective, you will feel more powerful and more useful if you have a key role in the team: no one to compete with, no one to overshadow you at what you do. From a narrativist perspective, the same is true. By thinking about how your character is distinct yet part of a team, you help to carve out a place for yourself in the story. A character who is not distinctive can end up blending into the background, getting forgotten. Conversely, a character with nothing to link them to the rest of the group can end up seeming incongrous or eccentric, and they may potentially be less plausible or even less likeable as a consequence.

TV Tropes has an excellent page that compiles some of the common ways that writers in various media have chosen to manage character ensembles. For example, with a group of four players, you could agree to loosely base your characters on the four elements, the four humours, or just four different philosophies (cynic, optimist, realist, conflicted/apathetic). For a party of three, you could have a Freudian trio of id, ego, and super-ego, or a knight, knave, and squire combination. For five, you could adapt the five-man band. Adapt is the key word here. Tropes are tools, and if you don’t like them, they can be subverted or simply averted.

To further enrich your story, it can be fun to think of a group concept. Why are you travelling together? What is your history? What are your goals? You can, of course, allow this to emerge over play, but it can also be fun to give this some thought as part of your session zero. The 5th-edition Eberron sourcebook, Rising from the Last War, introduces the concept of group patrons, many of which would work perfectly well in other worlds. In my friend’s Dragon Heist campaign, for example, we created our group in the image of a criminal gang, with a burglar, a talker, a safecracker, and so on, and it has meant that we have all had a part to play from the outset. On the other hand, many players prefer to stick to the cliché of ‘we all met in a tavern’, and you know what? This has its place. You do you.

A perfect party?

Wizards of the Coast

There is, again, no such thing as a perfect party. But, as a thought exercise, what would well from both a gamist and a narrativist perspective?

For what it’s worth, this is my suggestion:

This is a fairly typical five-man band (not that any of the characters have to be male, of course). The paladin-sorcerer is the hero or leader, and the thief acts as the hero’s foil (or ‘lancer’). The cleric, being a healer, is the ‘heart’ of the group, and the totem warrior and illusionist fill out the final spots as ‘big guy’ and ‘smart guy’ respectively.

Naturally, there’s plenty of room for variation here. A bard could replace the illusionist or the cleric. The big guy could be a heavily armoured fighter, and the lancer could be a rugged ranger. For a sixth character, you could maybe add a drow or tiefling warlock. For a four-person group, you could maybe drop the illusionist and turn the half-elf into a single-class sorcerer.

It bears repeating, though: 5th edition is flexible, and many combinations are fun. Talk as a group, know your role, and have fun.