Magic of Dungeons & Dragons consists of spells used in the settings of the role-playing game Dungeons & Dragons (D&D). D&D defined the genre of fantasy role-playing games, and remains the most popular. Many of the original spells have become widely used in the role-playing community, across many different fictional worlds, and across books, board games, video games, and movies.
The specific effects of each spell, and even the names of some spells, vary from edition to edition of the D&D corpus.
The idea of spell memorization is sometimes called “Vancian” in the game designer community, since its first use, in Dungeons & Dragons, was inspired by the way magic works in Jack Vance’s Dying Earth stories.
In the Dungeons & Dragons game, magic is a force of nature, and a part of the world. There are two main types of magic: arcane, which comes from the world and universe around the caster, and divine, which is inspired from above (or below): the realms of gods and demons. Wizards, sorcerers and bards learn to cast arcane spells, which are typically flashy and powerful, but, prior to 4th edition, often require complex movements and gestures known as somatic components, which are impeded by wearing bulky armor. Clerics, druids, rangers and paladins cast divine spells, which draw their power from a deity, from nature, or simply the caster’s inner faith. While the casting of these spells is not impeded by heavy armor, it may require the caster to wear a holy symbol as a focus. A spell may exist in both arcane and
These are typically spells devoted to manipulating energy, converting one substance to another, or calling on the services of other creatures. For wizards, these spells are generally committed to memory after a session of meditation upon a spellbook containing the details of the incantation. Once prepared, the spell is cast using specific words and/or gestures, and sometimes a specific material component; but the act of casting the spell causes it to fade from the wizard’s memory, so that he or she cannot cast it again without first re-memorizing
Divine spells take their name from the fact that they are mainly granted to clerics by the grace of the cleric’s patron deity, although the spells cast by druids, rangers and paladins also come under this category. Although divine spells can be cast equally well while wearing armor, only rarely require material components, and do not need to be prepared from a spell book, they are generally less overtly powerful than arcane spells and have fewer offensive
Cleric spells are typically devoted to either healing the wounded, restoring lost abilities, and acquiring blessings, or to inflict harm and to curse opponents. These spells must be prepared by the caster daily through a session of meditation or prayer. Since a cleric is also something of a church knight and a champion of his faith, his spells also include ones which temporarily
Druid spells are typically devoted to communing with nature, interpreting or directing the weather, communicating with creatures and plants, and the like. The druid shares some spells with the cleric, such as some healing spells, and has a number of offensive spells which use the power of nature—calling down lightning storms, for example, or summoning wild animals to fight. They also gain special powers such as shapeshifting; but these are not
Paladin and ranger spells are similar to cleric and druid spells, respectively, but they are allowed fewer spells per day, only gain access to lower-level spells, and gain access to them more slowly. Both classes have some unique spells that can be fairly powerful, despite their
Pact magic, or Binding, is one of three magic systems introduced in the revised 3rd-edition sourcebook, Tome of Magic which revolves around the summoning and binding of vestiges, otherworldly spirits, to grant the user supernatural abilities. As all abilities granted by
Incarnum is a later addition to D&D (in a 3.5 edition book called Magic of Incarnum by James Wyatt), and is not part of the core d20 System. It is a kind of energy based on the soul. By drawing upon the spirits of past, present and future the meldshaper can become better at
After shaping a soulmeld, the meldshaper can invest his own soul energy, called essentia, into it to make it stronger. A meldshaper can also bind a soulmeld to a chakra to enhance its
Integration of Incarnum use into a campaign with traditional magic is similar to the way psionics are incorporated. The standard rule is Incarnum–magic transparency, and there is a variant rule called “Incarnum is different.”
The casting of spells within Dungeons & Dragons often requires the mage to do, say, or use something in order for the spell to work. Spells may require a verbal, somatic, or material component or a magical focus. These actions are performed by the fictional character in the game, not by the player in the real world. The player may simply state what the character does, or may embellish with sound effects or gestures to enhance the theatrics of the game.
Casting a spell often requires that the caster sacrifice some sort of material component, which typically has a thematic connection to the spell. Often, these components are of negligible cost (egg shells, sand, a feather, etc.), but spells which allow major bending or breaking of the laws of nature, such as spells to reanimate the dead or grant wishes, require material components costing thousands of gold pieces (precious or semiprecious gems, statuettes, etc.). In 3rd and 3.5 editions, components with negligible cost are not tracked by default, and do not need to be acquired in play, any character who has their spell component pouch is
Walter Elias “Walt” Disney (/’d?zni/; December 5, 1901 – December 15, 1966) was an American entrepreneur, animator, voice actor and film producer. A pioneer of the American animation industry, he introduced several developments in the production of cartoons. As a film producer he received 22 Academy Awards from 59 nominations and has won more individual Oscars than anyone else. He was presented with two Golden Globe Special Achievement Awards and one Emmy Award, among other honors. Several of his films are
Born in Chicago in 1901, Disney developed an early interest in drawing. He took art classes as a boy and got a job as a commercial illustrator at the age of 18. He moved to Hollywood in the early 1920s and set up the Disney Brothers Studio (later The Walt Disney Company) with his brother Roy. With Ub Iwerks, Walt developed the character Mickey Mouse in 1928, his first highly popular success; he also provided the voice for his creation in the early years. As the studio grew, Disney became more adventurous, introducing synchronized sound, full-color three-strip Technicolor, feature-length cartoons and technical developments in cameras. The results, seen in features such as Snow White and the Seven Dwarfs (1937), Fantasia, Pinocchio (both 1940), Dumbo (1941) and Bambi (1942), furthered the development of animated film. New animated and live-action films followed after World War II, including
In the 1950s, Disney expanded into the amusement park industry, and in 1955 he opened Disneyland. To fund the project he diversified into television programs, such as Walt Disney’s Disneyland and The Mickey Mouse Club; he was also involved in planning the 1959 Moscow Fair and the 1960 Winter Olympics. In 1965 he began development of another theme park, Disney World (now Walt Disney World), the heart of which was to be a new
Disney was a shy, self-deprecating and insecure man in private but adopted a warm and outgoing public persona. However he had high standards and high expectations of those with whom he worked. Although there have been accusations that he was racist or anti-Semitic, they have been contradicted by many who knew him. His reputation changed in the years after his death, from a purveyor of homely patriotic values to a representative of American imperialism. He nevertheless remains an important figure in the history of animation and in the cultural history of the United States, where he is considered a national cultural icon. His
Early life: 1901–20
Walt Disney was born on December 5, 1901, at 1249 Tripp Avenue, in Chicago’s Hermosa neighborhood.[a] He was the fourth son of Elias Disney—born in the Province of Canada to Irish parents—and Flora (née Call), an American of German and English descent.[b] Aside from Disney, Elias and Call’s sons were Herbert, Raymond and Roy; the couple had a fifth child, Ruth, in December 1903. In 1906, when Disney was four, the family moved to a farm in Marceline, Missouri, where his uncle Robert had just purchased land. In Marceline, Disney developed his interest in drawing when he was paid to draw the horse of a retired neighborhood doctor. Elias was a subscriber to the Appeal to Reason newspaper, and Disney practiced drawing by copying the front-page cartoons of Ryan Walker. Disney also
In 1911, the Disneys moved to Kansas City, Missouri. There, Disney attended the Benton Grammar School, where he met fellow-student Walter Pfeiffer, who came from a family of theatre fans and introduced Disney to the world of vaudeville and motion pictures. Before long, he was spending more time at the Pfeiffers’ house than at home. Elias had purchased a newspaper delivery route for The Kansas City Star and Kansas City Times. Disney and his brother Roy woke up at 4:30 every morning to deliver the Times before school and repeated
In 1917, Elias bought stock in a Chicago jelly producer, the O-Zell Company, and moved back to the city with his family. Disney enrolled at McKinley High School and became the cartoonist of the school newspaper, drawing patriotic pictures about World War I; he also
Early career: 1920–28
In January 1920, as Pesmen-Rubin’s revenue declined after Christmas, Disney and Iwerks were laid off. They started their own business, the short-lived Iwerks-Disney Commercial Artists. Failing to attract many customers, Disney and Iwerks agreed that Disney should leave temporarily to earn money at the Kansas City Film Ad Company, run by A. V. Cauger; the following month Iwerks, who was not able to run their business alone, also joined. The company produced commercials using the cutout animation technique. Disney became interested in animation, although he preferred drawn cartoons such as Mutt and Jeff and Koko the Clown. With the assistance of a borrowed book on animation and a camera, he began
In May 1921, the success of the “Laugh-O-Grams” led to the establishment of Laugh-O-Gram Studio, for which he hired a number of additional animators, including Fred Harman’s brother Hugh, Rudolf Ising and Iwerks. The Laugh-O-Grams cartoons did not provide enough income to keep the company solvent, so Disney started production of
Disney moved to Hollywood in July 1923. Although New York was the center of the cartoon industry, he was attracted to Los Angeles because his brother Roy was convalescing from tuberculosis there. Disney’s efforts to sell Alice’s Wonderland were in vain until he heard from New York film distributor Margaret J. Winkler. She was losing the rights to both the Out of the Inkwell and Felix the Cat cartoons, and needed a new series. In October they signed a contract for six Alice comedies, with an option for two further series of six episodes
Early in 1925, Disney hired an ink artist, Lillian Bounds. They married in July of that year. The marriage was generally happy, according to Lillian, although according to Disney’s biographer Neal Gabler she did not “accept Walt’s decisions meekly or his status unquestionably, and she admitted that he was always telling people ‘how henpecked he is’.”[e] Lillian had little interest in films or the Hollywood social scene and she was, in the words of the historian Steven Watts, “content with household management and providing support for her husband”. Their marriage produced two daughters, Diane (born December
By 1926 Winkler’s role in the distribution of the Alice series had been handed over to her husband, the film producer Charles Mintz, although the relationship between him and Disney was sometimes strained. The series ran until July 1927, by which time Disney had begun to tire of it and wanted to move away from the mixed format to all animation. After
In February 1928, Disney hoped to negotiate a larger fee for producing the Oswald series, but found Mintz wanting to reduce the payments. Mintz had also persuaded many of the artists involved to work directly for him, including Harman, Ising, Carman Maxwell and Friz Freleng. Disney also found out that Universal owned the intellectual property rights to
Creation of Mickey Mouse to the first Academy Awards: 1928–33
To replace Oswald, Disney and Iwerks developed Mickey Mouse, possibly inspired by a pet mouse that Disney had adopted while working in his Laugh-O-Gram studio, although the origins of the character are unclear. Disney’s original choice of name was Mortimer Mouse, but Lillian thought it too pompous, and suggested Mickey instead.[i] Iwerks revised
Mickey Mouse first appeared in May 1928 as a single test screening of the short Plane Crazy, but it, and the second feature, The Gallopin’ Gaucho, failed to find a distributor. Following the 1927 sensation The Jazz Singer, Disney used synchronized sound on the third short, Steamboat Willie, to create the first sound cartoon. After the animation was complete, Disney
To improve the quality of the music, Disney hired the professional composer and arranger Carl Stalling, on whose suggestion the Silly Symphony series was developed, providing stories through the use of music; the first in the series, The Skeleton Dance (1929), was drawn and animated entirely by Iwerks.
Also hired at this time were a number of local artists, some of whom stayed with the company as core animators; the group later became known as the Nine Old Men. Both the Mickey Mouse and Silly Symphonies series were successful, but Disney and his brother felt they were not receiving their rightful share of profits from Powers. In 1930, Disney tried to trim costs from the process by urging Iwerks to abandon the practice of animating every separate cel in favor of the more efficient technique of drawing key poses
With the loss of Powers as distributor, Disney studios signed a contract with Columbia Pictures to distribute the Mickey Mouse cartoons, which became increasingly popular, including internationally.[k] Disney, always keen to embrace new technology, filmed Flowers and Trees (1932) in full-color three-strip Technicolor; he was also able to negotiate a deal giving him the sole right to use the three-strip process until August 31,
Disney produced The Three Little Pigs, a film described by the media historian Adrian Danks as “the most successful short animation of all time”. The film won Disney another Academy Award in the Short Subject (Cartoon) category. The film’s success led to a further increase in the studio’s staff, which numbered nearly 200 by the end of the year.