dnd 5th – Are there any effects where holding your breath allows you to avoid them?

If a creature does not need to breathe, it means (basically) never needs to breathe I did not find any features that would hold your breath, but only one where you do not need to breathe

the cloudkill fate shows us that "do not need to breathe" and "hold your breath" are indeed different things, otherwise there would be no reason to list both.

Not having to breathe is not defined by the rules; so we would use the common English meaning of "not needing to breathe", which never needs to breathe.

If I say that a fish needs water to survive, that does not mean that it needs water now it means that they always need water.

Similarly, if I say that a human does not need cobalt to breathe, it does not mean that he does not need cobalt now it means that they never need cobalt to breathe. (Extreme situations where cobalt is needed to breathe may exist, but it shows that "never need cobalt" is not really a phrase that works; it really means "in all likely scenarios, you will not need cobalt")


I found only two mentions of the rules where breathing has negative effects:

  1. High altitude (DMG page 110):

    Traveling at altitudes of 10,000 feet or more above sea level is painful for a creature who needs to breathe, because of the reduced amount of oxygen in the air. Each hour spent by such a creature traveling at high altitude counts for 2 hours, in order to determine how long this creature can travel.

  2. suffocating:

    A creature can hold its breath for a number of minutes equal to 1 + its Constitution modifier (minimum 30 seconds).

    When a creature runs out of breath or suffocates, it can survive for a number of turns equal to its Constitution modifier (minimum of one turn).

Holding your breath is probably "useful", but it is not a choice either. You would hold your breath unless you specifically chose not to do it. In addition, you can only suffocate if you really need to breathe. Not needing to breathe would protect you from anything that could suffocate you, such as quicksand (DMG page 110).

Unfortunately, neither one nor the other are removed by holding your breath because you would always be a creature that needs to breathe.

Even inhaled poisons always affect a creature that holds its breath as it is written (page 257 of the DMG):

Holding one's breath is ineffective against inhaled poisons as they affect the nasal membranes, tear ducts and other parts of the body.


There is also an article from Volo Guide on Monsters; the survival coat (page 81) which says:

A creature wearing a survival coat can breathe normally in any environment (including vacuum) and has an advantage over the backup throws against harmful gases (such as those created by a cloudkill spell, a smelly cloud inhaled poisons and breath of some dragons).

This seems to enumerate things related to breathing; However, I have now checked the enumerated spells, inhaled poisons, and all the blast weapons that the dragons possess. None of these have any text saying that holding your breath will do nothing to counter them.


Regarding the clarification text at the end of each spell:

A spell affects anything that is not explicitly declared as not being affected. the cloudkill spell is probably calling that it Is Effect creatures that can not breathe simply because it would be a common point of confusion and a disconnect from our real-world logic, if one gas affected in one way or another creatures that did not could not even breathe the gas.

5th dnd – Are there rules about damage while holding your breath in combat?

Or simply in basic rules such as on D & DBeyond. Reproduced below:

A creature can hold its breath for a number of minutes equal to 1 + its Constitution modifier (minimum 30 seconds).

When a creature runs out of breath or suffocates, it can survive for a number of turns equal to its Constitution modifier (minimum of one turn). At the start of his next turn, he drops to 0 life and is dying. He can not regain life or stabilize before he can breathe again.

For example, a creature with a build of 14 can hold its breath for 3 minutes. If he starts to suffocate, he needs 2 rounds to reach the air before he falls to 0 life.

However, the above does not cover your specific situation. If you take damage while holding your breath, the rules are silent as to whether the damaged creature should be penalized for holding your breath.

One of the 5th D & D mantras is "rules, not rules," and that's a case of this type. As DM (I guess you are the DM in this scenario?), You can propose a decision in this case; I would suggest something like a control stop with a penalty for failure, such as losing 30 seconds of restrained breathing, or even just "you do not hold your breath anymore". But such a decision at that time would be something that the SM would propose on the fly (though, once such a decision has been made, it is better to be consistent with it from now on in the interest of equity).

Wild Breath has become the best selling zelda game in American history

NDP analyst Mat Piscatella released the game sales chart for North America last July (16 August). Adding new content today (August 17), Mat Piscatella created zelda: dead in the wilderness, the best-selling zelda game in US history.

"I do not know how I forgot about it, zelda: Dead in the Wilderness has become the best-selling zelda game of all time – here are the top five best-selling zelda games in the United States."

The zelda legend (physical edition) Top5 in the United States

1. The legend of Zelda: a breath in the desert

2. The legend of Zelda: the princess at twilight

3. The legend of zelda: the flute of time

4. The legend of zelda: the masquerade of mezula

5. Training of the bow link
SEMrush

5th dnd – Would each head of a hydra be affected by the Dragon's Breath spell?

All the Hydra are affected, but it can only activate the spell once per turn and can only make one cone at a time.

A Hydra (or any monster) has only one action per turn and nothing in its block of statistics gives it multiple actions. Create a cone using The breath of the dragon is his own action because the spell asks a creature to "use an action to exhale energy." Thus, the hydra can only activate The breath of the dragon once in his turn. The multitude of heads will not help the hydra here; having them all attacked on the same turn forces the Hydra to take the specific "Multiattack" action, which it does not do here.

Only one damaging cone can be made at a time

the The breath of the dragon spell states:

You touch a consenting creature and give it the power to spit magical energy. of his stuffy, provided that he has one. Choose acid, cold, fire, flash or poison. Until the spell ends, the creature can use an action to exhale energy of the chosen type. in a 15 foot cone. Each creature in this area must make a Dexterity save roll, taking 3d6 damage of the chosen type in case of backup failure, or half less damage if successful.

The creation of a single cone is probably intended for the singular used in the description of the spell: "his stuffy","a cone ","this zone".

Apart from the possible intent, the spell indicates that the creature creates "a cone (singular)" and not "a cone for each head of the creature" and thus creates a (single) cone even though we read this rule strictly.

And so, as stated above, Hydra can use its action to activate this spell once at each of its turns and this activation creates a single cone.


To answer your other question ("Can each head have a different type of damage?"), When the spell is cast, the caster selects a unique type of damage and the creature exhales energy "of the chosen type" (and inflicts damage "of the chosen type"). Thus, the creature uses the type of damage chosen by the caster and, as its heads are part of the creature, each head also uses the same type of damage.


This is probably the case that all heads can make this cone damageable. The spell affects the entire creature and allows it to spit energy from its mouth, it does not specify that the same mouth should do it each time (although I doubt that the developers have thought of this situation). In addition, if you hear the phrase "A Hydra can spit energy from her mouth", you will assume that it means any of her mouths.

If instead you interpret "his mouth" as strictly singular, you encounter a problem because a Hydra has nothing that can be described as "his mouth", but only "one of his mouths".

The spell clearly assumes that an affected creature has only one mouth and, therefore, which mouth (s) of a multi-mouthed creature can activate the spell that should be left to your GM.

a breath in the desert is a very long technical analysis of the dry goods

I wanted to make an official analysis of the engine for zelda: the stalemate in the desert for a long time, but I've never had time to do it.However, now that Switch has a new function of video recording, I thought it would be a great time to review the game and share my thoughts via a video that I uploaded to Twitter, I will start with a summary of my findings, but I will also detail each of the technical features at the end of the article to make things easier. I also try to avoid repetitions. Something like Digital Foundry has analyzed some characteristics of the engine and I will not mention them here. The purpose of this post is to expose more people to the technical achievements of the game than others do not worry about investigating. Whatever it is, here is a summary of the features of the engine: • Global Illumination | • Local reflections | Local reflections (calculated by Fresnel reflection) Rendering based on physics | • Emitting materials / light areas | • Ambient occlusion in the screen | • Dynamic Wind Simulation System | • Cloud formation in real time | cloud deformation in real time (affected by wind) • Highlights of Rayleigh / Mie | Rayleigh / Mie scattering • Full volumetric lighting | Total volume lighting • Bokeh DOF and approx. of the circle of confusion | DOF Bokeh and About • Volume of Sky Occlusion and Dynamic Shadow | features features combining occlusion and dynamic shadow volume Opening-based lens illumination | at the same time • Highlights of the subsurface | surface scattering • dynamically localized from tiny lighting fixtures | Dynamic Local Lightning • Pixel-by-pixel Irradiance | Per Pixel • Insulate Fog | Diffusion of fog lamps • Particle lamps | • formation of puddles and evaporation | formation and evaporation of water Global Illumination / Radiosity | Global Enlightenment / Light Transmission First of all, I want to point out that all so – called real – time global lighting systems have been falsified in one way or another.

The transmission of light is therefore the overall approximation of the illumination of the light reflected by different surfaces and the transfer of color information from one surface to another in the process. The more precise transfer of light energy , more reflected light must be calculated in order to transmit the appropriate color. The burgeoning motor uses wild light probes to collect information about colors on different surfaces near the light probes in the environment. There is no simulation from the reflected light, to the basic colors in a given region.The algorithm used by wild life to calculate this information is not clear, but I guess that they are spherical harmonic functions or something of the kind, based on the color averages and the location of the light energy transfer. Unlike Mario: Odyssey, the transmission of light energy in the breath of nature is not binary but particle.Lighting information calculated from the dress seems to be integrated to the LOD system at the same rendering pipeline level, which makes it extremely efficient.

Observation Tip: Note how the rocky cliffs receive green tones of grass when the camera approaches the area.
SEMrush

At first, I assumed that spherical harmonics could be placed in the environment to collect color samples because the link seems to update to the base color when it moves in. l & # 39; environment. However, after further research, I now know that these basic color reflections are due to the lack of color change in the environment. When I tested the overall lighting in an area with many adjacent colored surfaces, the operation of the overall lighting system became clear. Notice how the color of the link is transferred to all surfaces facing the opposite direction when it touches the red wall. The same goes for the green wall in the opposite direction of the red wall (although the effect is not very strong because the probe is closer to the red wall, the color of the red wall itself reflects more strongly ). In fact, at any time, this will happen in all directions. The floor transmits the color upwards, and any ceiling or colored surface just above the head of the link transmits the color. The probe samples and dynamically transmits the colors (we can assume this is reflected light) because the probe picks up more colors for the new transmissions and has to sample them. Finally, the end result will stop changing because the sample closest to the probe will have the dominant color, regardless of the color shift. The process is orderly but very local and fast. The probe has a limited sampling range and applies these results to materials from the global space. Because of this efficiency, the probe can simulate the effect of many reflections, but only the area closest to the probe looks accurate.
This is a very important discovery. (the other materials are "dyed" in red near the red wall) (other materials are also "dyed" in green when they are near the green wall) The overall lighting is getting closer in reality of multiple reflections. A light probe on the connecting head samples the colors of most environmental materials. Each sampled color is then transmitted and reflected in the opposite direction. Interestingly, the intensity is considered to be influenced by the surface closest to the probe and by the intensity of the reflected light. This may not seem obvious on the outside, but overall lighting looks good if there are several adjacent surfaces. Local reflections | Local Reflections So, an area that has always bothered me since I started analyzing the game seems to be a local reflex. There are so many apparent inconsistencies, because my theory first stole. Now, I can say with confidence that I have solved the mystery of how local thinking works. Clearly, this is a three-pronged approach based on specific circumstances. • Specular lighting | Specular Lighting Sunlight, skylights, lightning and point sources all fall into this category. At first I thought the same thing was true for temples and towers (since they are self-luminous, I assumed they were regional light sources), but this was dismissed when I was I have seen the very revealing artifacts presented by the temples and towers. All bright materials can not illuminate the environment, and temples and towers can be attributed to those who can not. • Aperture Mapping | Though the term seems new to you, it may be. Based on the text copy of the game, Inspired Respiration developers have marked their point of view on the 2D reflections of the unreal engine 4 scene. The environment is reflected this way. Virtual cameras above the connection head (aperture, in particular) have a relatively small field of view. Thus, as the links move, the reflections (displayed in real time) move in their own space until the aperture captures the environment again. You can see this type of treatment trace and see the video below. • Reflections of the screen space | Reflections on the screen Only those that look like laminates use this model, and these are limited to temples. A number in the gloss map tells the motor to use the space reflections on the screen only for these materials. They reflect everything on the screen and can be seen from the incident corners of any material. However, these materials also use mapping openings to reflect the environment, which is one of the sources of my confusion. The incongruity of these reflections led me to formulate hypotheses about other materials outside the temple. Fortunately, we have clarified this question. Observation Council: see how the reflection of the link is compared to that of the blue light. The link must be on the screen to show the reflection, and the blue light does not necessarily have to be on the screen to show the reflection. (reflection of the space on the screen + specular highlights) The mystery of local reflection solved! (The front walls do not reflect, unlike the side walls.) The mystery of local reflection solved! The temple materials have an extra layer of shine and reflection, but they also use the same reflection pattern for external reflections. No wonder it's so confusing! By using a shiny material, you can capture the reflection of everything in the screen (reflection of space). Using non-shiny materials (almost all external materials), capture 2D reflections from the scene using almost the same techniques used in unreal engine 4 to capture ambient reflections. Basically, the virtual camera (which has its own visual field and field of view) rests directly above the head of the link, always facing the horizon of the main camera, regardless of the orientation of the link (This limits the reflections off the screen). The captured image is then introduced into a reflective material, as if it was broadcasting a live signal on a television. This means that the stream of images is projected in real time at any rate (30 frames) used by the game. This makes it possible to update different elements of the material without waiting for a new capture. However, the actual capture screen is updated at a much lower rate (4 to 5 frames). You can see it as long as the scene captures the camera moving from its absolute position. Before updating the capture reflection, the currently captured image inside the material (eg water) moves in any direction of movement of the camera in real time (30 images). However, once the material receives the updated capture, it corrects the reflection. This correction time allows us to really understand the capture of updates along the material path (4 to 5 images). (the reflection of the bridge column is slightly delayed) As you can see here, the obsolete reflection can always follow the movements of the link smoothly. There is no cat. Reflection is then corrected when the new capture is updated. It works differently than a reflection map, which updates the reflection only when the map itself is updated. At this point, the captured reflection is clearly obsolete, but its position still changes by 30 frames. You can see the field of view of the capture camera in the following gifs: (since there is no reflected color on the material at the end of the camera's line of sight) It is therefore logical that all non-self-luminous materials only have Fresnel reflections. . With this thinking technique, these are the only angles that work! I came across this ark and realized that it was the ideal setting to measure and capture the camera's field of view: Let's do some basic trigonometry. I estimate the horizontal field of vision at about 115 °. The reflection of the vault is off the screen before the link passes through, so we know that this is certainly not a 180-degree field of view, because otherwise the reflection of the vault would not be a visual error of this kind. You can also see that when the camera is a few feet from the arc and perpendicular to it, the reflection is tilted and proportional to the field of view, which allows us to observe its width. It measures the relative horizontal field of view of the scene captured by the camera. But I want to repeat that this is only a rough estimate. So I may be about 10 degrees high, but it's impossible to use this field of view from certain angles. Therefore, excluding, we can at least have an estimate. Physical rendering | Before anyone asks, no, it does not mean "the material that looks physically correct". This is only one way to apply 3D graphics rendering channels, where all materials (textured surfaces) interact with light in a unique way, which changes their behavior. That's what's happening in the real world, that's why it's called physics-based rendering. Different materials cause a different behavior of light, which is why we can visually distinguish different surfaces. Traditionally, the rendering pipeline relies on the artist's understanding of how light interacts with different real-world materials and defines the texture map based on that understanding. As a result, there are many inconsistencies between the different textured surfaces and their comparison with their counterparts in the real world (which is understandable because we can not expect an artist to have an encyclopedic knowledge of everything which is in the real world). For PBR, the fundamental principle of light physics is an integral part of the pipe, and all textured surfaces are classified as having unique properties that will result in the behavior of light based on these unique properties. This allows different surfaces to be placed in different lighting conditions and different camera angles and to dynamically adapt the light's interactions with these surfaces. Artists should not pre-define this interaction as traditional workflows do. Everything is automatic. Because of the effectiveness of the PBR, the developers wanted to create games where all the materials have unique qualities that affect the light. In nature's breath, his PBR has a bit of artistic talent, so you may not even notice that his engine is based on such pipes, because the textures do not have to be realistic. However, it is clear that the BDRF function (bidirectional reflection distribution function) used on the materials makes the engine useful for the PBR. For each dynamic lighting, its specular highlights (the light itself represents a part of the reflective surface) and the specular reflectivity / refraction index are based on the angle of incidence (l 39; angle of incident light relative to normal), and the light interacts with the refractive index. of any material (when the contact of light with the surface, the material of "bending" and how much light) generated dynamically. If the game uses traditional pipes, there is not much difference between the specular highlights allocated between wood and metal. But in this game, the specular reflections depend entirely on the material with which the light interacts. Another key factor that indicates the use of PBR in full food is the Fresnel (s silent) | Fresnel reflection on all materials. First and foremost, most games using traditional pipes do not even use Fresnel reflection, because it is better to simply use the PBR. As I explained earlier in my discussion of local reflections, Fresnel reflection becomes visible at the same incident angle (the angle at which the incident light is almost parallel to the surface on which the observer / camera perspective interacts). According to the Fresnel reflection coefficient, all materials achieve a 100% reflectivity at the angle of incidence, but the effectiveness of the reflectivity will depend on the roughness of the material. Thus, programmers can distinguish between reflectivity and refractive index. Some materials reflect light in all directions (diffuse materials). Even with a 100% reflectivity, 100% of the light can be reflected by the entire surface, but all the light is not reflected in the same direction, so the light is evenly distributed and you do not see no specular reflection (the mirror image around the surface). Other materials only reflect the incoming light in the opposite direction (mirror material), so you can only see the reflection at the right angle. Nearly 90% of the light is reflected. Diffuse and specular reflectivity The reflectivity of a material is not always 100% even at an incident angle. This is why no material can see perfect specular reflection at an incident angle, even in the real world. The clarity of Fresnel's reflection will vary depending on the material that produces the reflection. Observation board: notice how the green light on the barrel's wood has the same appearance from all angles, and this same green light also seems to change the reflection of the metal hoop (the metal ring on the barrel ). This one is easy. The luminous object material provides a unique light source to illuminate the environment in the same shape as the material itself. They are not punctual light sources that propagate in all directions, nor even simple directional light sources that illuminate in one direction. It is important to note that only global sources (sun / moon / lightning) cast shadows. However, the bidirectional reflection distribution function always applies to all light sources of the game. Observation Tip: Notice the shape of the light projected by the sword. This shape corresponds to the shape of the sword itself, but the intensity of the light depends on the distance between the sword and the illuminated surface. Ambient occlusion of the screen | In the real world, when light is reflected in the environment, a certain amount of "ambient light" will color the environment and make it completely diffuse. If the shadow is the product of the blocking of direct sunlight on the object, the shielding against ambient light can then be considered as the product of the space that blocks the ambient light in the # 39; environment. The scheme used in the breath of nature is called SSAO (ambient shading of the screen space) because it calculates the ambient shading of the screen space and depends on the point of view. It receives ambient light only when it is perpendicular to the camera. Observation Tip: From the front, look for dark and shadowed noise mode effects in the interstices of the walls. The same noise pattern describes the profile of the link from this angle. Dynamic wind simulation system | This one surprised me because I did not know it would be so powerful. Basically, the physical system is linked to the wind simulation system. It is completely dynamic and affects different objects according to their weight. The most prominent objects are the grass and clouds generated by the program. Observation Tip: If you take a closer look, you can see how the directional flow of grass and clouds matches the direction of the wind. Cloud formation in real time | Cloud formation in real time This game does not use traditional sky boxes. The cloud is programmatically generated according to the parameters defined by the engine. They cast shadows in real time. They receive bright information based on the position of the sun in the sky. As far as I know, the cloud is considered the real material of the game. These are not volumetric clouds, so you do not see any gap light or anything, but they are not clouds either. skybox. They are also trained by wind systems. Observation Tip: Notice how cloudy particles in the sky cluster randomly Rayleigh, Mie, | In the real world, when light reaches the Earth's atmosphere, it is dispersed by air molecules, creating a blue sky, because the shorter wavelengths of blue light disperse more easily than other colors. However, as the horizon approaches, the sun must pass through a larger part of the atmosphere, causing most of the blue light to scatter when it reaches the sunglasses. viewer, thus leaving the longer wavelengths of the orange and red light to the naked eye. Wild Breath mathematically approaches this algorithm (I had found it earlier this year in the text dump code!). Apparently, this algorithm also explains the minimal dispersion that allows the fog to appear in the sky. To be honest, if I had not looked at the code in the text dump, I would never have thought of imitating this phenomenon in the game. It is easy to simulate this effect. However, after observing the reflection of the sky in the water, it made sense. This scattered light bounces back into the environment in real time. A simple sky box would make that impossible. Observation Board: notice how different shades of orange and red in the sky reflect the same color on the environment. Although this is not indicated in GIF, the light scattered in the sky also illuminates the environment and the water surface in other colors, depending on how the light is broadcast. Observation tip: notice how the color of the snow changes at sunset. Suggestion for observation: At the beginning of this GIF, the water has at least five different reflections. Temple (blue), hill (green), flag (black outline), sky (orange) and sun (pink).

Feats – Is the Wild Shape Dragon's breath affected by Widen Spell?

The shape of the dragon says:

You can take the form of some of the world's most fearsome creatures. Add the forms listed in dragon shape to your wild form list. When you are polymorphic in another form using a wild form, you gain resistance 5 to your choice of acid, cold, electricity, fire or poison.

If we look at Dragon Form, it says:

Breath Weapon One action (arcana, evocation) The shape, damage and type of damage to your breathing weapon depends on the shape of your dragon (see below). A creature in the region is attempting a basic backup against your DC spell. This is a Reflex backup, unless otherwise specified in the description of the special ability of your dragon form. Once activated, your breathing weapon can no longer be used for 1d4 rounds. Your breathing weapon has the line corresponding to the type of damage it inflicts.

The respiratory weapon is not listed as a spell, but it is simply an ability that you can use, in the same way that the striking spurs of a Mu Spore are simply an ability. The blast weapon having the Arcane trait, makes it magical in nature.

Extend the spells:

You manipulate the energy of your spell, causing it to spread and affect a wider area. If the next action you use is from To put a spell on which has a burst, cone, or line area and has no duration, increases the area of ​​that spell. Add 5 feet to the radius of a burst that normally has a radius of at least 10 feet (a burst with a smaller radius is not affected). Add 5 feet to the length of a cone or line that is normally 15 feet or less, and add 10 feet to the length of a cone or a larger line .

Since Widen Spell only applies to the action Cast a spell, and that the blast weapon is his own action, Widen Spell does not apply.

5th dnd – Can the weapon of the breath of a dragon pass through the Tiny Hut of Leomund?

As I mentioned in the comments, Twitter tweets on Twitter are considered tips and not official decisions. However, according to the Send Advice Compendium:

The official rules for the interpretation of the rules are defined here in the Sage Advice Compendium by the game's main designer, Jeremy Crawford (@JeremyECrawford on Twitter).

The process is for people to ask JC for advice on Twitter. The development team then publishes all articles that it considers to be fair and accurate interpretations of the rules in the Sage Compendium.

A clarification that they brought is that the Dragon's breath do not magic, by the definition of what interacts with Leomund's Tiny Hut:

Is the weapon of the breath of a dragon magic?

If you launch antimagic fielddonation invulnerability armoror use another feature of the game that protects against magical or non-magical effects, you might ask yourself: "Will it protect me from the breath of a dragon?" The blast weapon of a typical dragon is not considered magic, so antimagic field will not help you but invulnerability armor will.

So, following this decision, JC's tweet is correct.

Can acid breath destroy things?

For example, can a Black Dragonborn use his blast weapon, in this case acidic, to corrode walls, doors, objects, etc.?
I ask because, as far as spells are concerned, they do not affect the environment unless otherwise stated.

Breath of Forskolin

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Breath of Forskolin

dnd 5th – Can the Dragon's Breath spell cause damage to enemies without a clear path to the caster?

Full coverage and protection of effect areas on the point of origin, not on the launcher

The breath of the dragon goes through two 'steps'; the spell is first cast on a creature targeted by a touchscreen. Standard touch targeting rules are applied. Then, the affected creature (as long as the spell lasts) can use its action to produce an area of ​​effect that deals damage.

The relevant extract from the Player's manual with regard to the effect areas:

The effect of a spell grows in straight lines from the point of origin. If no unblocked straight line extends from the point of origin to a location in the effect area, that location is not included in the area of ​​the spell. To obstruct one of these imaginary lines, an obstruction must provide total coverage […]

Player's manualp. 204

Who like The breath of the dragon There is no exception to this (some other spells say "this effect extends around the corners" or whatever), the area of ​​the spell's effect is blocked by corners.

However, the area of ​​effect of The breath of the dragon is a cone from the affected creature (the one who needs to use his action). The position of the wheel does not enter the picture.

Similarly, a spell with an area of ​​a sphere can affect a creature that has full coverage of the caster, provided that the origin point (in this case the center of the sphere) has a clear line with this creature.