The Complete Bard's Handbook

ADVANCED DUNGEONS & DRAGONS® 2nd Edition Player's Handbook Rules Supplement The Complete Bard's Handbook  by Blake Mobley

Table of Contents Introduction ptional Rules The ther Complete Books Ho! to "se This Handbook Chapter ne# Character Creation $uali%ications Core &bilities eneratin( &bility Scores Chapter T!o# Bard )its )it Subsections *ist o% )its True Bard Blade Charlatan allant ypsy+bard Herald ,ester ,on(leur *oremaster Meistersin(er Riddlemaster Skald Thespian Creatin( -e! )its &c.uirin(/ 0roppin(/ and Chan(in( )its Chapter Three# 0emi+/ Multi+/ and 0ual+Classed Bards 0emihumans as Bards

0emihuman )its 0!ar1en Chanter El1en Minstrel nome Pro%essor Hal%lin( histler Multi+Classed Bards 0ual+Classed Bards Chapter 3our# Pro%iciencies  -e! Pro%iciencies Compiled Pro%iciencies Chapter 3i1e# Bard &bilities Pick Pockets 0etect -oise Climb alls Readin(/ ritin(/ and Speakin( Chapter Si4# Ma(ic Spell Books Musical Components  -e! Spells <er Instrument Sound Bubble Silence 56' Radius Impro1ed Ma(ic Mouth Instant &udience all o% Sound Con7ure Cabinet Ma(ical Items  -e! Ma(ical Items ld Ma(ical Items  -e! T!ists T!ists on ld Items Chapter Se1en# Music Throu(hout History Instruments Musical Pro%iciency Cost and ei(ht lossary o% Musical Instruments lossary o% Sound 3undamentals o% Music Common Musical Terms

Musical Items Types o% Son(s Sample Son(s Chapter Ei(ht# Role+Playin( Bards & Bard's Mind Isn't Barred E4perience Reputation 3ollo!in( a Per%ormer *ocal Reputation Bene%its o% a ood Reputation The Per%ormer The E%%ect on Role+Playin( 0e%inin( 8our 8our Bard's Personality Per%ormances

Chapter -ine# Comrades Bard Colle(es Common E1ents Patrons Initial Patrons ainin( and *osin( Patrons 3ollo!ers &ppendi4# ri(inal &090: ame Bard Character Record Sheet Bard )it Record Sheet Inde4

Tables 5# THE CMP*ETE PHBR *I-E 2# C*&SS $"&*I3IC&TI-S ;# &RMR &**E0 <# E=PERIE-CE *E>E*S 6# *E>E* IMPR>EME-TS ?# SPE** PRRESSI-

@# B&SE THIE3 &BI*ITIES A# B&R0 &>ER&E THIE3 S)I**S # THIE3 S)I** &0,"STME-TS 5# I**E&* &RMR &0,"STME-T 55# PREE-ER&TE0 &BI*IT8 SCRES 52# *EE-0 *RE RES"*TS 5;# 0EMI+B&R0S 5<# --E&P- PR3ICIE-CIES 56# 0ETECT -ISE M0I3IERS 5?# C*IMBI- M0I3IERS 5@# B&R0 C*IMBI- R&TES 5A# >ERB&* CMP-E-T 5# ER&S 2# M"SIC&* I-STR"ME-TS 25# B&R0 E=PERIE-CE 22# CMP*ETE B&R0 E=PERIE-CE 2;# I-ITI&* REP"T&TI2<# REP"T&TI- *&00ER 26# REP"T&TI- M0I3IERS 2?# 3&ME &-0 I-3&M8 2@# PRECE0I- REP"T&TI2A# B&R0 TR&ITS 2# H"R*8 STREET+SI0E I-CME ;# B)E0 I-CME ;5# C&R-I>&* SH&RES ;2# -IHT*8 &TTE-0&-CEPER PER3RMER ;;# -"MBER 3 P&TR-S ;<# T8PE 3 P&TR;6# 3**ERS B8 )IT

CRE0ITS 0esi(n# Blake Mobley 0esi(n Resource# Tim Beach Editin(# Mike Breault Black and hite &rt# Terry 0ykstra/ >alerie >alusek Color &rt# Carol Heyer/ ,ohn and *aura *ake y/ len rbik/ Clyde Cald!ell Typo(raphy# &n(elika *okotD Production# Paul Hanchette TSR/ Inc PB @6? *ake ene1a/ I 6;5<@ "S&

TSR *td 52 Church End/ Cherry Hinton Cambrid(e CB5 ;*B "nited )in(dom

This book is protected under the copyri(ht la!s o% the "nited States o% &merica &ny reproduction or unauthoriDed use o% the material contained herein is prohibited !ithout the e4press !ritten permission o% TSR/ Inc 0istributed to the book and hobby trade in the "nited )in(dom by TSR *td 0istributed to the toy and hobby trade by re(ional distributors &0>&-CE0 0"-E-S 9 0R&-S/ 0"-E- M&STER/ and &090 are re(istered trademarks o!ned by TSR/ Inc The TSR lo(o is a trademark o!ned by TSR/ Inc Printed in the "S& 3ourth printin(/ -o1ember 5<

Introduction In e1ery area and e1ery re(ion throu(hout the !orld/ tra1elin( musicians !andered throu(hout the land They mo1ed %rom to!n to to!n/ makin( a li1in( by  plyin( their trade as artists o% sound and motion In the &090: (ame/ ad1enturers !ho do this are called bards Historically/ bards !ere the poet+musicians o% the Celtic peoples li1in( in the British Isles Fthe Irish/ elsh/ and ScotsG Bards composed music/ san( son(s/ and entertained their masters "sually they !orked %or noblemen a nd spent their time honorin( these noblemen and their %amilies in son( and music Bards o%ten accompanied their son(s on the crwth/ a type o% lyre Since their music !asn't !ritten do!n/ most o% it has 1anished 0urin( the early Middle &(es/ bards had considerable political po!er and in%luence in the royal houses Ho!e1er/ in 52A< &0/ Ed!ard I con.uered ales the resultin( turmoil reduced the importance o% bards -oblemen had more pressin( concerns/ and bards !ere le%t to %end %or themsel1es & %e! lin(ered on/ into the 5@th and 5Ath centuries in Ireland and Scotland as %olk sin(ers and musicians/ but they e1en tually 1anished alon( !ith their music 0urin( the 5th century/ a determined e%%ort !as made to re1i1e the bardic tradition 3olk music (atherin(s took place in and near ales These neo+bardic acti1ities cau(ht on amon( the public/ and today the annual Eistedd%od %olk %esti1al is a popular and (ro!in( e1ent in this re(ion o% the !orld Thus/ bards ha1e sho!n a cunnin( knack to sur1i1e throu(h the a(es In one %orm or another/ bards ha1e been around %or nearly 5/ years Besides the Eistedd%od %esti1al/ the bard has been immortaliDed in the (enre o% %antasy -o! you ha1e a chance to continue the bardic tradition This book co 1ers not only the traditional bard/ but e4pands the class !ith ne! and uni.ue character kits &ll o% these kits in1ol1e some %orm o% li1e entertainment/ as all bards are entertainers at heart -early hal% o% these kits entertain throu(h music in one %orm or another# poetry/ son(/ instruments/ etc But some  present such di1erse ne! kits as the Blade/ !ho entertains throu(h creati1e !eapon displays/ kni%e thro!in(/ and s!ord s!allo!in( Read on and en7oy

ptional Rules ithin this book are many ne! rules/ bard kits/ su((estions on role+playin(/ details o% instruments/ and ne! pro%iciencies This in%ormation adds to the rules presented in the Player's Handbook    It is important to note that this book is a supplement to the Player's Handbook  &ll o% the rules presented here are optional &s a player/ you must ha1e your Dungeon Master's consent be%ore usin( any o% these ne! rules The Complete Bard's Handbook  is a book o% supplemental rules %or addin( depth/ spice/ and li%e to the bard character class Ho!e1er/ e1en i% your 0un(eon Master should decide that none o% the rules !ithin this book can used in his campai(n/ you can still (ain a lot by readin( the pa(es that %ollo! Most o% the important tables %rom the Player's  Handbook Fe.g., le1el ad1ancement/ bard abilities/ etcG are compressed into one con1enient section !ithin this book It is also p ossible to mimic most o% the ne! bard kits !ithin the e4istin( bard class This book ans!ers many .uestions about bardic abilities and presents an e4tensi1e list o% instruments a1ailable to medie1al bards/ alon( !ith illustrations &nd/ %inally/ this book has a lot o% (ood in%ormation to help (amers to better role+play their bard characters

The ther Complete Books The Complete Bard's Handbook  is the se1enth book o% the PHBR series I% you %ind this book use%ul in your (amin(/ you may !ant to look into the other PHBRs Table 5# THE CMP*ETE PHBR *I-E 0esi(nator Topic Stock  PHBR5 3i(hter's 255 PHBR2 Thie%'s 2555 PHBR; Priest's 255; PHBR< iDard's 2556 PHBR6 Psionics 255@ PHBR? 0!ar1es 252< &ll o% these books contain much in%ormation that can enhance your bard Some o%  the more use%ul in%ormation is listed belo! The Complete 3i(hter's Handbook# The JCharacter CreationJ section pro1ides a n in+depth look into the armorer pro%iciency Those bard kits able to !ear non+standard armor !ill %ind this topic particularly interestin( eapon .uality and its e%%ects on combat are also discussed The JRole+Playin(J section pro1ides a list o% !arrior  personalities/ some o% !hich could be adopted by bard characters Since some bards are adept !ith numerous !eapons/ the section on combat rules applies to certain bards Fparticularly the e4panded !eapon pro%iciency rules/ !hich allo! a character to learn multiple !eapons !hile e4pendin( only a %e! pro%iciency slotsG 3i(htin( styles/ martial arts/ and other odd combat rules are also presented here E1en 7oustin( tournaments are co1ered Fideal %or the allant kitG ithin the JE.uipmentJ section is a siDable collection o% ne! !eapons/ ne! armor/ and ne! ma(ical items

The Complete Thie%'s Handbook# &s you mi(ht e4pect/ this handbook has a (reat deal o% use%ul in%ormation %or the bard class ithin are more use%ul rules than can be listed here Ho!e1er/ (eneral topics you may %ind help%ul include the %ollo!in(# role+  playin( thie1es/ ne! pro%iciencies/ (uilds Fconstruction/ maintenance/ and typesG/ thie% tools/ thie% e.uipment/ ne! ma(ical items/ classic cons Fespecially (ood %or the CharlatanG/ ne! thie% rules/ and a description o% the thie%+based campai(n The Complete Priest's Handbook# There is little in%ormation in this handbook that is pertinent to the bard character class The Complete iDard's Handbook# Chapter < discusses campai(n !orlds !ith 1aryin( le1els o% ma(ic Chapter 6 co1ers !iDards and combat Chapter ? describes spell castin( under !ater/ spell %unctionin( on 1arious planes/ and impaired castin( Chapter @  presents a commentary on ne! applications %or old spells/ ad7udicatin( illusions/ spell research/ and ma(ical item research Chapter A (i1es all+ne! spells ran(in( %rom 5st to Ath le1el 3inally/ Chapter  contains a number o% use%ul !iDardly lists The Complete Psionics Handbook# There are t!o use%ul elements !ithin this  book Most important are the !ild talents in Chapter 5 It is possible %or a bard to ha1e a %e! !ild psionic talents Fthe process %or determinin( this is (i1en in Chapter 5G I% a !ild talent is disco1ered/ the bard player !ill %ind the rest o% this book in1aluable/ as it contains all the in%ormation needed to run a psionically endo!ed bard &lso/ note that all  player character ypsy+bards are !ild talents The psionics book also contains a number o% challen(in( psionic monsters

Ho! to "se This Handbook Ho! players use this handbook depends upon their skill le1el/ seriousness about the bard character class/ and their relationship !ith their 0un(eon Master Skilled players !ho are serious about role+playin( bard characters !ill !ant to read this book closely Those !ho are not as serious !ill %ind the Fin the %ront o% this  bookG and the inde4 Fin the backG to be in1aluable in locatin( topics o% interest & ne! bard character record sheet is located at the back o% this handbook It has  been custom+tailored to the bard character class 8ou !ill %ind spaces to place e1ery detail o% your bard 3urthermore/ the sheet has been laid out !ith numerous help%ul notes/ comments/ and %ormats to pro1ide you !ith a plethora o% in%ormation !ithout re%errin( to the rule books 8ou may photocopy the sheet %or your o!n personal use 3or those o% you !ho !ish to create ne! bard kits/ a handy kit creation sheet is also bound into the back o% this book This may also be photo copied %or personal use It is not necessary %or you to read this book %rom co1er to co1er unless you !ish to be the ultimate bard role+player Instead/ locate the section you !ish to e4 plore in (reater detail and read it to your o!n satis%action & ma7or e%%ort has been made to make this handbook complete/ as its title states Many o% the rules speci%ic to bards in both the Player's Handbook  and DU!"#  M$%T"& !ude ha1e been complied and condensed !ithin this handbook &lso contained herein is the in%ormation needed to (enerate a bard and maintain him durin( le1el ad1ancements The commonly asked .uestions about standard bards ha1e been attended to/ alon( !ith rules clari%ications !here needed The bard class has also been %ully

de%ined %or all to see The %ine points o% the class ha1e been e4amined/ illuminated/ and made more accessible 3inally/ there are many added details concernin( role+playin(/ includin( the bard personality/ reputation/ and role as a per%ormer

Chapter 5# Character Creation  -o! it is time to be(in creatin( your o!n bard player character Be%ore you decide !hether he is %lippant and ca1alier or stately and ponderin(/ !hether he is skilled at playin( the lyre and recitin( lyrics or spinnin( tales o% lon(+lost heroes/ %irst you must (enerate and record his %undamental character statistics This section includes the basic in%ormation needed to (enerate a bard The %ollo!in( in%ormation is a comprehensi1e summary o% the Ro(ue and Bard sections %ound in the Player's Handbook  It is assumed that any player usin( this book is intimately %amiliar !ith the Player's Handbook  thus/ space is not spent here upon  back(round and role+playin( in%ormation 3or a (eneral discussion o% these topics/ re%er to the Ro(ue and Bard sections %ound in Chapter ; o% the Player's Handbook  % course/ The Complete Bard's Handbook  !ould hardly be complete !ithout discussin( such sub7ects Re%er to the JRole+Playin( BardsJ section o% this book %or a detailed e4amination o% these topics

$uali%ications eneratin( ability scores hi(h enou(h to .uali%y %or the bard class is di%%icult In %act/ it is unlikely unless your 0M allo!s one o % the alternati1e dice+rollin( methods described in Chapter 5 o% the Player's Handbook  & complete discussion on (eneratin(  bard player characters Falon( !ith pre+(enerated bardsG usin( all si4 dice+rollin( methods is presented at the end o% this section To be a bard or not to be a bard/ these are the .uali%ications Fsee Table 2G

Table 2# C*&SS $"&*I3IC&TI-S &bility Re.uirements# 0e4terity 52 Intelli(ence 5; Charisma 56 Prime Re.uisitesK# 0e4terity/ Charisma Races &llo!ed# Human/ Hal%+el%  &li(nments &llo!ed# &ny -eutral

 F*-/ -/ -/ -E/ C-G KBards !ith a 5? or better in both 0e4terity and Charisma (ain a 5L bonus to their a!arded e4perience points Core &bilities Bards can !ear any armor pro1idin( &rmor Class 6 Fchain mailG or !orse ther %orms o% armor are simply too constrainin(/ hea1y/ and a!k!ard %or true entertainers to !ear *ike!ise/ bards cannot employ shields/ as these (et in the !ay o% acti1ities such as  playin( instruments or per%ormin( slei(ht+o%+hand tricks Carryin( a lute around in the dun(eon is hard enou(h !ithout !orryin( about a lar(e metal shield ban(in( around and (ettin( in the !ay

Table ;# &RMR &**E0

Cost &rmor &C *eather &rmor Padded &rmor Studded *eather Rin( Mail @ Hide &rmor ? Bri(andine &rmor Scale Mail ? Chain Mail 6

Weight F(pG A A @ 5 56 ? 52 @6

FlbG 6 < 2 ; ; 52 < <

56 5 26

;6

<hou(h bards %i(ht as ro(ues and calculate their TH&Cs accordin(ly/ they are allo!ed to use any !eapon Cost/ !ei(ht/ dama(e/ and other rele1ant statistics %or all !eapons are %ound in Chapter ? o% the Player's Handbook  &ll ro(ues Fincludin( bardsG use Table 26 o% the Player's Handbook  to determine le1el and hit dice based upon e4perience points &s noted in the e4panded reprint o% this table/ a si4+sided die is used to determine hit point increases %or bards o% le1el 5 throu(h 5 Fplus any Constitution ad7ustmentsG &%ter 5th le1el/ bards (ain 2 hit points per le1el ad1anced & hit die is no lon(er rolled and Constitution ad7ustments no lon(er apply

Table <# E=PERIE-CE *E>E*S =P Hit *e1el -eeded 5  5 2 5/26 2 ; 2/6 ;

0ice Fd?G 2 2 5

TH&C

< 6 ? @ A  5 55 52 5; 5< 56 5? 5@ 5A 5 2

6/ < 5/ 2/ </ @/ 55/ 5?/ 22/ <</ ??/ AA/ 5/5/ 5/;2/ 5/6</ 5/@?/ 5/A/ 2/2/

5 6 ? @ A  5 52 5< 5? 5A 55 552 55< 55? 55A 52

5A 5A 5@ 5@ 5? 5? 56 56 5< 5< 5; 5; 52 52 55 55

Pro%iciency and sa1in( thro! numbers are listed in the Table 6 to complete the in%ormation %or le1el ad1ancement I% a bard uses a !eapon !ith !hich he isn't pro%icient/ a +; attack roll penalty is incurred

Table 6# *E>E* IMPR>EME-TS Pro% Sa1in( Thro!s *e1el 5 2 ; < 6 ? @ A  5 55 52 5; 5< 56 5? 5@ 5A 5

 2 2 2 ; ; ; ; < < < < 6 6 6 6 ? ? ? ?

-N ; ; ; < < < < 6 6 6 6 ? ? ? ? @ @ @ @

PP0M 5; 5; 5; 5; 52 52 52 52 55 55 55 55 5 5 5 5   

RS 5< 5< 5< 5< 52 52 52 52 5 5 5 5 A A A A ? ? ?

PP 52 52 52 55 55 55 55 5 5 5 5     A A A

B 5? 5? 52 5? 56 56 56 56 5< 5< 5< 5< 5; 5; 5; 5; 52 52 52

S 56 56 5? 56 5; 5; 5; 5; 55 55 55 55     @ @ @

56

2 25

@ @

A A

 A

? <

A <

52 55

@ 6

Pro%iciency &bbre1iations# # eapon Pro%iciency slots -N# -on!eapon Pro%iciency slots Sa1in( Thro! &bbre1iations# PP0M# ParalyDation/ Poison/ or 0eath Ma(ic RS# Rod/ Sta%%/ or and PP# Petri%ication or Polymorph B# Breath eapon S# Spell In addition to their many special abilities/ bards dabble in !iDardry They (ain no spells until 2nd le1el and they pro(ress throu(h the spell le1els slo!er than true !iDards Ho!e1er/ they are 1ery adept learners/ so their castin( le1el is e.ual to their e4perience le1el Thus/ althou(h a bard (ains his %irst spell at 2nd le1el/ he casts that spell as a 2nd+ le1el spellcaster 3or e4ample/ i% the 2nd+le1el bard memoriDed a((ect normal (res/ it !ould last %or %our rounds !hen cast Ft!o roundsNle1elG Table ?# SPE** PRRESSIBard Spell *e1el *e1el 5 2 ; < 5 ++ ++ ++ ++ 2 5 ++ ++ ++ ; 2 ++ ++ ++ < 2 5 ++ ++ 6 ; 5 ++ ++ ? ; 2 ++ ++ @ ; 2 5 ++ A ; ; 5 ++  ; ; 2 ++ 5 ; ; 2 5 55 ; ; ; 5 52 ; ; ; 2 5; ; ; ; 2 5< ; ; ; ; 56 ; ; ; ; 5? < ; ; ; 5@ < < ; ; 5A < < < ; 5 < < < < 2 < < < <

6 ++ ++ ++ ++ ++ ++ ++ ++ ++ ++ ++ ++ 5 5 2 2 ; ; ; <

? ++ ++ ++ ++ ++ ++ ++ ++ ++ ++ ++ ++ ++ ++ ++ 5 5 2 2 ;

Besides 7ust dabblin( in !iDardry/ 5th+le1el bards ha1e the po!er%ul ability to

use any !ritten ma(ical item/ !hether it is a scroll/ book/ map/ or other !ritten %orm This skill is not limited by normal class restrictions Thus/ bards can use clerical scrolls/ !iDard scrolls/ and e1en ma(ical books restricted to other classes Since all bards are dabblers and not de1otees o% the ma(ical arts/ their understandin( o% !ritten ma(ic is imper%ect There is a 56L chan ce that they use the !ork incorrectly The conse.uences o% incorrect use is up to the 0M/ but they are almost certain to be unpleasant FIt is common %or a bard's allies to %lee in panic !hen he be(ins to read such itemsG Bards are most reno!ned %or their communication and entertainment talents To enhance these skills/ they pick up a number o% thie% skills % course/ !hen times are lean/ many bards ply these abilities in less+than+honorable manners &ll %our o% these skills are treated as the e.ui1alent thie% skills Skill bases are listed belo! Table @# B&SE THIE3 &BI*ITIES

Pick

Detect

Clib

Rea!

Pockets -oise alls *an(ua(es 5L 2L 6L 6L The player also (ets 2 points to distribute amon( the %our skills at 5st le1el and 56 additional points e1ery time the bard ad1ances in le1el I% these points are distributed so as to (radually e.ualiDe the skills/ the bard mi(ht ad1ance each le1el as indicated on Table A

Table A# B&R0 &>ER&E THIE3 S)I**S

Pick *e1el 5 2 ; < 6 ? @ A  5 55 52 5; 5< 56 5? 5@

Pockets 5? 26 2 2A 2< ;; 2 ;? ;; < ;@ << <5
Detect -oise 6; 6? 6A ? ?; ?6 ?A @ @2 @6 @@ @ A2 A< A@ A 5

alls 55 5? 2 26 2 ;< ;A <2 <@ 62 6? ?5 ?6 @ @< @ A<

Clib *an(

Rea!

5A 5 2

AA ; 6

 < 6

< 6 6

AA ; 6

&s !ith all ro(ues/ a bard's thie% abilities are ad7usted by race/ 0e4terity/ and armor !orn

Table # THIE3 S)I** &0,"STME-TS Pick Race Human Hal%+el% 0!ar% El% nome Hal%lin(

0etect Pockets + 5L + 6L + 6L 6L

Climb -oise + + + + + 6L + 6L

Read alls + + +5L + + +56L

*an(

+6L + +6L

0e4terity &d7ustments Pick

0etect 0e4 Pockets  +56L + 5 +5L 55 +6L + 52 + 5;+56 + 5? + 5@ 6L 5A 5L 5 56L

Climb

Read

-oise + + + + + + + + + + + + + + +

alls +

*an(

Detect

Clib

Rea!

-oise

alls

*an(

+

+

6L

6L

+ + + +

+ + + +

+

)it &d7ustments

Pick )it

Pockets

True Bard Blade Charlatan allant ypsy Herald ,ester ,on(leur

+ + 6L +26L 5L +6L 5L 6L +

+ + 6L 5L +6L

+ +

+6L +5L +5L + +5L 56L +6L

+6L 6L 6L +6L 6L

*oremaster +6L Meistersin(er +5L Riddlemaster + Skald + 6L Thespian 6L

6L 5L 6L

+5L +5L

6L

+ 6L +26L + 6L

Detect

Clib

+

56L 6L

Dei"#a$!s

Pick 0emi+Bard 0!ar% Chanter El% Minstrel nome Pro% Hal% histler

Pockets +6L + + +6L + 5L

Type o% Pick &rmor Pockets  -oneK 6L *eather + + Padded +;L Studded *eath +;L Rin( Mail +26L Bri(andine +2L Scale Mail +26L Hide &rmor +;L Chain Mail +26L El1en Chain +2L

-oise + 6L + + + + +

0etect Climb -oise alls + 5L + + +5L +;L +5L +5L +5L +56L +6L +;L +5L +26L +6L +2L

Rea!

alls

*an( +

5L + Read *an( + + +;L +26L +26L +<L

+ + + + + + +

KIncludes small ma(ical items/ such as rin(s/ bracers/ and cloaks/ but not lar(e or  bulky de1ices I% you compare these armor ad7ustments to the JE%%ects o% &rmor on Thie% SkillsJ table in The Complete The('s Handbook / you see that bards ha1e a special ad1anta(e !hen usin( rin( mail/ bri(andine/ scale mail/ hide armor/ and chain mail Since bards o%ten !ear such armor !hile thie1es do not/ bards are more com%ortable and %amiliar !ith the !orkin(s o% these armor types Thus/ bards su%%er only about hal% the skill penalties that thie1es su%%er i% !earin( the same armor I% your 0M allo!s a bard to put on any %orm o% armor normally disallo!ed to the class Fas su((ested by certain kits/ %or purposes o% dis(uise/ out o% necessity/ or %or the sake o% entertainmentG/ the penalties are identical to those %or a thie% in similar armor Table 5# I**E&* &RMR &0,"STME-T

A$o$

Pick

%ea$ Clib

Type Pockets -oise alls *an( Splint Mail +<L +26L +6L +

Rea!

Banded &rmor +6L Plate Mail +@6L +6L BronDe Plate +@6L +6L 3ield Plate +6L +@L 3ull Plate +6L +@L

+;L +6L +6L +6L +6L

+L + + + + +

&t th le1el/ bards attract 5d? +le1el %ollo!ers !ho arri1e as soon as the bard secures a stron(hold The abo1e in%ormation de%ines the standard bard character class This core is common to all bards no matter !hat settin(/ history/ personality/ or bard kit is used &s such/ it does not include the special kit abilities or personality aspects that make a character stand out This type o% in%ormation is %ound in the chapter on character kits later  in this book The e4perienced player !ill note that many o% the bard's special abilities listed in the Player's Handbook  are missin( in the abo1e treatment That is because the standard  bard/ as detailed in the Player's Handbook / is considered a complete kit unto itsel% It is called the True Bard kit This kit combines the core in%ormation abo1e !ith the kit approach o% this book to de%ine the bard as it appears in the Player's Handbook  

eneratin( &bility Scores Chapter 5 o% the Player's Handbook  presents si4 die rollin( methods %or (eneratin( player characters &bility scores ha1e been pre+(enerated belo! that .uali%y %or the bard usin( all si4 o% these methods The probability o% (eneratin( a .uali%yin(  bard !ith each method is also pro1ided -ote that it is 1ery di%%icult to (enerate a bard by the standard method Fmethod IG nly by usin( one o% the alternati1e methods do you ha1e a (ood chance to roll up a bard I% these alternati1e methods are used/ method >I !ill practically (uarantee a .uali%yin( character Methods I> and > are also likely to succeed <hou(h methods II and III are less likely to result in a .uali%yin( bard/ they are still better than method I Ho!e1er/ i% your 0M does not allo! %or these alternati1e methods/ do not bad(er him &%ter all/ it is his ri(ht to select the rules used in his ca mpai(n This !ill make the bard much more special !hen a .uali%yin( character is %inally rolled Table 55# PREE-ER&TE0 &BI*IT8 SCRES Method I Sample Bard  5 5 2 55 ;  < @

Str 5; 5; 5; 52

0e4 55 5< 56 ?

Con 5; 5; 5; 5?

Int 5 5< A 55

is 56 5? 5? 56

Cha

6 ?

52 55

5< 52

A 55

Method II Falmost 6LG Sample Bard  Str 0e4 5 52 56 5< 2 5 5; 5; ;  52 5; < 56 52 5< 6 5< 52 52 ?  5? 5@

5; 5;

Con 5? 56 5; 5; 5; 5<

Method III Fsli(htly o1er 2LG Sample Bard  ;d? Rolls 5 5@/ 5;/ 5;/ 5/ / A 2 56/ 5 Fsli(htly under ??LG Sample Bard  Si4 Best ;d? Rolls 5 56/ 5 Fsli(htly under @6LG Sample Bard  I Fsli(htly under ALG

? @

5@ 5?

Int 5; 5? 52 5< 55 5<

is 5? 56 56 56 5? 56

Cha

Sample A Pts Per &bility/ Bard  &dd @d? &s 0esired 5 5?/ 5I is unusual E1ery ability starts !ith a base score o% A The player then rolls @d? and adds the results to the base A in any order or combination Ho!e1er/ the %ull count o% a die must be added entirely to one ability I% this causes the ability to raise abo1e 5A/ then the die cannot be used on that ability

Chapter 2# Bard )its )its can be thou(ht o% as subclasses o% the bard character class They all represent  bard characters/ but each is uni.ue enou(h to !arrant indi1idual treatment by those  players !ho en7oy e4aminin( the %iner points o% the bard class &ll o% the bard kits are set up the same !ay There are ten possible subsections to each kit that %lesh out the kit and delineate its uni.ue aspects The details o% these subsections are described belo! I% the !ord JStandardJ is listed under any subsection/ it means that the in%ormation that !ould normally (o in that section is iden tical to the standard in%ormation %or the True Bard &ctually/ e1ery kit's subsections should be thou(ht o% as ha1in( the JStandardJ de%ault I% any .uestion e1er arises as to the limits or e4tensions o% a kit/ the True Bard kit should be consulted

)it Subsections Specialty# That kit's entertainment %orm $uali%ications# $uali%ications !ill limit or e4tend allo!ed race/ ali(nment/ and ability scores %or the particular kit Introduction# This section presents a color%ul/ %irst+person e4ample o% the kit

*isten to the -PC as he chats !ith you about himsel% and his kind 0escription# This section describes the kit and distin(uishes this particular type o%   bard %rom the others Role# Role e4plains the role that this type o% bard plays !ithin a party and in society as a !hole Secondary Skills# Secondary skills is an optional rule %ound in Chapter 6 o% the  Player's Handbook  I% this rule is used/ only skills listed in this subsection o% the kit can  be selected by characters !ho adopt this kit eapon Pro%iciencies# & character can become pro%icient only in the !eapons listed in this subsection  -on!eapon Pro%iciencies# <hou(h non!eapon pro%iciencies are an optional rule/ it is stron(ly recommended that they be used i% bard kits are allo!ed into the (ame They ha1e been care%ully selected to (i1e each kit a uni.ue %eel  Bonuses) Each bard kit has %our bonus pro%iciencies These pro%iciencies are (ained !ithout e4pendin( any pro%iciency slots It is stron(ly su((ested that at least hal% o% a bard's pro%iciency slots be spent in one o% three !ays# (ainin( pro%iciencies %rom amon( those on the JSu((estedJ list/ (ainin( additional topics Fsee the chapter on  pro%icienciesG to pro%iciencies on the Bonus or Su((ested lists/ or in impro1in(  pro%iciencies on either list &rmorNE.uipment# &rmor restrictions or e4tensions are listed here Sometimes special comments !ill be made about e.uipment/ such as typical dress/ identi%yin( colors/ special tools/ and so on Special Bene%its# Each bard kit has %our special b ene%its These bene%its set the kit o%% %rom all other character classes and kits The character should take on a di%%erent role+  playin( %eel because o% the kit's descripti1e in%ormation Special Hindrances# Special hindrances or limitations are placed on certain kits Hindrances are listed here only i% they do not %all into any subsection listed earlier  -otes# n rare occasions/ this subsection is used to list special notes that don't %it into any o% the earlier subsections

*ist o% )its &ll o% the bard kits are listed on the %ollo!in( pa(es The %irst kit is that o% the True Bard/ as presented in the Player's Handbook  This kit establishes a base %rom !hich all the other kits are built The other kits are arran(ed in alphabetical order & section on multi+classed bards %ollo!s It contains an additional %our kits/ but these are restricted to demihumans

True Bard Specialty# ,ack+o%+all+trades $uali%ications# Standard ability scores F0e4terity o% 52/ Intelli(ence o% 5;/ and Charisma o% 56G

Introduction# This is a typical bard ri(ht out o% the Player's Handbook  -o introductions are needed 0escription# Bards are described in the Player's Handbook. They are the epitome o% the 7ack+o%+all+trades/ able to !ield all !eapons/ do n most types o% armor/ cast a (ood number o% !iDard spells/ and employ %our o% the ei(ht thie% skills Bards are 1ery 1ersatile/ but they are masters o% no cra%t &s !ith all bards/ True Bards are entertainers They can sin(/ play instruments/ create and recite poetry/ and spin tall tales In %act/ a bard's skill at these art %orms is such that he can inspire and rally allies and e1en ne(ate the e%%ects o% hostile son(s and sounds Bards are al!ays able to read and !rite their nati1e lan(ua(e They kno! much about local history/ and they can relate le(ends pertainin( to many o% the po!er%ul ma(ical items they encounter in their tra1els Bards are tremendous listeners/ readers/ and searchers They ea(erly listen to an y ne!s and stories that %olk are !illin( to tell I% there's an ythin( a1ailable %or a bard to learn/ he'll learn it as soon as he can Role# Bards are e4cellent characters to play in small (amin( (roups Their 1aried skills enable them to %ill in %or many more+specialiDed characters 3or e4ample/ a bard could ser1e as a small (roup's !iDard and thie% They are (reat sur1i1alists/ as they can almost al!ays %ind some skill to help them out o% any predicament they %all into Secondary Skills# True Bards may select any secondary skill eapon Pro%iciencies# Bards are unrestricted as to !eaponry/ but they rarely carry around bulky !eapons/ e1en i% they are pro%icient !ith them & bard seen carryin( a t!o+ handed s!ord or halberd is likely to arouse suspicions about his intentions & bard !ith an ele(ant bo! across his back/ ho!e1er/ does not dra! as much attention & %inely cra%ted !eapon e1en adds a touch o% class to the bard's appearance  -on!eapon Pro%iciencies# Bonuses) Sin(in(/ Musical Instrument/ Readin(Nritin( Fnati1e ton(ueG/ *ocal History ther pro%iciencies may be selected as desired 3or e1ery additional pro%iciency slot spent in the musical instrument pro%iciency/ bards not only increase their ab ility/ but they also (ain the use o% t!o more instruments & bard initially kno!s ho! to play one instrument Fo% the player's choosin(G I% a second pro%iciency slot is used %or musical instruments/ the bard can no! accompany himsel% on three instruments &rmorNE.uipment# The bard can use any !eapon He can !ear any armor up to/ and includin(/ chain mail/ but he cannot use a shield True Bards (enerally !ear bri(ht/ cheer%ul colors/ sometimes !earin( plumed hats to complete the ensemble Their instruments/ clothin(/ and other e.uipment are all kept in top condition Special Bene%its#  *n(luence &eactons) hen per%ormin( %or an audience/ the  bard can attempt to alter the mood o% his listeners Such an audience must not be attackin( or preparin( %or an immediate attack The bard must be sin(in(/ chantin(/ spinnin( a tale/ recitin( a po!er%ul oratory/ or playin( a tune on an instrument !ith !hich he is pro%icient The intended e%%ect o% the per%ormance is determined by the bard's  player he may !ant to make the audience %riendlier or more hostile/ %or instance &%ter a len(th o% time F5d5 rounds is su((estedG/ all -P Cs able to hear the per%ormance Fre(ardless o% !hether or not they are payin( attentionG must roll a sa1in( thro! 1s  paralyDation 3or small (roups/ roll indi1idual sa1in( thro!s 3or lar(e (roups/ the 0M may split the audience into (roups o% ten or so and roll a separate sa1in( thro! %or each

(roup There is a +5 penalty to the sa1in( thro! %or e1ery three le1els o% e4perience o% the  bard Those %ailin( the roll ha1e their reactions ad7usted one le1el F%rom %riendly to indi%%erent/ %or e4ampleG in the desired directionOconsult Table 6# Encounter Reactions/ in the DM! Those !hose sa1in( thro!s succeed ha1e their reactions ad7usted one le1el in the direction opposite %rom that intended by the bard  &ally $lles) To use this ability/ the bard must kno! the nature o% the upcomin( combat & bard can't rally allies i% there is no ob1ious opponent Rallyin( allies is done is much the same manner as in%luencin( reactions The bard sin(s heroic son(s or !ea1es inspirin( tales about ho! his comrades !ill o1ercome their %oes and !in the day Such heroic recitals al!ays take at least three rounds/ and the audience must be in close  pro4imity to the bard %or the e%%ects to occur F!ithin a 5+%oot radius per le1el o% the  bardG hen complete/ all the a%%ected allies automatically recei1e one o% the %ollo!in( three bene%its Fas decided by the bard's playerG# 5 to attack rolls/ 5 to sa1in( thro!s/ o r 2 to morale The chosen e%%ect lasts one round per le1el o% the bard The e%%ects can be rene!ed by the bard/ e1en durin( the same encounter/ but combatants ha1e to return to !ithin the bard's radius and listen to his tales %or another three rounds It is impossible to rally allies !ho are acti1ely battlin( opponents  -ote that the bene%it applies only to the speci%ic encounter that the bard sin(s about It does not apply to a ran(er !ho hears the tale/ rides o%% on his horse to !arn the rear (uard/ and is then ambushed by !anderin( bandits Counter %ong) ¬her po!er%ul use o% story/ son(/ or tale !hen 1oiced by a bard is that o% counter son( This is the intricate art o% canc elin( the e%%ects o% hostile sound/ !hether it be son(s/ chants/ !ails/ or e1en commands and su((estions %rom ma(ical spells In order to sin( the proper counter son( or chant the proper counter poem/ a bard must concentrate intensely He may per%orm no additional actions other than a slo! Fhal% speedG !alk I% he is struck by an attack or %ails a sa1in( thro!/ his attempt is ruined The e4ertion is such that only one counter son( may be attempted per encounter or battle Success o% the counter son( is realiDed only i% the bard rolls a success%ul sa1in( thro! 1s spell I% this is success%ul/ the hostile sounds ha1e no e%%ects !ithin ; %eet o% the bard I% the sa1in( thro! %ails/ the bard's attempt is %ruitless and the hostile sounds ha1e their standard e%%ects Fapplicable sa1in( thro!s and other de%enses still applyG Counter sin(in( does not pre1ent hostile spellcasters %rom readin( scrolls/ usin( ma(ical item command !ords/ or castin( spells Fe1en spells !ith 1erbal componentsG Counter sin(in( does pre1ent all other hostile sounds %rom %unctionin(/ includin( spell e%%ects that re.uire the caster to speak Fe(/ command, +uest, suggeston, tongues/ etcG  egend ore) ne o% the most use%ul abilities o% the bard is his kno!led(e o% %amous ma(ical items and uncanny knack %or %i(urin( out ho! they %unction To per%orm le(end lore/ the bard must scrutiniDe the item closely This does not necessarily re.uire actually handlin( the item/ but it must be %ully 1isible to the bard Scrutiny takes 5d5 rounds/ a%ter !hich a percentile roll is made The bard has a 6L chance per le1el o% kno!in( somethin( about the item The e4a ct in%ormation re1ealed is up to the 0M The bard dra!s upon history/ rumors/ and clues based on the item's construction to (ain this in%ormation Typical in%ormation re1ealed includes the item's history/ maker/ name/ and other less technical aspects In%ormation such as the number o% pluses/ e4act command !ords/ etc/ are rarely learned This type o% speci%ic in%ormation is le%t %or spells/ such as dent(y, commune, lmted wsh/ and so on

& (ood optional rule is to (i1e some 1ery speci%ic in%ormation to the bard player i% the roll is e.ual to or less than the bard's le1el 3urthermore/ i% the roll is 5/ the bard should kno! almost e1erythin( there is to kno! about the item I% the 0M allo!s it/ the %ollo!in( table may be used as a %ast optional method to determine !hat is kno!n about an item that !as success%ully e4amined by a bard To use this table/ the bard must %irst succeed !ith the le(end lore percentile roll I% this roll succeeds/ the player should roll on the %ollo!in( table once per le1el o% the bard Results that come up more than once are not rerolled the bard simply kno!s a lot about this aspect o% the item &%ter rollin(/ (i1e the 0M some time to come up !ith a suitable  back(round and history 3e! items are detailed !ith this type o% in%ormation &%ter all/  bards tend to be more curious about the le(ends and lore that lie behind an item's po!ers than most others Table 52# *EE-0 *RE RES"*TS ;d? Roll

In%ormation ained

; Ho! many char(esNuses le%t < 6 ? @ A



hether item is intelli(ent hether items is cursedNe1il >alue on the open market -ame 3amous past o!ners

&(e o% item

5 55 52 5; 5< 56 5? 5@ 5A

hat race created it here it !as made ho cra%ted it &li(nment o% o!ners ho can use it eneral e%%ects Ho! to acti1ate it Item type Fas per DM! G *et player read DM! entry Secial %in!$ances'  -one

#la!e Secialt('  &ssassinNSpyNeapon Master )*alifications'  Blades must ha1e a 0e4terity o% 5; or more/ an Intelli(ence o% at least 5;/ and a Charisma o% 56 or more +nt$o!*ction' %o you want to know about Blades, eh- ell, keep out o( the way and * can show you about mysel( and those lke me. My name's Dark and *'m a Blade. * take my name (rom the black garb that * wear at all tmes. *'m actually not e/ceptonal n ths, as all Blades dress n dark clothng. But the name has stuck, and * lke t.

* currently work (or a small carn0al that tra0els around the md12lanaess, entertanng the local crowds and thrllng the women. My trcks are smlar to those o( most Blades. * per(orm sword dances, swallow sabers, put on weapon dsplays, and  per(orm (eats o( kn(e throwng. Most crowds are especally enthralled when * strap Tatanna, a young1lookng el( maden, to a wooden plank, blnd(old mysel(, step back 34  paces, then encrcle her body n a wall o( kn0es.  "ntertanng (ools s only my sur(ace career. #n the last day o( a per(ormance, a hal( do5en o( my (ellow per(ormers and * stage the real entertanment1at least (rom my  pont o( 0ew. e slp nto the upper class secton o( town and rele0e some pompous wealthy dupe o( hs (amly (ortune.  $lthough these 6sde shows6 are 0ery pro(table, they stll don't g0e me the old thrll that * used to get. Thus, *'0e turned to a more darng hobby1assassnaton. *'m not a 6Blade (or hre,6 and * absolutely hate those mndless, ruthless kllers. hat * do s (eel out a town to dsco0er who's oppressng the populace the most. #nce *'0e (ound the bggest bully n town, * slp nto hs resdence, spy on hm, and plan hs untmely demse. Then * per(orm my greatest solo act. * slp nto the (ellow's bedroom, poson hm, cast sound bubble , wake hm, and then share n hs last (ew moments o( l(e. Desc$ition'  Blades are master artisans !ith bladed !eapons E1er yone has seen a Blade in action at %airs and carni1als They are the kni%e thro!ers !ho pop balloons !hile blind%olded and s!allo! slender sabers such as those used by la!less pirates on the hi(h seas Blades also per%orm amaDin( displays o% !eapon skill and control as they %lash 1arious !eapons all about their bodies !ith d eadly precision riental Blades are perhaps the most skilled at this particular art %orm "sin( !eapons such as the three+piece rod/ nunchaku/ or the katana/ riental Blades put on amaDin( displays o% rapid !eapon mo1ement/ includin( o%%ensi1e and de%ensi1e spins/ katas/ and ritual dances ccidental Blades are also impressi1e/ as they rapidly spin short s!ords/ .uartersta1es/ or sickles about them Besides rapid displays o% !eapon skill/ Blades also per%orm slo!/ ele(ant dances/ in1ol1in( incredibly precise mo1ement and timin( These da nces include thrusts/ lun(es/ leaps/ (race%ul arcs/ etc I% there is a sho!y !ay to !ield/ thro!/ or per%orm !ith a !eapon/ a Blade kno!s ho! to do it better than anyone Role' Blades ha1e (reat reputations as the most dead ly !eapon masters in the land This is (enerally %ar %rom the truth &ny !arrior is more skilled than most Blades at success%ully attackin( opponents Blades don't understand o %%ensi1e and de%ensi1e !eapon maneu1ers/ nor do they kno! the locations o% 1ital body parts Blades can be e%%ecti1e in many combat situations/ ho!e1er/ as they use %lash and %lare to en hance their attacks Ima(ine !hat an orc !ould think i% it !as trapped in a ca1ern !ith only t!o e4its and a man blockin( each ne man Fa !arriorG !ears plate mail and is calmly holdin( a lon( s!ord the other Fa BladeG is dressed in solid black studded leather armor and is (raspin( a halberd Both men ad1ance upon the hapless orc/ but the Blade be(ins rotatin( his halberd in an e1er+.uickenin( o%%ensi1e spin/ demonstratin( master%ul control o% his !eapon hich opponent !ill the orc choose Blades are 1aluable aids to any party/ as their amaDin( displays can ha1e

si(ni%icant e%%ects upon the resol1e and morale o% opponents 3or e1ery Blade !ho leads an ad1enturous li%e/ there is another !ho ser1es in the role o% assassin Blades make per%ect killers/ as they kno! ho! to climb !alls/ cast !iDard spells/ and use any !eapon they choose 3urthermore/ Blades can use their  per%ormin( personae to (ather in%ormation and e1en (et themsel1es in1ited to per%orm !ithin the homes o% their 1ictims Secon!a$( Skills'  &rmorer/ Bo!yerN3letcher/ ambler/ eaponsmith Weaon P$oficiencies'  &t least hal% o% a Blade's !eapon pro%iciency slots must  be selected %rom the %ollo!in(# s!ord FanyG/ da((er/ kni%e Blades are also limited to e4pendin( but one slot on a purely missile !eapon Fone that cannot be used in melee combatG This does not include such !eapons as spears or hand a4es/ !hich can be thro!n or used in melee Non,eaon P$oficiencies'  Bonuses) Readin(Nritin( Fnati1e ton(ueG/ *ocal History/ Blind+%i(htin(/ ,u((lin( %uggested) Blacksmithin(/ Bo!yerN3letcher/ 0is(uise/ Poetry/ eaponsmithin( A$o$-E.*ient'  To complement their entertainment ima(e as mysterious and %earsome men/ Blades o%ten dress in black (arb/ e1en (oin( so %ar as to !ear masks/ %acial !raps/ or black head(ear Their !eapons are al!ays kept in per%ect condition and hi(hly polished %or ma4imum e%%ect durin( a per%ormance & man dressed in solid black/ %lashin( (leamin( sil1er blades/ is truly an a!esome si(ht Secial #enefits' eapons Dsplay) 3or this ability to ha1e an e%%ect/ the Blade must !hirl a non+ missile !eapon about his body The obser1er must be close enou(h to the Blade to see the display Fe.g., a darkness spell ne(ates the e%%ectG The display has no e%%ect upon those already en(a(ed in close combat/ as they are too busy to pay attention to the sho! &lso/ eapons 0isplay !orks only on those o% *o! F6G or better Intelli(ence/ !ho can either use !eapons or ha1e seen them used FIt is impossible to impress (reen slime by t!irlin( a da((er in your %in(ersG *ike!ise/ a hi(hly intelli(ent creature that has ne1er seen a !eapon used !ill also be unintimidated by the Blade's display By !hirlin( a melee or hurled !eapon about/ a Blade can a%%ect the morale and coura(e o% others Such a display o% skill/ precision/ and deadly (race lo!ers op ponents' morale by 2 Fbut it does not re.uire an immediate morale checkG and inspires allies/ (i1in( a 5 bonus to allies' attack rolls The display must occur %or a %ull round !ithout interruption 0urin( this time/ any success%ul attack upon the Blade/ or %ailed sa1in( thro! by the Blade/ disrupts the display eapons 0isplay may be used only once per encounter the display lasts %or one round per le1el o% the Blade This ability re.uires a lot o% room it cannot be done in a narro! corridor Speci%ically/ the Blade must be able to stand !ith his arms e4tended !hile holdin( out the !eapon and be able to mo1e his arms in all directions !ithout contactin( any obstructions  Handle eapon) Blades train and per%orm !ith !eapons in both hands <hou(h all thie1es are allo!ed to attack !ith t!o !eapons Fsee Chapter  o% the PHBG/ Blades su%%er no penalty to their main !eapon and only a +2 penalty to the attack roll !ith their secondary !eapon

Blades are considered to be ambide4trous They can shoot a bo! e.ually !ell !ith either their le%t or ri(ht hand/ they can !ield a s!ord in either hand/ and they can thro! da((ers !ith either hand+all !ith no penalties hen a Blade tries to catch small !eapons that are thro!n at him/ the attack roll Fsee the 7u((lin( pro%iciencyG is made usin( the Blade's le1el as a bonus Trck Throw) <hou(h this ability is called Jtrick thro!/J it %unctions the same %or   both missile !eapons and hurled !eapons Trick thro! enables a Blade to per%orm called shots Fas per Chapter  in the DM!G The usual +< attack roll penalty is lessened by 5 %or e1ery %i1e e4perience le1els o% the Blade Fround %ractions upG Thus 5st+ throu(h 6th+le1el Blades su%%er only a +; penalty/ ?th+ throu(h 5th+le1el Blades su%%er only a +2 penalty/ and so on Because Blades thro! !eapons blind%olded/ they e4tend the blind+%i(htin(  pro%iciency to include hurled !eapons and missile !eapons Fto a ma4imum ran(e o% ; %eetG  De(ens0e7#((ens0e %pn) 0e%ensi1e and o%%ensi1e spins are elements o% a (ood !eapon display They ha1e other uses as !ell & de%ensi1e spin is a specialiDed %orm o% parryin( Fsee Chapter  o% the PHB G in !hich the Blade !hirls his !eapon to create a deadly shell about his body & Blade may not attack durin( any round in !hich he is per%ormin( a de%ensi1e spin The Blade's &rmor Class is lo!ered by hal% the Blade's le1el Fround %ractions upG durin( this maneu1er In addition/ any creature that makes a melee attack on the Blade must roll a success%ul sa1in( thro! 1s paralyDation or su%%er dama(e e.ual to hal% the Blade's le1el Fround %ractions up the dama(e is limited to the !eapon's ma4imum dama(e/ includin( any bonuses o% the !eaponG & de%ensi1e spin may be used only once per combat it lasts %or a ma4imum number o% rounds e.ual to the Blade's Constitution & success%ul hit upon the Blade disrupts his concentration and ends the de%ensi1e spin &n o%%ensi1e spin is a much more threatenin( maneu1er The Blade creates a %earsome+lookin( display o% skill directed at a speci%ic opponent The spin must last %or the entire round/ durin( !hich the Blade does not attack Fnor does he recei1e any &rmor Class ad7ustment/ as he !ould %or a de%ensi1e spinG n the ne4t round/ the Blade makes a normal attack roll I% this hits/ the 1ictim must roll a success%ul morale check or it !ill try to stay at least ten %eet %rom the Blade F(oin( o%% to attack other members o% the Blade's party or %leein( in terror i% the Blade is the only a1ailable opponentG %%ensi1e spins may be attempted only once on a particular creature 3urthermore/ the Blade cannot ha1e been dama(ed by that creature prior to the o%%ensi1e spin attack Fa c reature !on't %ear someone it has already in7uredG This is a di%%icult condition to %ul%ill/ as the creature (ets a %ree round to attack !hile the Blade is the %irst round o% the o%%ensi1e spin %%ensi1e spins %unction only a(ainst creatures o% *o! F6G or better Intelli(ence I% the Blade's spin is interrupted Feither 1oluntarily or by a success%ul attackG/ the Blade does not (et an attack that round Secial %in!$ances'  "nlike many other bards/ Blades do not (ain the 5th+le1el ability to use all %orms o% !ritten ma(ical items Blades study !eapons/ not scrolls/ maps/ and books Notes'  <hou(h Blades do not recei1e a sin(le bonus to dama(e or attack rolls/ and they %i(ht as ro(ues/ they are still some o% the %lashiest combatants you'll e1er meet or play

Cha$latan Secialt(' TricksterNCon &rtist )*alifications' Standard ability scores Charlatans li1e o%% the %at o% the land/  bendin( all the rules and hoppin( throu(h loopholes in the la! It is completely a(ainst the personality o% the Charlatan to be la!%ul Charlatans are limited to -/ -/ -E/ or Cali(nments nomes may become Charlatans and ad1ance up to ?th le1el +nt$o!*ction'  My real name s Tel, but most o( the (ools who (all nto my traps call me Tor. * know e/actly how to get what * want (rom others. "specally those who are o0ercon(dent, weak, or emotonal.  People o(ten bele0e what they want to bele0e, and * take ad0antage o( ths. * know how to swndle these smple1mnded (ools and make them (eel good about t.  * ha0e many dsguses wth whch to cloak my act0tes. My (a0orte s that o( a clerc o( Tyr. #( course, none o( my ruses has e0er been unco0ered, and t's a good thng. There's a sayng) 6There are two types o( Charlatans1those who are good and those who are dead.6   * usually don't stay n one place (or 0ery long8 t's not sa(e. By the tme the poor  (ool *'0e trcked has (gured out what happened, *'m long gone. #nce, * agreed to watch o0er the castle o( a good 6(rend,6 the rapacous %r 9ohn o( Canters, whle he went o(( on a +uest. * sold the castle and made o(( wth all the loot be(ore he returned. 2or now, * am per(ormng sleght1o(1hand trcks (or mere pocket cons untl * meet another 6(rend.6 Perhaps tomorrow * wll be a power(ul mage or a war hero.  * thr0e n ctes and towns where 0ctms are plent(ul and easy to manpulate.  ately, * ha0e been consderng the possblty o( posng as a the(. hy- %o * can accompany a party o( ad0entures n a +uest and collect my 6share6 o( the treasure. Desc$ition'  Charlatans are masters at manipulatin( people "sin( their hi(h Intelli(ence and understandin( o% human nature/ Charlatans prey upon the %oolish/ o1ercon%ident/ and (reedy people around them Charlatans o%ten seem bold and boisterous/ but they al!ays maintain sel%+control The pro%ession o% s!indlin( others and makin( them %eel (ood about it is an a(e+old  practice and none are better at it than Charlatans The Charlatan's pro%ession has its do!nside/ too hen a Charlatan's %acade is  pierced/ he is in (ra1e dan(er/ %or no one likes to be conned Then the Charlatan's .uick %eet may ser1e him better than his .uick !it Role'  Charlatans are !anderers They (o %rom to!n to to!n/ s!itchin( %rom one identity to another/ al!ays a step ahead o% the last person they s!indled In lar(e cities/ Charlatans may be able to li1e out most o% their li1es mo1in( %rom one .uarter to the ne4t hen times are tou(h and no (reat con comes to mind/ Charlatans sometimes  per%orm slei(ht+o%+hand tricks 7ust to (et by Charlatans also ha1e a knack %or ac.uirin(  7obs that allo! them to blu%% their !ay throu(h each day Charlatans can sometimes be %ound mas.ueradin( as priests/ healers/ sa(es/ diplomats/ po!er%ul ma(es/ and retired heroes &s player characters/ Charlatans are most use%ul in to!n+based campai(ns or

!hen tra1elin( across inhabited country Their talents o%ten support the entire party !ith %ood/ shelter/ and minor lu4uries "n%ortunately/ many o% their talents ha1e little use !hen e4plorin( ruins or !ilderness areas Ho!e1er/ they o%ten pose as !iDards/ !arriors/ thie1es/ and sometimes e1en priests &s -PCs/ Charlatans really come into their o!n Secon!a$( Skills'  Charlatans can ha1e any secondary skill Ho!e1er/ !ell o1er hal% o% all Charlatans are (amblers/ 7e!elers/ or limnerNpainters/ %or these skills help %ill their coin purses in lean times Weaon P$oficiencies'  Charlatans must take da((er/ short s!ord/ or lon( s!ord as one o% their initial !eapon pro%iciencies/ as these !eapons are used in so many roles that they shouldn't be passed o1er &t least e1ery second !eapon pro%iciency (ained must  be one o% these three until they are all selected & Charlatan selects the rest o% his !eapons to %ill the needs o% 1arious roles 3or e4ample/ i% Charlatan decides to mas.uerade as a po!er%ul !arrior/ he arms himsel% !ith a hea1y combat !eapon Fa t!o+handed s!ord/ polearm/ lon( bo!/ or a battle a4eG and spends a pro%iciency slot learnin( it This !ay he can appear to be a skilled and tou(h %i(hter The Charlatan al!ays uses his pro%icient !eapon in dire situations I% an encounter is less threatenin(/ the Charlatan uses one o% the other !eapons so as to appear to be a !ell+rounded %i(hter Fthe +; non+pro%iciency penalty is easier to hide !hen attackin( monsters !ith poor &rmor ClassesG Non,eaon P$oficiencies'  Bonuses) &ctin(/ 0is(uise/ 3or(ery/ amin( %uggested) &ppraisin(/ &strolo(y/ Healin(/ Herbalism/ ,u((lin(/ Readin( *ips/ Reli(ion/ Rope "se/ Sin(in(/ >entrilo.uism A$o$-E.*ient'  & Charlatan is allo!ed to !ear any type o% armor i% a role re.uires it Thus/ a Charlatan mas.ueradin( as a pa ladin can !ear plate mail and carry a shield But a Charlatan is a %inesse character hea 1y/ bulky armor (oes a(ainst the (rain o% his personality -o Charlatan !ill maintain a role that re.uires him to !ear non+bard armor %or more than a %e! !eeks Secial #enefits' Charm) Charlatans are a!are o% their uni.ue charm and %lair They ha1e learned to use this (i%t to s!ay the reactions o% others Ho!e1er/ such charm must be care%ully tailored to a speci%ic audience Charlatans can a%%ect only a small (roup o% people/ no lar(er in number than their current le1el To be charmed/ a (roup must be in a1era(e to hi(h spirits F8ou can't charm a merchant !ho's 7ust been robbedG The Charlatan must min(le amon( the intended (roup and chat %or at least 5d5 rounds &%ter this time/ those in the (roup roll a sa1in( thro! 1s paralyDation !ith a penalty o% +5 per three le1els o% the Charlatan Those !ho succeed are unimpressed !ith the Charlatan and may e1en %ind him to be an irritation I% they succeed on a natural 2/ they see throu(h the Charlatan's %acade Those !ho %ail ha1e been cau(ht up in the Charlatan's tales and %ind him to be a most remarkable person The e%%ects o% the charm are identical to the !iDard spell o% the same name Ho!e1er/ it is not ma(ical in any !a y/ and %uture sa1in( thro!s are not made  based on Intelli(ence and time Rather/ e1ery time the Charlatan stresses the relationship+  by callin( %or a %a1or/ or re.uestin( delicate in%ormation+the paralyDation sa1in( thro! is rerolled The 0M can (i1e bonuses or penalties dependin( on ho! much stress the re.uest puts on the relationship  Mas+uerade) The ability o% mas.ueradin( re.uires much study/ time/ and e%%ort

on the part o% the Charlatan This enables a Charlatan to appear to h a1e a speci%ic skill This is not a dis(uise/ as the pro%iciency o% that name Rather/ it is the ability to appear  pro%icient at the chosen skill The character picks up the lan(ua(e F'buDD !ords'G/  pro%essional mannerisms/ and (eneral techni.ues to help him in his endea1or "nlike the True Bard/ the Charlatan only appears to be a 7ack+o%+all trades He does not study skills to use them/ but %or the sake o% connin( others into belie1in( he has them The use o% this ability is resol1ed by the 0M in much the same manner as an illusion spell I% the per%ormance is not o1erly suspicious and the characters !atchin( ha1e no reason to disbelie1e the bard's ability/ then the attempt appears (enuine ther!ise/ a sa1in( thro! 1s paralyDation is rolled !ith a +5 penalty per three le1els o% the Charlatan Those !ho succeed realiDe that the Charlatan is a %raud & Charlatan can use his mas.uerade ability to %ake any non!eapon pro%iciency or secondary skill 3urthermore/ i% the Charlatan rolls a success%ul Intelli(ence check !ith a +5 penalty/ he actually %unctions as i% he really kno!s the skill or pro%iciency F%or this one check onlyG Thus/ a Charlatan can actually succeed 7ust enou(h to keep skeptics satis%ied 3or e4ample/ i% Tiel is mas.ueradin( as a cleric/ she can claim to kn o! the healin( pro%iciency e1en thou(h she doesn't really ha1e it "nless those she heals are suspicious/ they !ill belie1e that the attempts are (enuine Fi% they are suspicious/ roll as described t!o para(raphs prior to this oneG 3irst Tiel's player rolls an Intelli(ence check !ith a +5 penalty I% that roll succeeds/ she ne4t rolls a healin( pro%iciency check I% this check also succeeds/ the patient is healed o% 5d; points o% dama(e I% the Intelli(ence check %ails/ e1eryone !atchin( rolls a sa1in( thro! 1s paralyDation F!ith a +5 pena lty per  three le1els o% the CharlatanG to notice that the Charlatan is a %raud I% the Intelli(ence check succeeds but the healin( check %ails/ the patient and onlookers notice only that a 1alid attempt !as made but it 7ust didn't help Each time Tiel mas.uerades as a healer/ an Intelli(ence check is rolled !ith a +5  penalty I% the check succeeds/ a success%ul healin( pro%iciency check !ill actually heal 5d; points o% dama(e  Detect 2akery) Because Charlatans are so skilled at %akin( the ir personalities/ lyin(/ and concealin( their %eelin(s and reactions/ they can see ri(ht throu(h %alse  personae and 1erbal trickery !hen others attempt them &s the old sayin( (oes/ J8ou can't con a con manJ &ny time a Charlatan player re.uests it/ he can try to de termine i% someone is lyin(/ operatin( under %alse pretenses Fincludin( a mas.ueradeG/ or s!indlin( him & Charisma check is rolled Success means the Charlatan realiDes the deception 3urthermore/ a Charisma check !ith a +5 penalty enables the Charlatan to determine a person's ali(nment This re.uires that the Charlatan speak !ith and obser1e the indi1idual %or 5d5 rounds %wndlng) Ma7or cons/ such as dupin( a kin( into belie1in( that you are a hi(hly respected sa(e/ dra!in( him into your inner con%idence/ and then relie1in( him o% the cro!n 7e!els/ should be done only throu(h role+playin( Ho!e1er/ Charlatans hone such skills by constantly per%ormin( minor s!indles and tricks These are %ar too numerous and insi(ni%icant to role+play e1ery time S!indlin( co1ers this aspect o% a Charlatan's skill repertoire By per%ormin( 1arious cons/ slei(ht+o%+hand/ and other deceptions/ a Charlatan is

o%ten able to !alk a!ay %rom a merchant !ith %ar more than a %air deal The same is true o% any common outlay o% coins/ such as buyin( meals at a ta1ern/ payin( %or a room at an inn/ and purchasin( ordinary items In instances like these/ the Charlatan makes a p ick  pockets roll I% success%ul/ the cost o% the item is reduced to the percenta(e rolled this is !hat the Charlatan pays I% the roll %ails b y more than the Charlatan's Charisma/ the con is seen throu(h S!indle rolls abo1e 6 are al!ays detected by the 1ictim 3or e4ample/ Tiel tries to s!indle a barkeeper %or a 5+(p (lass o% imported !ine FTiel has only si4 (old coins le%tG Tiel's pick pockets roll is a 6; and she has a Charisma o% 5? She rolls a 26 and s!indles her !ay into payin( only t!o (old and one electrum %or the !ine F26L o% the ori(inal costG I% she had rolled a 6<+? the barkeeper !ould ha1e noticed the error and politely re.uested the remainder o% the money n a @ or abo1e the barkeeper !ould not only ha1e noticed the error/ but he !ould ha1e realiDed that Tiel tried to s!indle him F!ith unpleasant conse.uences %or TielG S!indlin( rolls should not be used %or amounts in e4cess o% 5 (p per le1el o% the Charlatan Such (rand s!indles re.uire %ull role+playin( Secial %in!$ances'  -one

Gallant Secialt('  Romantic arrior Fca1alierG )*alifications'  Standard ability scores allants cannot be neu tral e1il Most allants are neutral (ood +nt$o!*ction'  (e as a !allant- ell, take t (rom me, %r !ladel, that l(e and lo0e are one and the same. * and my s+ure, Thorp, ha0e been tra0elng the Dale ands  snce we met some (our years ago. $lways * am enrched by the charmng young lades * encounter. Between them and the nnocent chldren, * don't see how any man can clam that we l0e n e0l tmes.  2or the past se0en months *'0e been (ollowng the :oustng crcut establshed by hs royal hghness, Duke Mark o( !unwar ;eep. *t's been a splendd round o( competton. %o (ar *'0e only won three o( my 4< matches, but nearly two do5en o( the  (arer se/ wll whsper my name (or years to come, (or * ha0e entranced them wth my honest charm and pure heart. Un(ortunately, there are (ew men le(t these days who bele0e n lo0e (or lo0e's  sake, who protect the nnocent, and who str0e (or moral purty. "0en paladns are too caught up n ther own rghteousness to l0e l(e properly.  *t seems that no one real5es that happness s the goal o( l(e. nnng and losng s unmportant. $ll that matters s that you are happy and that your actons do not depr0e others o( happness. Desc$ition'  There is no character as pure and romantic as the allant He tra1els the lands on the !in(s o% romance and true lo1e/ stealin( the hearts o% the youn( and li(htenin( the spirits o% the elderly & allant seems to be blessed !ith a (race and charm not (i1en to others o% his race allants are o%ten mistaken %or paladins or ca1aliers They dress and act much like heroic !arriors But they are not dri1en by blood lust or the desire to slay monsters %or the sake o% destroyin( e1il allants are romantics at heart They de%end beauty/

innocence/ and lo1e 8et the !ays o% lo1e and romance cause many a %amous allant to end his li%e in tra(edy Shakespeare's Romeo !ould be such a allant Role'  allants tra1el the lands in search o% beauty and true lo1e Their romantic outlook is such that they can al!ays ima(ine a purer li%e 7ust o1er the ne4t rid(e Thus/ they ne1er stay in one place %or lon( Because o% this/ most allants o!n a horse to tra1el the lands The pastime o% many allants is the medie1al tournament Here the skills o%  7oustin(/ duelin(/ archery/ and other combat practices are honed Such tournaments dra! cro!ds o% youn( men and !omen be%ore !hich the allants may per%orm <hou(h the !arrior classes usually !in these tournaments/ allants o%ten !in the hearts o% the onlookers and steal the day's (lory a!ay %rom the 1ictorious !arriors % course/ this causes a lot o% %riction bet!een allants and 7ealous !arriors hen a allant (oes on an ad1enture/ it is likely the result o% some promise to a %air maiden/ to retrie1e an item o% beauty and lo1e/ or %or some other romantic cause In these situations/ the allant adopts the role o% a heroic %i(hter and char(es %or!ard re(ardless o% the dan(ers that lie ahead Secon!a$( Skills'  & allant should pick his secondary skill %rom one o% the %ollo!in(# &rmorer/ Bo!yerN3letcher/ room/ Hunter/ *eather orker/ eaponsmith Weaon P$oficiencies'  allants must select the 7oustin( lance %or use in tournaments Bein( the romantic %i(hters that they are/ it is important that allants al!ays keep their !eapons in per%ect order and !ell polished Non,eaon P$oficiencies'  Bonuses) 0ancin(/ Eti.uette/ *an(ua(es F&ncientG/ Poetry %uggested) &nimal Trainin(/ &rmorer/ &rtistic &bility/ Blacksmithin(/ Blind+ %i(htin(/ Bo!yerN3letcher/ *an(ua(es FModernG/ *eather!orkin(/ Musical Instrument/ Ridin( F*and+BasedG/ Readin(Nritin(/ Sin(in(/ eaponsmithin( A$o$-E.*ient'  allants are allo!ed to !ear any %orm o% armor/ e1en those not normally allo!ed to the core bard Ho!e1er/ allants are more interested in .uality and appearance than in the armor's actual protection They !ill don a ( leamin( suit o% chain mail instead o% a dented suit o% plate mail & suit o% studded leather =3 is more appealin( to them than the (leamin( chain/ but padded leather => is e1en better Fie/ the  bi((er the ma(ical bonus the better/ re(ardless o% the armor typeG Ho!e1er/ o% all %orms o% armor/ el1en chain mail is most priDed by the allant The same lo(ic holds true %or all o% their e.uipment Secial #enefits'  "ssence o( Purty) Because allants are so in%used !ith lo1e/ beauty/ and the aspirations o% a romantic/ they seem to han( onto li%e !hen others !ould allo! it to slip a!ay Thus/ allants (ain a bonus o% 5 hit point each le1el Fin addition to any Constitution bonusesG 3urthermore/ i% a allant %ails a sa1in( thro! that !ill result in his death/ the sa1in( thro! is rerolled %or a second chance E1en !hen a allant is slain/ he does not immediately drop o1er dead Rather/ he lin(ers on lon( enou(h to recite one %inal tra(ic poem %or those !ho !ill listen I% the allant is slain in combat !hile de%endin( lo1e/ innocence/ or beauty Fincludin( members o% the opposite se4G/ the allant han(s on and %i(hts %or another 5d< rounds or until struck %or additional dama(e e.ual to his le1el Then he recites his poem and dies The Code o( the !allant) allants all li1e by a code o% ethics that has slo!ly

e1ol1ed o1er the years I% a allant is true to this code/ he (ains an inner con%idence and  peace that results in a 2 bonus that can be applied to either his attack roll/ dama(e roll/ &rmor Class/ or sa1in( thro! each round 0 urin( the round/ the allant player may decide to use the 2 bonus at any time be%ore rollin( the dice that !ill be ad7usted nce the bonus is used in a round/ it is not a1ailable a(ain until ne4t round The bonus cannot  be split into t!o 5 modi%iers I% a allant breaks this code/ he loses the 2 bonus until the in%raction is remedied 3urther/ he must seek out a priest !ho !ill listen to his trans(ressions and cast atonement upon him Fsuch priests !ill o%ten re.uire some %orm o % penanceG The Co!e of the Gallant

The allant !ill   de%end lo1ers/ the innocent/ and those o% the opposite se4 and aid them in times o% need Funless they are enemies or hostileG  ne1er marry nor solemnly 1o! to lo1e only one person  ne1er retreat %rom combat until allies o% the opposite se4 ha1e done so %irst Funless they are %ello! allantsG  ne1er o1erstay his !elcome at any place  spend at least hal% o% his money on the innocent or romance  o!n only !hat he can carry !ith him  &omantc $ppeal) The romantic appeal o% a allant is so stron( that non+hostile encounter reactions are ad7usted one le1el in a more %riendly direction unless a success%ul sa1in( thro! 1s paralyDation is rolled !ith a +5 penalty per three le1els o% the allant Ho!e1er/ i% the encounter includes mi4ed (enders/ those o% the same se4 as the allant !ill actually be ad7usted one le1el in the opposite direction i% they succeed on their sa1in( thro! Fas 7ealousy rears its u(ly headG  Poetc Charm) & allant !ho directs his attention to one person o% the opposite se4 can attempt to !in that person's heart This re.uires the allant to per%orm many subtle acts o% !it and charm &mon( these acts must be the recital o% at least one poem concernin( the person The entire e%%ort takes a minimum o% 5d5  turns/ a%ter !hich the  person rolls a sa1in( thro! 1s paralyDation !ith a +5 penalty per three le1els o% the allant 3ailure means that the person is a%%ected as i% the allant cast a charm spell on him or her The e%%ect is not ma(ical and doesn't !ear o%% o1er time/ unless the allant e4ploits or treats the person badly Each such abuse results in another sa1in( thro! bein( rolled to break the allant's charm The 0un(eo n Master may apply ad7ustments based on the situation 3or e4ample/ i% a allant asks a princess to tell him !here the kin('s treasure is hidden/ she !ill (ain a sa1in( thro! ad7usted by the de(ree o% loyalty she has to her %ather Strikin( the princess Fsomethin( (reatly out o% character %or a allantG to (ain this in%ormation is likely to result in at least a 6 bonus to break %ree o% the allant's charm Secial %in!$ances' & allant is a !anderer !ho ne1er builds a stron(hold -or does he attract %ollo!ers at th le1el &t 6th le1el/ ho!e1er/ a allant (ains a s.uire Fa 5st+le1el %i(hterG This s.uire is absolutely de1oted to the allant/ maintains his

e.uipment in top order/ and accompanies him on all o% his .uests I% a allant's s.uire is slain/ a ne! s.uire arri1es as soon as the allant ac.uires t!o more e4perience le1els

G(s("ba$! Secialt('  0anceNInstrumentsNSin(in( )*alifications'  Standard ability scores ypsy+bards cannot be la!%ul neutral El1es can become ypsy+bards able to ad1ance to the th le1el +nt$o!*ction'  *'m known as Madrame, and *'m a !ypsy lady. #h, *'m not what most people would call a typcal !ypsy. thn the socety o( gypses, there are many d((erent types o( nd0duals. * am what s known as a !ypsy1bard, per(ormng1!ypsy, or dancng1grl.  * tra0el wth my (ather's cara0an, per(ormng (or the locals o( a regon as we pass through. hen *'m not sngng and dancng (or the outsders, * o(ten entertan those o( my cara0an n the e0enng hours. There s nothng as lo0ely as spendng an e0enng among my own knd, dancng, sngng, and en:oyng the company o( those who understand the world.  ke all !ypses, * real5e that humans, el0es, dwar0es, and others were meant to lead l0es o( nner dsco0ery, peace(ul :oy, and assocaton wth nature. * know that many  people dstrust !ypses, callng us the0es and worse. Ths occurs because we !ypses are msunderstood. #ur bele(s are so pure and so natural that they are hard (or outsders to understand.  2or e/ample, as a !ypsy, * understand that ownershp o( an tem e/sts only so long as the tem s not gnored or (orgotten. *( * lay down my magcal dagger, walk away, and one o( my brothers should (nd t, the dagger s then hs. *( * want t back * must trade hm somethng n e/change.  How can anyone clam to own somethng that they aren't usng or aren't holdnghat g0es a kng the rght to say that he owns the land o( a country- The land was there be(ore he or hs (amly e0er l0ed, and t wll be there long a(ter they are all dead.  kewse, how can a (armer clam that he owns the sheep that (eed upon the land- These  sheep e/st because they eat the (rut o( the land, and the land belongs to no one. The ways o( outsders are 0ery odd ndeed. e !ypses are a peace(ul (olk who wsh only to tra0el upon the good earth, laugh, sng, and l0e the ways o( l(e. Desc$ition'  This kit de%ines the role o% the bard in ypsy li%e ypsies can be treated as a coherent society or as any (roup !ith a nomadic li%estyle ypsies are o%ten called J%orest nomadsJ They tra1el the lands in cara1ans comprisin( carts/ !a(ons/ horses/ and the ypsy %olk These people are !ell kno!n %or their stran(e ypsy music and dances Some cara1ans sur1i1e by entertainin( the communities they encounter -ot all (ypsies are bards the ypsy+bard is only one type o% character that %ills the ranks o% a ypsy band ypsy !ays are stran(e to others and poorly understood by most They do not reco(niDe the e4istence o% pri1ate property The %ruits o% the land belon( to all I% there is not enou(h to (o around/ it is easy enou(h to pack the !a(ons and mo1e alon( *ike!ise/ ypsies use only !hat they need and do not seek !ealth or possessions %or their o!n

sake/ or %or the in%luence or po!er that they brin( They do not ha1e a kin( or .ueen/ althou(h sometimes they !ill lay claim to these titles to (ain ad1anta(e in barterin( F!hen outsiders belie1e this/ the ypsies take it as proo% o% their (ullibility and stupidityG ypsy+bards ha1e an entire collection o% uncon1entional concepts that make up their philosophy o% li%e# ypsy+bards are %ree thinkers 3or e4ample/ many do not marry/ seekin( companionship only %or as lon( as both parties a(ree to the arran(ement ypsy+bards lo1e nature Many ypsy+bards don't !orship deities Falthou(h certain deities may look o1er themG Instead/ they !orship the concepts o% nature/ %ree !ill/ and li%e ypsy+bards dra! their ener(ies %rom their %ree !ill/ their brethren/ and %rom their natural surroundin(s & ypsy+bard is loyal to and protects his %riends/ but %riendship must be earned/ and it is not (ained easily Possession and o!nership are the same Money is useless unless it brin(s you pleasure trade is a better %orm o% commerce 8ou should al!ays dress and act naturally and com%ortably The ri(id customs and belie%s o% non+ypsies are %oolish and should be i(nored nly a %ello! ypsy truly understands the ypsy !ay o% li%e thers !ron(ly classi%y ypsies as thie1es/ be((ars/ carni1al people/ nomads/ or any number o% other erroneous names I% a label must be used/ the most accurate is J%ree+menJ Role'  ypsy+bards !ander the land/ e4periencin( li%e as they (o They tra1el until they %ind somethin( o% interest# a beauti%ul (lade/ a n interestin( 1illa(e/ an audience to sin( and dance be%ore/ or someone !ho !ants to trade !ith them Then they establish a temporary camp and remain until their need to see more o% the !orld o1erpo!ers their desire to stay &n ad1enturin( ypsy+bard may be on a personal .uest to locate some special animal or %lo!er %or the Jypsy .ueen/J or he could simply be out to e4perience the (reat !onders that appear alon( the ad1enturin( path In any e1ent/ a ypsy+bard al!ays has a  purpose and philosophy to his ad1enturin(/ e1en i% it is Jto !ander %or the sake o% !anderin(J Secon!a$( Skills'  3orester/ ambler/ room/ Hunter/ ,e!eler/ TeamsterN3rei(hter/ TraderNBarterer Weaon P$oficiencies'  ypsy+bards must take either da((er or kni%e/ and their %irst s!ord Fi% any is e1er takenG must be either the khopesh or scimitar ypsy+bards cannot become pro%icient in the %ollo!in( !eapons# battle a4e/ lance FanyG/ polearm FanyG/ trident/ t!o+handed s!ord/ bastard s!ord/ or !arhammer &ll other !eapons are a1ailable to them Non,eaon P$oficiencies'  Bonuses) 0ancin(/ 0irection Sense/ *an(ua(es Fmodern+ypsyG/ Musical Instrument Ftambourine/ 1iolin/ mandolinG %uggested) &ncient History/ &strolo(y/ Cookin(/ Cra%t Instrument/ 0is(uise/ 3ire+Buildin(/ amin(/ Herbalism/ Huntin(/ ,u((lin(/ Sin(in(/ Spellcra%t/ Sur1i1al/ Trackin(/ >entrilo.uism/ eather Sense A$o$-E.*ient'  ypsy+bards can !ear only leather/ padded/ studded leather/ hide/ or el1en chain mail The other types are too noisy/ bulky/ and are considered to be

impure and unnatural Both male and %emale ypsy+bards lo1e to !ear (audy 7e!elry Their (arments are typically loose+%ittin( and com%ortable Secial #enefits'  $nmal &apport) ypsy+bards are nearly druidical in their ability to associate !ith animals They automatically (ain the pro%iciencies o% animal handlin(/ animal lore/ animal trainin(/ and ridin( Fland+basedG 3urthermore/ their trainin( and ridin( skills e4tend to any animal !ith !hich they become %amiliar &t 6th/ 5th and 56th le1els/ ypsy+bards (ain the ability to cause certain spell+ like e%%ects/ each once per day &t 6th le1el/ they are able to cause the e%%ects o%anmal  (rendshp by speakin( kindly in the secret lan(ua(e o% their o!n Fypsy dialectG &t 5th le1el/ they can concentrate and (ain the bene%its o% a locate anmals or plants spell 3inally/ at 56th le1el/ they (ain the speak wth anmals ability  $llure o( the !ypses) Certain ypsy son(s and dances are 1ery allurin( and can ha1e po!er%ul in%luences o1er those !ho !illin(ly listen or take part 3or such  per%ormances to %unction/ a (roup o% at least three ypsy+bards must be per%ormin( to(ether/ or the audience must be !illin(ly participatin( These per%ormances take at least 5d5 turns The e%%ect o% such per%ormances can  be identical to any one spell o% the enchantmentNcharm school Fas determined by the danceG Ho!e1er/ at least one o% the main pe r%ormers must be hi(h enou(h le1el to cast the spell It is not re.uired that the per%ormer ha1e the spell memoriDed/ but he must ha1e  personal kno!led(e o% it Fin his spell books roll a success%ul Jchance to learn spellJ checkG The spell ran(e/ duration/ and other e%%ects that 1ary by caster le1el are determined by the eli(ible per%ormer's le1el/ as i% he actually cast the desired spell  2ortune Tellng) By usin( any ma(ical item suited %or scryin( or di1inin( the %uture/ such as a crystal ball  or medallon o( "%P / a ypsy+bard can (ain the bene%its o% an augury spell Each day/ the ypsy+bard can ask one .uestion per %i1e le1els o% e4perience Frounded upG -ote that ypsy+bards can e1en tell %ortunes by usin( ma(ical scryin( items that are not other!ise usable by them 3or e4ample/ crystal balls are usable only by !iDards/ and not e1en a ypsy+bard can (ain the typical bene%its o% the ball Ho!e1er/ by lookin( into one and concentratin(/ a ypsy+bard can ask one augury ++style yesNno .uestion per %i1e le1els/ durin( that day Besides items suited %or scryin( and di1inin( the %uture/ ypsy+bards are able to  per%orm the same %eat !ith a deck o( many thngs &dditionally/ !hen a deck o( many thngs is used by the ypsy+bard %or this purpose/ the cards turned ne1er a%%ect him %or (ood or bad 0ra!in( the 1oid or the don7on card !ill not cause the deck to 1anish Ho!e1er/ the deck still %unctions normally !hen used %or purposes other than the au(ury  Psoncs) &n unusually lar(e number o% ypsy+bards are psionic I% the optional  psionics rules are used Fsee The Complete Psoncs Handbook G/ all player character ypsy+bards should be !ild talent psionics Psionic talents are determined b y !hate1er method the 0M pre%ers Secial %in!$ances'  & ypsy+bard's climb !alls ability !orks best !hen climbin( trees They are not skilled at climbin( cli%%s/ buildin( !alls/ or ca1e !alls they su%%er a 26L penalty !hen scalin( these sur%aces

%e$al! Secialt('  *in(uistNrator )*alifications' Standard ability scores 0emihumans can become Heralds o% up to ?th le1el +nt$o!*ction'  Hello, my name s Bard, 9ames Bard, and *'m a Herald workng  (or Hs Ma:esty, the kng.  My dutes are o( the utmost mportance to the kng and to the contnued 0talty o( the kngdom, (or * am secretly n charge o( the ;ng's pr0ate men1at1arms and personal bodyguards. *( the kng's l(e s n danger, * am responsble (or ensurng hs sa(ety.  My publc mage s one o( party1goer, lades' man, and general royal busybody. *  (re+uent all the best partes n town. The kng o(ten ensures that * am n0ted. $t these  (unctons, * meet mportant people and use my (antastc communcaton sklls and ntellect to unco0er potental plots aganst the throne. hen *'m not partyng, the publc (nds me at the castle gate. hen a party comes to the castle, * use my knowledge to dent(y ther Herald or banner and call out ther name, such as) 6Duke $menga and entourage (rom Castle Peledge.6 Ths s a use(ul  ser0ce, but my real purpose s to dent(y these 0stors, assess ther potental threat to the kng, and act accordngly.  "nough talk, * must be o(( to chat wth that strange1lookng man enterng the  gates o0er there. Desc$ition'  Heralds make their li1in( by unco1erin( hidden truths I% a royal %amily has a closely (uarded secret/ a Herald !ill undoubtedly disco1er it In the stru((le %or land and po!er amon( kin(doms/ the Herald is a key %orce & (ood Herald kno!s !ho is plottin( a(ainst his kin( and !hy Heralds are con%ident and !ell+1ersed in matters o% social eti.uette They o%ten (ather their in%ormation at royal e1ents/ such as b alls and other celebrations They are o%ten mistaken %or nobility thus/ they can easily make their !ay past (uards Heralds dress in the latest and most e4pensi1e %ashions o% the day They pre%er silk and bri(ht colors Members o% the opposite se4 are o%ten attracted to Heralds by their sel%+con%ident manner and sli(ht arro(ance ne thin( is certain/ Heralds are some o% the most competent communicators around They can speak doDens o% lan(ua(es/ understand sophisticated !ords/ locate a  person's home 1illa(e by his dialect/ and can read almost e1erythin( they (et their hands on Role'  There are t!o types o% Heralds ne tra1els %rom place to place/ relatin( current e1ents across the land They sell their tales o% tra1el and the ne!s they learn to those !ho !ill listen Most medie1al commoners cannot read or !rite/ so it is up to such Heralds to relate local e1ents The other type o% Herald secretly ser1es a kin( It is the royal Herald's duty to unco1er plots a(ainst the kin( and royal %amily The royal Herald is .uick !itted and %ast talkin( Heralds o% this stature o%ten ha1e a reputation that precedes them They are reco(niDed and %eared by their %oes Thus/ they must occasionally deal !ith assassination attempts at incon1enient times F%or instance/ a delayed blast (reball  under the bedG Royal courts o%ten employ them to preside o1er 7oustin( tournaments/ announce the arri1al o% important %orei(n en1oys/ and %or personal cou nsel

Heralds turn to the ad1enturin( li%e %or se1eral reasons Primary amon( them are the %antastic stories that can be related %rom such 1entures J-e!sJ has a 1ery broad meanin( in the campai(n !orld/ and tales o% a darin( band o% heroes bra1in( unkno!n horrors not only .uali%ies/ but o%ten dra!s a lar(er cro!d than local (ossip The royal Herald mi(ht be sent by his kin( on an underco1er %act+%indin( mission+%or instance/ to in1esti(ate a rumor that Qhentil )eep is secretly %undin( an orc uprisin( in the south %ten/ a Herald's communication skills !ill pro1e in1aluable on such .uests Secon!a$( Skills'  room/ Hunter/ ,e!eler/ *imnerNPainter/ Scribe Weaon P$oficiencies'  Heralds are not restricted in this area Non,eaon P$oficiencies'  Bonuses) Eti.uette/ Heraldry/ *ocal History/ Readin(Nritin( %uggested) *an(ua(es Fancient or modernG/ Musical Instrument Fhorn %amilyG &t least hal% o% a Herald's non!eapon pro%iciencies must be spent in learnin( lan(ua(es A$o$-E.*ient'  Standard Secial #enefits'  *dent(y &umors) Heralds are al!ays a!are o% their surroundin(s and ha1e picked up the skills necessary to stay atop local e1ents &ny time rumors are (enerated %or player  characters/ Heralds learn t!ice as many as a normal character Heralds are also able to determine the 1alidity o% a rumor & Charisma check is rolled i% it succeeds/ the Herald kno!s !hether the rumor is true or %alse E1en i% a rumor table isn't included in a (i1en ad1enture/ the 0un(eon Master should make up at least one rumor per three le1els o% the Herald and in%orm him o% the rumors at the ad1enture's onset  ocal ore) &%ter snoopin( about an inhabited area/ a Herald is able to learn !ho the important people are/ !hat most o% the buildin(s are used %or/ the .uality o% certain establishments/ etc It takes a Herald one day per 5/ inhabitants to (ain a (ood in%ormation base % course/ a Herald could concentrate on a speci%ic .uarter o% to!n or nei(hborhood and accomplish the task much %aster nce a Herald is done scoutin(/ he can recall the name o% an important o%%icial i% he rolls a success%ul Intelli(ence check I% the check is success%ul !ith a +2 penalty/ he can identi%y the person on si(ht This roll can also be used i% the Herald pla yer !ants to kno! other local lore/ such as !here to (o %or the best %ood in to!n/ !hat nei(hborhoods are dan(erous at ni(ht/ !hat time the city !atch rotates/ or !hich local sa(e is said to be most reliable I% the check is a 2/ the Herald belie1es he kno!s the desired in%ormation/  but the 0un(eon Master actually makes up some %alse tale %or the player This ability must be care%ully 7ud(ed by the 0un(eon Master Penalties should be applied based upon the in%ormation's local si(ni%icance It is unlikely that a Herald !ill kno! the name o% a typical citiDen in a lar(e city Fa +5 penalty mi(ht be appropriateG Ho!e1er/ the name o% the kin('s horse is likely a !ell+kno!n %act Fno penaltyG  Basal Communcaton) &s stated abo1e/ Heralds are master lin(uists In %act/ they can o%ten communicate !ith races that are o% lo! Intelli(ence or better and ha1e a spoken lan(ua(e/ e1en i% the Herald does not speak that lan(ua(e The Herald incorporates bits and pieces o% %undamental root lan(ua(es/ certain uni1ersal (estures/ and common e4pressions to (et his meanin( across 3or the Herald to per%orm such di%%icult communication/ the JlistenerJ must be !ithin ten %eet/ clearl y 1isible/ and there must be no distractions Fincludin( combatG

Success is determined by succeedin( !ith a read lan(ua(es roll Fe1en thou(h the communication is rarely in !ritten %ormG & separate roll is needed to send or recei1e ideas Thus/ it is possible %or a Herald to understand a bein(/ but be unable to communicate his o!n ideas For 1ice 1ersaG  Persuade Crowd) & Herald can a%%ect the mood o% a cro!d by tellin( them true For sli(htly alteredG local rumors and ne!s The Herald must be able to speak the cro!d's lan(ua(e to use this ability To determine a cro!d's mood or opinion on a (i1en topic/ use Table 6 in the DM!  &%ter 5d5 minutes/ those listenin( to the Herald's !ords are allo!ed a sa1in( thro! 1s paralyDation/ !ith a +5 penalty per three le1els o% the Herald Those !ho %ail ha1e their reactions ad7usted one le1el in %a1or o% the Herald's opinion Those !ho succeed ha1e their reactions ad7usted one le1el in the opposite direction & Herald could attempt to persuade a cro!d not to eat at the Skinned 0o( Ta1ern until dra(on e((s are back on the menu/ to cast stones at the cruel teamster Tornack/ or to (o and plunder the local (ranaries % course/ reactions can be altered only one le1el by this method 3or e4ample/ i% e1eryone is indi%%erent to the %act that Tornack !hips his horses cruelly/ the Herald !ill at most persuade them to be cautious about usin( the teamster's !a(ons to haul their (oods Secial %in!$ances'  -one

/este$ Secialt('  PantomimeN&ctin(N0ancin(N,okes )*alifications'  Standard ability scores/ e4cept that 0e4terity must be at least 5< ,esters must be o% any chaotic ali(nment/ since no mind attuned to la! and order could  possibly sustain such an odd personality nomes may ad1ance to 56th le1el as ,esters/ !hile hal%lin(s cannot rise abo1e Ath le1el +nt$o!*ction'  My name s Margold the Mrth(ul, and * am proud to be called a  9ester, (or * am one o( the greatest (ools n all the kngdom. Beng a (ool s not all bad, (or  who else can poke (un at the most power(ul people around wthout meetng the gallows or worse *ndeed, * lead the per(ect l(e. The kng puts me up n a (antastc lttle room at the top o( the "ast Tower. hen the mornng sun comes through my lttle wndow, * rse and don my charmng gear. Then * sprng and dance down the >?1(oot1long spral starcase to the man hall. $ll the whle, my costume b ells are :nglng and * can hear the moans and  groans as the court wakes (rom my passng. e/t, * tumble down all the castle's halls and  awaken the rest o( the royal patrons. Unless there are (oregn en0oys to be entertaned at noon, * am o(( untl e0enng. *  wander about, keepng the young (olk happy and (eedng the chckens and the castle's two war dogs. Then * usually (nd a com(ortable wllow tree and le down (or a short nap.  Most e0enngs, the kng n0tes me n to entertan hm, hs (amly, and hs guests. *  dance about, act (oolsh, :uggle a bt, per(orm some mnor acrobatcs, pretend to get burnt by the (replace, and tell :okes that * made up whle lyng under the wllow tree. %o you see, * l0e n the kng's castle and actually do lttle or no work. hat a lucky l(e@ #( course, the real (un occurs when (oregners arr0e. * always make sure they

lea0e the kng's court wth (ewer goods than they came n wth. * would hate to see them lug all that gold, sl0er, and :ewelry clear back to ther homelands. Desc$ition'  ,esters are kno!n by many names# %ools/ clo!ns/ 7okers/ bu%%oons/ etc The ,ester kit co1ers them all ,esters are comedians at h eart They lo1e to ha1e a (ood time and en7oy sharin( their mirth and merriment !ith others Fe1en !hen they aren't !elcomedG Most people en7oy ha1in( a ,ester about/ as they raise morale/ entertain/ and make (reat scape(oats !hen problems arise ,esters are %lamboyant/ outra(eous/ and ridiculous Many sa(es belie1e that ,esters li1e in a constant state o% borderline insanity It is kno!n that they li1e %or attention and %eel rela4ed only !hen they are the %ocus o% e1ents Role'  ,esters are o%ten hired by noblemen %or entertainment They dance/ prance/ and 7ump about !hile the more ci1iliDed look on and lau(h at the %ools More o%ten than not/ these noblemen are payin( the price %or their entertainment/ as the ,ester is liable to make o%% !ith a piece o% (old %or e1ery lau(h he hears ther ,esters ser1e as clo!ns in tra1elin( carni1als or circuses &nd o% course e1ery community has its local %ool ,esters rarely take up the ad1enturin( li%e FPC ,esters are the ob1ious e4ceptionsG Their moti1ations %or doin( so !ill ha1e to be care%ully constructed to maintain realism & ,ester may be sentenced to escort a (roup o% heroes on a dan(erous .uest as  punishment %or a 7oke about the kin('s nose Fthro!in( him in 7ail !ould hardly be appropriateG & ,ester mi(ht be assi(ned to accompany a band on a (rim and deadly ad1enture/ to combat the (loom and dread that !ill be encountered hate1er the reason/ ha1in( a ,ester in the party !ill certainly result in more than one (ood lau(h Secon!a$( Skills'  &ny Weaon P$oficiencies'  ,esters spend most o% their li1es entertainin( others by  playin( the role o% a %ool or clo!n *ar(e !eapons do not %it into this role Thus ,esters may become pro%icient only in the blo!(un/ hand crossbo!/ da((er/ dart/ hand a4e/  7a1elin/ kni%e/ .uartersta%%/ scour(e/ slin(/ short s!ord/ and !hip Non,eaon P$oficiencies'  Bonuses) &ctin(/ 0ancin(/ ,u((lin(/ Tumblin( %uggested) Cro!d orkin(/ 0is(uise/ ,umpin(/ Musical Instrument/ Poetry/ Sin(in(/ >entrilo.uism A$o$-E.*ient'  ,esters may !ear only the %ollo!in( types o% armor# leather/  padded/ studded leather/ or el1en chain mail ther types o% armor do not %it the ima(e o% %ools ,esters almost al!ays act and dress in the most outlandish manner E1en !hen dan(er is imminent/ ,esters still hop around in their %lashy suits !ith tassels and %oppish hats Secial #enefits'  2ool's uck) It is amaDin( to most that ,esters can sur1i1e in any situation They are careless/ %oolish/ and (i1en to !himsical decisions It is %ool's luck that has sa1ed many a ,ester's li%e ,esters recei1e a 5 bonus F6L on percentile rollsG to most die rolls This includes sa1in( thro!s/ initiati1e/ surprise/ pro%iciency checks/ thie% skill checks/ ability checks/ and ability sub+checks Fe.g / bend barsNli%t (ates/ resurrection sur1i1al/ and so onG The %ool's luck also adds a 5 bonus to the ,ester's &rmor Class &bout the only die rolls that the %ool's luck ability doesn't a%%ect are attack rolls/ dama(e rolls/ initial character (eneration rolls/ and Hit 0ie rolls

 9estng) ,estin( is the art o% pro7ectin( meanin( and mood throu(h the use o% body motions By 7estin( For (esturin(G/ a ,ester may communicate a sin(le sentence each round to anyone !ho rolls a success%ul isdom check !ith a +6 penalty Such communication is totally silent and does not rely up on a shared lan(ua(e The ,ester must use his entire body %or the communication thus/ he must be %ully 1isible and !ithin ; %eet %or communication to take place ,estin( may be done to taunt or tease Such 7estin( a%%ects only those !ho are !ithin ; %eet o% the ,ester and !ho are able to %ully 1ie! him This %orm o% 7estin( causes those bein( 7ested at to roll a sa1in( thro! 1s paralyDation/ !ith a +5 penalty per three le1els o% the ,ester Those !ho %ail must immediately try to physically strike the ,ester %or as lon( as the 7estin( continues The e%%ect ends !hen the 7estin( ends Combat strate(y is i(nored by those !ho are a%%ected They recklessly pass by more dan(erous tar(ets in an attempt to attack the ,ester ,estin( is thus a !onder%ul !ay to break the ranks o% enemy %orces  9okng) The practice o% creatin( and tellin( 7okes has been ele1ated to an art %orm  by the ,ester this skill can be used %or many special purposes ,okes are told in an attempt to alter encounter reactions 3or any %orm o% 7oke to %unction/ the ,ester must speak a lan(ua(e kno!n by the recipient o% the 7oke 3urthermore/ the ,ester must be !ithin easy 1erbal ran(e o% the recipient Such 7okes re.uire 5d5 rounds to tell/ a%ter !hich the audience must roll a sa1in( thro! 1s paralyDation !ith a +5 penalty per three le1els o% the ,ester Those !ho %ail ha1e their reactions ad7usted one le1el in the direction desired by the ,ester Ho!e1er/ those !ho succeed take the 7oke the !ron( !ay and ha1e their reactions ad7usted one le1el in the opposite direction 3inally/ a 7oke told at 7ust the ri(ht moment can dispel the e%%ects o% %ear Such a  7oke re.uires a round to tell and enables all those a%%ected by %ear Fnormal or ma(icalG to roll a second sa1in( thro! to a1oid the %ear Fnote that those a%%ected by the %ear do not immediately run a!ay/ but remain until the 7oke is toldG I% no %irst sa1in( thro! !as allo!ed/ then the sa1in( thro! is rolled 1s spell  $ 9ester's Mnd) ,esters are immune to attacks that cause insanity ,esters also (ain a sa1in( thro! bonus e.ual to their le1el 1s !iDard spells o% the enchantmentNcharm school and priest spells o% the charm sphere F& sa1in( thro! o% 5 al!ays %ails/ ho!e1erG 3urthermore/ any attempt to read a ,ester's mind has a percenta(e chance e.ual to the ,ester's le1el o% causin( con%usion in the mind reader Ftreat as i% under the e%%ect o% a con%usion spellG Secial %in!$ances'  -one Notes'  ,esters can be a lot o% %un i% properly played !ith the ri(ht (amin( (roup Ho!e1er/ this character kit can be de1astatin( to an o1erly serious campai(n It is stron(ly su((ested that both 0Ms and players discuss the rami%ications o% the kit and ho! it !ill %it into the (ame i% allo!ed

/ongle*$ Secialt('  ,u((lerN&crobat )*alifications'  ,on(leurs must ha1e a 0e4terity o% 5< or more Fother ability

scores/ standardG nomes can ad1ance to the th le1el as ,on(leurs Hal%lin(s can attain 52th le1el +nt$o!*ction' Aes, * am a 9ongleur. My stage name s 9onclaur the 9ongleur, and that wll do (or now. * tra0el across the 2lanaess wth a small carn0al band. * bele0e  you ha0e already met one o( my companons, Dark. He's good wth kn0es and swords, but hs personalty matches hs name a lttle too much (or me. hen our troupe puts on a show, * tend to draw the largest and most consstent audence. *n partcular, (amles and 0llage the0es en:oy watchng my act. 2amles watch because my :ugglng, pole 0aultng, acrobatcs, and tghtrope walkng ama5es them and occasonally (lls them wth concern when my act looks partcularly ha5ardous. The the0es come to study my actons. Many the0es can pole 0ault, walk tghtropes, and per(orm 0arous (eats o( acrobatcs, but none ha0e my skll. *n a way, t's a (orm o( research (or them.  $nd t s true, though * hate to admt t, that my talents are occasonally put to less1than1honorable uses. #n one o( the last (ew d ays o( our show, a large part o( our troupe o(ten stages some comple/ burglary. My sklls are o(ten n0aluable. * can 0ault across moats or nto upper story wndows that are protected by walls coated wth contact   poson. *( a manson s guarded by dogs, * use a crossbow to (re a lne (rom a nearby buldng, then walk across t. #( course, * rarely keep my share o( ths booty. *nstead, * usually donate t to the local orphanage or poorhouse. ell, nce chattng wth you, but * must get back. My second act s about to begn. Desc$ition' ,on(leurs are loosely based upon the 3rench entertainers o% the same name They are masters at manipulatin( small items !ith their hands They can catch and 7u((le almost anythin( n top o% this they are skilled acrobats/ able to tra1erse ti(htropes/ turn %lips/ pole1ault/ and per%orm any number o% acrobatic %eats Their a(ility  pro1ides them !ith (reat de%ensi1e resources Role'  &s entertainers/ most ,on(leurs are typically %ound accompanyin( carni1als or circuses & troupe o% ,on(leurs can put on a remarkable sho! all by themsel1es They o%ten per%orm in ta1erns or clubs/ usin( their arts to dra! in the cro!d and capti1ate them lon( enou(h %or the barkeeper Fas !ell as the ,on(leursG to drain the cro!d's purses % course/ a %e! %ree+lancers !ork the streets out o% ( reed or need ,on(leurs are use%ul ad1enturin( allies their skills are in1aluable !hen the (oin( (ets tou(h They are able to s.ueeDe into places !here nobody else can (o !ithout the aid o% ma(ic 3inally/ their skill at a1oidin( certain traps makes them e4cellent scouts Secon!a$( Skills'  &ny Weaon P$oficiencies'  ,on(leurs can use all hurled !eapons & hurled !eapon is any !eapon that can be thro!n Fthis does not include bo!s/ blo!(uns/ or other missile !eapons that are %ired or shotG ther!ise/ ,on(leurs are restricted to the %ollo!in( !eapons# polearms/ .uartersta%%/ slin(/ sta%% slin(/ and !hip &ll o% these !eapons can be used in their per%ormances 3or e4ample/ they can 7u((le da((ers/ pole 1ault !ith  polearms/ and balance !ith spears or .uartersta1es Non,eaon P$oficiencies'  Bonuses) ,u((lin(/ ,umpin(/ Ti(htrope alkin(/ Tumblin( %uggested) 0irection Sense/ Endurance/ Poetry/ Rope "se/ Runnin( A$o$-E.*ient'  I% a ,on(leur !ears any type o% armor other than leather/ studded leather/ padded/ or el1en chain mail/ he cannot use any o% the %ollo!in( special  bene%its &ll other %orms o% armor are simply too restricti1e or bulky %or the ,on(leur to

 properly per%orm ,on(leurs tend to dress in rather %lashy colors Ho!e1er/ they don't take this to the e4tremes that ,esters do They a1oid lar(e capes/ robes/ and other (arments that can catch or tan(le durin( mo1ement % course/ this does not mean that a ,on(leur is (oin( to !ear a %lamin( red suit that sparkles in the dimmest o% li(hts !hen e4plorin( ancient ruins They pre%er %lash and %an%are/ but they aren't stupid Secial #enefits'  "/tended Pro(cences) Because ,on(leurs are e4tremely skilled at all %orms o%  7u((lin( and acrobatics/ they (ain certain special bene%its to their bonus pro%iciencies ,u((lin(# The ,on(leur adds his le1el to the attack roll !hen tryin( to catch small items Missile or hurled !eapons too lar(e to catch can be de%lected by usin( the 7u((lin(  pro%iciency ,umpin(# The ,on(leur doubles his le1el %or all 7umpin( calculations The character can use poles up to 2 %eet lon(er than himsel% >aults can be made !ith a 56+%oot run The pole need not be dropped i% a second  pro%iciency check is success%ul Ti(htrope alkin(# &ll penalties are hal1ed/ droppin( %ractions F.e/ +6 %or one+inch sur%aces/ +2 %or t!o+ to si4+inch sur%aces/ and +2 attack roll penaltyG "se o% a balancin( rod pro1ides a < bonus   Tumblin(# The < &rmor Class bonus applies durin( any round in !hich initiati1e is !on/ e1en i% the ,on(leur opts to attack later that round  -o pro%iciency check is re.uired to reduce %allin( dama(e Ho!e1er/ a success%ul  pro%iciency check doubles the %allin( distances F.e/ no dama(e up to 2 %eet and only hal% dama(e up to 52 %eetG  Dodge) ,on(leurs are amaDin(ly a(ile and ha1e 1ery .uick re%le4es This enables them to 7ump %ree o% many potentially harm%ul situations i% a success%ul sa1in( thro! 1s  paralyDation is rolled The only bonus allo!ed to the sa1e is the de%ensi1e bonus %or hi(h 0e4terity I% the attempted dod(e %ails/ the ,on(leur su%%ers the %ull e%%ects o% the dan(er -o other sa1in( thro! can be rolled to a1oid the threat/ as the dod(e takes the place o% all other sa1in( thro!s The bene%it o% dod(in( is that all harm is completely a1oided/ !hereas many success%ul sa1in( thro!s result in hal% dama(e % course/ the ,on(leur  player can opt to skip the dod(e attempt in %a1or o% any normally allo!ed sa1in( thro!s 0od(in( does not a%%ect missile !eapons or hurled !eapons/ personal spells Fthose that a%%ect only one personG directed speci%ically at the ,on( leur/ or spells that ha1e no physical e%%ect to dod(e Fsuch as hold person G Situations that can be a1oided include %alls Finto pits/ throu(h illusionary %loors/

do!n slidin( stair!ays traps/ etcG/ bein( struck %rom abo1e Fby ceilin( blocks/ rocks/  piercers/ collapses/ etcG/ area+e%%ect spells that can be dod(ed Flghtnng bolt, web,  (reball, etcG/ and any other situation that the 0un(eon Master %eels could be a1oided by a sudden a(ile leap Fpossibly breath !eaponsG % course/ i% a 7ump to sa%ety is impossible/ the ,on(leur cannot attempt a dod(e -ote that ,on(leurs are also able to climb !alls and mi(ht a1oid certain situations by clin(in( to a !all  "ntertan Crowd) By 7u((lin(/ per%ormin( %lips/ or displayin( his acrobatic talents/ a ,on(leur can in%luence the reactions o% an audience This ability is similar to the True Bard's in%luence reactions ability &s !ith that ability/ the cro!d cannot be attackin( or about to attack The ,on(leur must per%orm %or 5d5 rounds/ a%ter !hich all non+player characters 1ie!in( the  per%ormance must roll sa1in( thro!s 1s paralyDation Fsplit lar(e audiences into (roups o%  5 and roll one sa1in( thro! %or each (roupG The sa1in( thro! is rolled !ith a +5 penalty  per three le1els o% the bard Fround do!nG Those %ailin( ha1e their reactions ad7usted one le1el in a more %riendly direction/ as per Table 6 in the DM!  "nlike True Bards/ ,on(leurs cannot attempt to !orsen the reactions o% a cro!d Fit is 1ery di%%icult to 7u((le or !alk a ti(htrope in an o%%ensi1e mannerG Ho!e1er/ i% the cro!d sa1es !ith a natural 5/ the onlookers disappro1e o% the ,on(leur and their reactions actually !orsen by one le1el Secial %in!$ances'  ,on(leurs do not (ain the 5th+le1el ability to use any !ritten ma(ical item

0o$easte$ Secialt('  ChroniclerNHistorian )*alifications'  *ore masters must ha1e an Intelli(ence and isdom o% 5< or more Fother ability scores are standardG El1es can ad1an ce up to 52th le1el as *ore masters +nt$o!*ction' Aou want to know about hstory, lost c0l5atons, and other  (ascnatng topcs- ell, let me ntroduce mysel(, *'m $shlan, a gray el( and sel(1  proclamed ore master.  * guess *'0e been porng o0er old tomes, e/plorng ancent runs, and searchng  (or lost c0l5atons (or the past 3? years or so. $nd *'0e learned many mportant thngs.  Dd you know that, n ages past, the entre nland plans were co0ered wth a 0ast (orest o( pnon and pne trees- Humans were scarce back then and el0es ruled the land. #h, that must ha0e been a beaut(ul tme@ Then there came the great gobln wars, when all  goblnknd rose up n anger a(ter beng pushed (ar below ground. They were lead by Trogundak, perhaps the largest and most e0l troll shaman who e0er l0ed.  But * (orget mysel(. Aou want to know about me and not the past. ell, *'m called a recluse by most o( the 0llagers around here. Ths s actually (ar (rom the truth. * lo0e  people, all people. * lo0e to study about ther past hstory n an attempt to understand them better than they understand themsel0es. Th en * try to teach them about ther past and educate them so they won't commt the mstakes o( ther (ore(athers all o0er agan.  * guess * do seem a bt odd to the a0erage soul, seeng as how *'m always pokng around cemeteres, old churches, runs, and pr0ate lbrares. Most people can't (gure

me out. %ome thnk *'m a clerc, others bele0e me to be a smple hermt, and there are those who call me sage or w5ard. *t s true that * can speak o0er hal( a do5en languages, but *'m :ust a ore master, that's all.  &emember, study your past8 t can be the most power(ul tool you ha0e. Desc$ition'  *ore masters are romantically entranced by the past They belie1e in the circular nature o% history and relate the lessons o% ancient times to the problems o% the  present to help (uide their people alon( the path to the %uture &s *ore masters proceed throu(h li%e/ they record the e1ents o% their o!n times %or posterity *ore masters lo1e to relate the lessons o% history to those !ho !ill listen Ho!e1er/ they are o%ten 1ie!ed as bein( more reclusi1e and eccentric than !iDards Their preoccupation !ith old tomes/ arcane lore/ ancient lan(ua(es/ and lost ci1iliDations dominates their li1es/ !hen they aren't puttin( on an oratorical per%ormance 3rom their research/ *ore masters (ain uni.ue !isdom and insi(ht/ allo!in( them to identi%y certain ma(ical items/ understand ancient !ritin(s and lan(ua(es/ ( ain special bene%its in the arcane lore o% ma(ic/ and incite cro!ds to action Role'  There is a %ine line bet!een *ore master and sa(e So %ine that many *ore masters call themsel1es sa(es and are rarely .uestioned about it Ho!e1er/ true sa(es are kno!led(e specialists !ho concentrate their e%%orts into masterin( a speci%ic %ield such as mushrooms/ el1en s!ords/ and so on *ore masters are %ond o% any aspect o% history that makes a (ood story Many *ore masters are tra1elers !ho !ander the lands searchin( %or (reat historical tales and %acts to relate to cro!ds In order to (ain the substance o% their tales/ *ore masters o%ten take up ad1enturin( "nlike many other ad1enturers/ *ore masters are not simply seekin( (old or ma(ic Rather/ they are searchin( %or a ne! le(end or tale *ore masters are the %irst to open old tomes/ read the runes on passa(e !alls/ and record the (eneral e1ents o% an ad1enture Secon!a$( Skills'  *imnerNPainter/ -a1i(ator/ Scribe Fbetter than a third o% all *ore masters are scribesG Weaon P$oficiencies'  0ue to their (reat interest in kno!led(e and their concentration on the past/ *ore masters bother to learn only the li(htest and simplest o% !eapons They are limited to selectin( !eapon pro%iciencies %or blo!(un/ da((er/ dart/ hand crossbo!/ kni%e/ .uartersta%%/ slin(/ and sta%% slin( Non,eaon P$oficiencies'  Bonuses) &ncient History/ *an(ua(es FancientG/  -a1i(ation/ Readin(Nritin( %uggested) &nimal *ore/ &rtistic &bility/ &strolo(y/ 0irection Sense/ En(ineerin(/ Eti.uette/ Heraldry/ *an(ua(es FmodernG/ *ocal History/ Musical Instrument/ Reli(ion/ Spellcra%t/ eather Sense A$o$-E.*ient'  *ore masters spend their time studyin( arcane tomes and ancient ci1iliDations They do not bother to practice the use o% hea1y armor Thus *ore masters can use only leather armor *ore masters (enerally dress and act much like !iDards Secial #enefits'  egend ore) *ore masters (ain the same le(end lore ability as True Bards This ability !orks in similar %ashion/ !ith the %ollo!in( e4ception# &ll o% the optional rules su((ested %or the True Bard's le(end lore ability are re.uired %or the *ore master  $rcane ore) Throu(h their de1oted study o% the past/ *ore masters come across numerous te4ts on the arcane lore o% ma(ic They read all o% these/ hopin( that some

(reat tale !ill be unco1ered *ore masters e1entually (ain a %undamental understandin( o% many stran(e ma(ical items not normally usable by the bard class Thus/ *ore masters can attempt to use any ma(ical item & isdom check is rolled i% it is success%ul/ the *ore master success%ully uses the ma(ical item in .uestion This does not mean that the *ore master %ully understands the operation o% the item/ only that his attempt to use it in this particular !ay is success%ul *ore masters also pore o1er scrolls and spell books !hene1 er they (et the chance This enhances their understandin( o% ma(ical spells so much that they memoriDe and cast spells as i% they !ere one le1el hi(her Thus/ a 5st+le1el *ore master casts spells the same !ay as a 2nd+le1el True Bard  Persuason) "sually *ore masters recite their collections o% historical %ables and le(ends to a cro!d simply to entertain and educate <hou(h these oral per%ormances are !onder%ul to hear/ they do not necessarily ha1e an y direct impact upon the cro!d hen a *ore master !ishes to a%%ect the mood or actions o% an audience/ he uses his (reat skills o% 1erbal persuasion/ oratory/ and rhetoric He mi(ht relate the le(end o% the horrible massacre o% Tothar )eep by liDard men in an attempt to incite the cro!d to hate and despise liDard men "sin( such persuasion takes at least 5d5 rounds &ll !ho are listenin( to and c an understand the *ore master must roll a sa1in( thro! 1s paralyDation !ith a +5 penalty %or  e1ery three le1els o% the *ore master Those !ho %ail ha1e their reactions ad7usted one le1el up or do!n Fas desired by the *ore masterG Those !ho succeed are not inspired by the tale/ and those %e! !ho roll a natural 2 stron(ly disa(ree !ith the tale and ha1e their  reactions ad7usted one le1el in the opposite direction  "tymology) *ore masters can make their read lan(ua(es attempt t!ice i% the lan(ua(e in .uestion is an ancient one Fa lan(ua(e no lon(er spokenG They can also use their read lan(ua(es ability to decipher runes/ (lyphs/ picto(rams/ ideo(rams/ or any other %orm o% ancient 1isual communication E1en thou(h a *ore master cannot be pro%icient in a ne!ly encountered ancient lan(ua(e/ i% he makes his &ncient *an(ua(es pro%iciency check/ he understands the  basics o% the ancient lan(ua(e Elementary use o% the lan(ua(e is (ained/ allo!in( %or !ritten or e1en spoken communication at one+tenth the normal rate Secial %in!$ances'  -one

1eiste$singe$ Secialt(' Pied PiperN&nimal Charmer )*alifications'  Standard ability scores El1es can become Meistersin(ers and reach 56th le1el +nt$o!*ction' elcome to !reat ood. My name s %hellana and * wll be  gudng you through ths beaut(ul (orest. *'0e l0ed here (or as long as * can remember.  My (ather s a ranger who patrols the (orest and my mother mantans a small cottage (or  us all.  My dearest (rends are %mbom, a red barn owl, and Moshma, a :et black  panther. They accompany me where0er * go. $nd where s that- ell, * don't really ha0e a  :ob as most people would de(ne t. * o(ten help the rangers who patrol the !reat ood.

They are concerned wth the securty o( some k ngdom or other and want to keep the  (orest (ree o( spes and e0l monsters. * help them by reportng any strange people or creatures * encounter.  But my real goal s to keep the (orest and ts anmals sa(e (rom the encroachment o( 6c0l5aton.6 !reedy (urrers and loggers and waste(ul tra0elers are my enemes. * ha0e (reed countless anmals (rom l0e traps, ha0e broken numerous loggng saws, and ha0e scared o(( se0eral do5en cty (olk ths year.  * secretly work wth the druds. Together we ha0e kept the (orest and ts creatures relat0ely sa(e (rom harm. But our :obs grow more and more d((cult as new 0llages keep  poppng up near the (orest's edge. $nd wth that sad, * must go and plant some more trees be(ore %mbom eats all o( my nuts. Desc$ition'  Meistersin(ers !ander the !oodlands/ mountains/ and deserts/ seekin( out those !ho !ill listen to their son(s "n like other bards/ Meistersin(ers rarely  per%orm %or humankind They tailor their music to the tunes o% nature Their audiences are the birds/ the bees/ and the behemoths Meistersin(ers ha1e !andered unsettled lands since the da!n o% mankind *oremasters tell tales about ho! the ancient dryads and nymphs !ould %ind lost human children and teach them the !ays o% the %orest thers !ere taken in by druids 1er the years/ these children o% nature ha1e e1ol1ed into a de%inable class o% character++the Meistersin(er hether these tales are true or not/ Meistersin(ers do e4ist The concerns o% Meistersin(ers center around nature/ especially an imals *a!%ul neutral/ true neutral/ and chaotic neutral Meistersin(ers see themsel1es as one !ith nature Falthou(h each 1ie!s the structure o% nature di%%erentlyG They protect animals as humans  protect those o% their society -eutral (ood Meistersin(ers look upon animals as innocent children !ho should be isolated and protected %rom the harsh and uncarin( realms o% ci1iliDation -eutral e1il Meistersin(ers see animals as sub7ects to be controlled and e4ploited They use animals as some lords use sla1es True neutral Meistersin(ers are closest to druids in the !ay they look upon animals Role'  Meistersin(ers are the mortal enemies o% ruthless and pro%iteerin( hunters/ trappers/ and %ishermen They belie1e such acti1ities should occur only !hen the (ame is needed %or sur1i1al and no part o% the animal is !asted 3orests/ deserts/ and mountains are the typical arena %or the ad1enturin( Meistersin(er Rarely does a Meistersin(er ad1enture any !here unless animals are someho! in1ol1ed++as mounts/ as companions/ or perhaps as capti1es !ho need to be set %ree Secon!a$( Skills'  3armer/ 3orester/ room/ Hunter/ TeamsterN3rei(hter/ TrapperN3urrier Weaon P$oficiencies'  The %ollo!in( !eapons are %orbidden to the Meistersin(er# harpoon/ lances/ mancatcher/ polearms/ and trident &s a hunter and !oodsman/ a Meistersin(er must maintain a 1ariety o% !eapons# those that are purely %or melee/ those that are purely missile !eapons/ and those that ca n  be used in both melee and missile combat Fhurled !eaponsG &t 5st le1el/ a Meistersin(er must select one melee and one missile !eapon Each additional !eapon pro%iciency slot must be spent in the %ollo!in( repetiti1e se.uence# hurled/ melee/ missile Non,eaon P$oficiencies'  Bonuses) &nimal *ore/ Musical Instrument/ Sin(in(/ Sur1i1al %uggested) &(riculture/ &nimal Trainin(/ Blacksmithin(/ Cra%t Instrument/

0ancin(/ 0irection Sense/ 3ire+Buildin(/ 3ishin(/ Herbalism/ Huntin(/ Mountaineerin(/ Ridin( FairborneG/ Ridin( Fland+basedG/ Rope "se/ Set Snares/ S!immin(/ Trackin(/ eather Sense A$o$-E.*ient'  Standard Secial #enefits' %ong o( Companonshp) &t 5st/ 6th/ and 5th le1els/ a Meistersin(er can play the Son( o% Companionship/ !hich lasts %or 2d52 hours The 0M and player should select si4 naturally occurrin( !ild animals Fnot domesticated or %antasy+basedG appropriate to the current terrain & d? is then rolled an d the selected animal emer(es %rom the nearby !oods or o1er the ne4t hill The animal is a %aith%ul companion to the Meistersin(er %rom that day on!ard The Meistersin(er and animal can communicate simple thou(hts and desires Such communication must be in the %orm o% music or son( by the Meistersin(er/ and a (ro!l/ ca!/ hiss/ or some other appropriate sound by the animal thers cannot understand the communication The companion has hit points e.ual to those o% the Meistersin(er at his current le1el The companion's hit points do not increase as the Meistersin(er rises in le1el The companion (ained at 5st le1el should be tiny or small Fas per the JSiDeJ entry in the Monstrous Compenda G The animal trans%ers its primary sensory po!er onto the Meistersin(er This is much like the (nd (amlar  spell/ but it is not identical and does not take the place o% that spell The 6th+le1el companion should be small or medium in siDe The Meistersin(er (ains the ability to polymorph his arms and head into those o% this companion/ %or  purposes o% unarmed combat &ttacks are made usin( the Meis ter sin(er's TH&C/ but success%ul attacks cause dama(e e.ual to that o% the animal's natural !eaponry The Meis ter sin(er also recei1es multiple attacks/ i% the animal is entitled to the m The 5th+le1el companion should be medium or lar(e The Meistersin(er (ains the ability to shape change Fas the th+le1el !iDard spellG into this companion's %orm once per day & Meistersin(er's companions are his best %riends I% one is slain/ the mental strain o% the loss %orces the Meistersin(er to roll a success%ul system shock check or die F*ike!ise/ i% the Meistersin(er is slain/ the companion animals must roll system shock checks/ at AL  5L per hit dieG I% the check is success%ul/ the Meistersin(er (oes into deep mournin( %or 55 days/ durin( !hich he does not ad1enture & Meistersin(er can call %or one replacement companion each time he ad1ances in le1el Fhe is not re.uired to call %or a replacementG The replacement is the sa me siDe as the lost companion and con%ers the same abilities upon the Meistersin(er %ong o( %ancton) This son( en1elops the Meistersin(er/ creatin( a nearly ma(ical  barrier o% (ood !ill around him &ny attackin( animal or monster must roll a sa1in( thro! 1s paralyDation !ith a +5 penalty per three le1els o% the Meistersin(er or i(nore the Meistersin(er and those !ithin one %oot per le1el o% him %or as lon( as the son( is played The e%%ect o% the son( is ended i% the Meistersin(er attempts to mo1e or i% anyone in the  protected area attacks Fincludin( o%%ensi1e spell useG  $nmal Charm) Meistersin(ers kno! a number o% son(s that ha1e special charm+ like e%%ects upon animals Fincludin( (iant animalsG I% the Meistersin(er concentrates/ he can attempt to charm one animal !ithin 1ie!

 by his sin(in( nly an animal o% Hit 0ice e.ual to or less than the Meistersin(er's le1el can be a%%ected 3urthermore/ the total Hit 0ice o% all such charmed animals accompanyin( the Meistersin(er cannot e4ceed t!ice the Meistersin(er's le1el The son( takes 5d5 rounds/ but the animal is held temporarily spellbound durin( the per%ormance/ as lon( as no hostile ad1ances are made upon it by the Meistersin(er or his allies &%ter 5d5 rounds/ the monster rolls a sa1in( thro! 1s paralyDation !ith a +5  penalty per three le1els o% the Meistersin(er I% it %ails/ it is under the e%%ects o% a charm spell I% it succeeds/ it is una%%ected and acts normally I% the roll !as a natural 2/ the animal is enra(ed and immediately attacks the Meistersin(er  *n(luence &eactons) Meistersin(ers can attempt to in%luence the reactions o% animals that aren't attackin( and that allo! the Meistersin(er to play %or them This ability is handled e4actly as the True Bard's in%luence reactions ability Fe4cept that it a%%ects only animalsG %pecal Hndrances) Meistersin(ers do not (ain %ollo!ers/ nor do they bu ild typical stron(holds Their animal companions ser1e as their %ollo!ers/ and they tend to  build se1eral small cotta(es or huts throu(hout the lands they patrol

Ri!!leaste$ Secialt('  RiddlerNIntellect )*alifications'  Riddlemasters must ha1e an Intelli(ence o% 56 or more Their other ability scores are standard nomes can rise to become Ath+le1el Riddlemasters Hal%lin(s can ad1ance up to th le1el +nt$o!*ction' Aes, * am &etean, the &ddlemaster, mastermnd o( engmas and  games. * can sol0e any rddle and complete any pu55le. Pay the prce and watch me twce.  $s a &ddlemaster, my mnd s constantly n moton. *'m wser than most clercs, and smarter than most sages. $lways thnkng, always plottng, always alert. hen * encounter someone, * analy5e hm, e0aluate hs 0alue to mysel(, and act accordngly. hen * enter a ta0ern * don't :ust grab the nearest char. *nstead, * scan the room, select the most ad0antageous seat, and then e0aluate the (are as * decde what to ha0e. one o( my decsons are made wthout delberate, conscous thought. Aet, * can be entertanng as well. * lo0e to pose +uestons and rddles. 2or e/ample) I% the !orld !ere round/ &nd you stood on the (round/ Ho! many places could you stand    alk south 2 lea(ues/ east 2 lea(ues/ north 2 lea(ues and end up hand in hand The answer s not the north pole, but 6#ne.6 True, the orth Pole s the only  place where you can do ths, but * asked, 6how many places,6 not whch places.  $nd now, as * ha0e summed up your worth to me, * must be o(( to a new challenge. Desc$ition'  Riddles/ rhymes/ and puDDles are the medium o% the Riddlemaster These characters look upon li%e as an intricate and challen(in( puDDle to be sol1ed Their

seemin(ly stran(e !ays cause many a commoner to label them craDy Fmuch like the ,esterG Ho!e1er/ Riddlemasters are e4ceptionally intelli(ent/ and their minds !ork on a le1el abo1e that o% the common man Riddlemasters de1ote their entire intellect to ma4imiDin( %a1orable outcomes %or themsel1es and their %riends Some belie1e that Riddlemasters are 7ust e4traordinarily lucky/ but this is not the case Riddlemasters are al!ays considerin( the en1ironment around them/ bein( sure to stand in the most %a1orable places/ socialiDin( !ith the most ad1anta(eous people/ askin( the best .uestions/ and so on They seek to de1elop the supreme mind To %launt their skills/ Riddlemasters o%ten speak in riddles or rhymes/ causin( others to stop and think in order to understand them Riddlemasters lo1e to pose .uestions/ in the %orm o% riddles/ to e1eryday people These riddles are care%ully constructed and o%ten conceal lessons or obser1ations that apply to the Riddlemasters' audience Role'  Each Riddlemaster applies his intellect in a di%%erent !ay E1il Riddlemasters seek to demean and put do!n others in order to rise abo1e them ood Riddlemasters make their !ay throu(h society attemptin( to educate the Jless %ortunateJ thers simply tra1el around/ en7oyin( the sport o% po kin( %un at others !hile ad1ancin( their o!n intellectual understandin( Tra1elin( Riddlemasters are most common/ as their uni.ue !ays o%ten irritate others/ %orcin( them to maintain a mobile li%estyle &d1enturin( Riddlemasters en7oy the supreme tests o% 7ud(ment and intelli(ence that must be passed in order to sur1i1e  perilous .uests Besides this/ their input on decisions is nearly in1aluable % course/ some party members may %ind their manner di%%icult to put up !ith Secon!a$( Skills'  3e! Riddlemasters ha1e a secondary skill/ as they ha1e spent their time in intellectual pursuits Those !ho do are most likely amblers/ ,e!elers/ or TraderNBarterers Weaon P$oficiencies'  Riddlemasters en7oy %inesse !eapons o1er those that re.uire simple bra!n They can become pro%icient in the blo!(un/ bo!/ crossbo!/ da((er/ dart/ hand a4e/ 7a1elin/ kni%e/ .uartersta%%/ slin(/ spear/ sta%% slin(/ short s!ord/ or !hip Non,eaon P$oficiencies'  Bonuses) &rtistic &bility FriddlesG/ *an(ua(es FmodernG/ Poetry/ Readin(Nritin( %uggested) &ppraisin(/ Blind+%i(htin(/ 0irection Sense/ amin(/ Heraldry/ Musical Instrument/ -a1i(ation/ Readin( *ips/ Sin(in(/ eather Sense/ >entrilo.uism A$o$-E.*ient'  Standard Secial #enefits'  Probable Path) Riddlemasters can use their (reat intellects to make ana lytical decisions hen a decision must be made concernin( multiple options Fe.g., !hich hall!ay to proceed do!n/ !hich door to open %irst/ !hich opponent to attack %irst in order to achie1e some (oal/ etcG/ the Riddlemaster can use his intellect to help make the decision In such cases/ the 0M secretly rolls an Intelli(ence check %or the Riddlemaster/ !ith a penalty e.ual to the number o% pre1ious probable path decisions made that day Frepresentin( mental %ati(ueG I% the roll succeeds/ the 0M tells the pla yer all si(ni%icant clues that the Riddlemaster mi(ht kno! or obser1e I% there are no clues/ no in%ormation is (ained++ Riddlemasters aren't lucky/ they're 7ust 1ery intelli(ent

I% the roll is a natural 2/ the in%ormation (ained is misleadin( "nless a (i1en situation chan(es someho!/ usin( this ability multiple times in the same situation (i1es identical results  &ddles7Pu55les) I% any ad1enture includes an actual riddle or puDDle that the  players must sol1e/ the player o% the Riddlemaster can make t!ice as many attempts to sol1e the riddle or puDDle as is normally allo!ed 3or e4ample/ an ad1enture mi(ht include an encounter in !hich the party runs into a sphin4 The sphin4 may demand the ans!er to a riddle in e4chan(e %or sa%e passa(e In this situation/ i% the Riddlemaster (i1es the ans!er/ the player can actually make t!o (uesses/ and i% either is correct/ the sphin4 is satis%ied The same thin( applies i% the party comes across a room !ith a tiled %loor that must be crossed in a speci%ic se.uence The Riddlemaster is allo!ed to make one %ree mistake nly on his second mistake does the character su%%er any haDardous conse.uences I% a problem has a time limit/ the Riddlemaster has t!ice the allotted time to sol1e it & special use o% sol1in( riddles and puDDles occurs !hen a Riddlemaster attempts to understand a ne!ly disco1ered spell The Riddlemaster has a 5L bonus to his roll to learn spells Fto a ma4imum o% 6LG 3urthermore/ the Riddlemaster (ains the ability to use any !ritten ma(ical item at Ath le1el/ instead o% 5th le1el Common %ense) To si(ni%y the common sense a Riddlemaster has at his disposal/ Riddlemasters (ain certain bene%its <hou(h these bene%its are similar to those o% the ,ester kit/ they are not luck/ but rather a result o% intellectual calculations made by the Riddlemaster The Riddlemaster has a 5 ad7ustment to his &rmor Class & Riddlemaster recei1es a 5 For 6LG bonus to many die rolls/ includin( sa1in( thro!s/ indi1idual initiati1e/ attacks rolls/ dama(e rolls/ pro%iciency checks/ thie% skill checks/ ability checks/ and all ability+based rolls Fbend bards/ system shock/ etc G/ e4cept %or resurrection sur1i1al The only die rolls that common sense doesn't a%%ect are surprise/ initial character (eneration rolls/ hit die rolls/ resurrection sur1i1al/ and monster dama(e rolls  &ddlng and &hymng) By chantin( certain riddles and rhymes/ a Riddlemaster can in%luence an audience's reactions This ability %unctions in all !ays as the True Bard's in%luence reactions ability Secial %in!$ances'  -one

Skal! Secialt('  >ikin( PoetNarrior )*alifications'  Standard ability scores 0!ar1es can ad1ance up to the 52th le1el as Skalds +nt$o!*ction' I'm Herak the Skald and I am .uite bald/

 but I ha1e lots o% (old/ as I am .uite bold  *t needs a lttle work, but * can get to that latter. elcome@ Come n by the (re and *'ll tell you a bt about my clan.  Beng a Ekng, *'m a great warror and belong to the mghtest clan o( raders e0er assembled. hen we go on our great (orays, t s *, Herak, who records our deeds  (or all to hear. But that s only part o( my role as a %kald. hen combat s (erce, * o(ten chant one o( the great war songs o( my (ore(athers. These songs ha0e great power, and more than once ha0e * turned the tde o( battle n our (a0or. hen my clan sn't at war or on a rad, * work on ballads, poems, and chants. *t s our tradton that the clan's elder %kald p ass on those songs that establsh the clan's worth to the upcomng %kalds. To these are added the greatest tales o( the current clansmen. *n ths way, all our descendants wll know how great they are. They can retell these tales, sng the ballads, and thus establsh ther place among the clans.  Beng a %kald s a wonder(ul l(e. There s nothng to match rowng a longboat across a mst1shrouded bay early n the mornng, n preparaton (or a rad on some enemy 0llage. "0eryone s slent, the only sound s the creakng o( oars and so(t slap o( the water, and you can hear the chatter o( teeth due to the cold and ner0es. e e0entually  slp up onto land, enter the 0llage, then * shout out a mghty chant and the (un begns. Desc$ition'  Skalds are honored and respected members o% their clans These (reat poets memoriDe the %eats o% each raid and battle/ settin( them do!n in the %orm o%  poetry E1ery !ar party lo1es to ha1e a Skald in its midst This assures that their (reat deeds and mi(hty skills !ill be honored in the Skald's ne4t recital/ and therea%ter immortaliDed %or all time Members o% most bands treat Skalds !ith utmost respect and courtesy It is !ell kno!n that the %oolish !arrior !ho mali(ns a Skald !ill soon hear his name slandered in innumerable ballads across the land Poems are the %orm in !hich Skalds honor others and themsel1es Poems are also used to relate the oral history o% the clan Si(ni%icant ballads are passed do!n %rom on e (eneration to another 1ia the Skald's talents In this !ay/ the lessons and deeds o% the past are related to those o% the present so they can be passed into the %uture Role'  Skalds are o%ten supported and protected by clan nobles and kin(s !ho lo1e to hear o% (reat duels and mi(hty !ars hen e1ents are un%olded in the %orm o% poetry/ it makes the tellin( all the more inspirin( Such men !ould hear Skalds relate tales o% their %amily's (lory to 1isitors Skalds rarely per%orm to(ether unless they ha1e entered into a poetic duel &d1enturin( Skalds are common E1ery Skald is easily cau(ht up in the %er1or and ma7esty o% ad1enture/ dan(er/ and combat reat .uests also ser1e as source material %or their ballads and poems Secon!a$( Skills'  &rmorer/ Bo!yerN3letcher/ Hunter/ *eather !orker/ eaponsmith Weaon P$oficiencies'  &n initial pro%iciency slot must be spent on either the  broad s!ord/ hand a4e/ battle a4e/ or spear &t least hal% o% the Skald's !eapon  pro%iciencies must be spent on these !eapons Funtil they are all selectedG Non,eaon P$oficiencies'  Bonuses) &ncient History/ *ocal History/ Poetry/ Sin(in( %uggested) &rmorer/ Blacksmithin(/ Blind+%i(htin(/ Bo!yerN3letcher/ Cro!d

orkin(/ Eti.uette/ Huntin(/ *eather!orkin(/ Musical Instrument/ eaponsmithin( See JSpecial HindrancesJ concernin( the readin(N!ritin( pro%iciency A$o$-E.*ient'  Skalds lean to!ard !arrior skills more than most bards Because o% this/ they can !ear any %orm o% armor up to bronDe plate/ and they can e1en use shields Secial #enefits' ar Chant) By chantin( a !ar son(/ a Skald can inspire allies as they (o %or!ard into combat 3or the chant to ha1e an e%%ect/ the Skald must be(in chantin( at least three rounds be%ore combat be(ins/ other!ise his allies are too cau(ht up in the e1ents about them to bene%it %rom this ability Such chantin( has an e%%ecti1e ran(e o% ten %eet per le1el o% the Skald The e%%ects end as soon as the Skald recei1es his %irst !ound I% the Skald doe s not enter the %ray Fand a1oids bein( !oundedG/ the e%%ects end in a number o% rounds e.ual to the Skald's le1el &t 5st le1el/ the Skald can choose only one o% the %ollo!in( si4 e%%ects per battle at ;rd le1el t!o e%%ects are chosen/ three at ?th/ %our at th/ etc The Skald player chooses the e%%ects/ and can chan(e them %rom one battle to the ne4t Chantin( can ele1ate spirits/ remo1e concerns about dan(er/ keep men's minds %ocused on combat/ and %ill %riendly %orces !ith a sense o% bein( lar(er than li%e Translated into (ame terms/ this results in the %ollo!in( si4 possible e%%ects %or the members o% the Skald's party# Bonus hit points e.ual to the Skald's Hit 0ice & morale bonus o% 5 %or e1ery si4 le1els o% the Skald Frounded upG & 5 bonus to all attack rolls & 5 bonus to all dama(e rolls & 5 bonus to all sa1in( thro!s & +5 bonus to e1eryone's &rmor Class  *n(luence &eactons) I% a Skald spends 5d5 rounds sin(in( ballads/ he can attempt to impro1e the reactions o% an audience E1eryone able to clearly hear and understand the Skald must roll a sa1in( thro! 1s paralyDation !ith a +5 penalty per three le1els o% the Skald Those !ho %ail ha1e their reactions to the Skald impro1ed b y one le1el Those !ho succeed do not %ind the Skald's ballad to be particularly mo1in( Those !ho succeed on a natural 2 %ind the son( to be o%%ensi1e and their reactions !orsen one le1el  Battle Chant) Skalds are a bit more combati1e than most bards This pro1ides them !ith certain combat ad1anta(es The Skald %i(hts !ith a 5 attack roll bonus an y time he is sin(in( or chantin( durin( combat/ e1en a so%t chant under his breath In addition/ the Skald (ains a 5 dama(e bonus !hen usin( a broads!ord/ a4e Fany typeG/ or  spear !hile he is chantin(/ pro1ided that he has pro%iciency !ith the !eapon These  bonuses almost al!ays apply/ unless the bard is silenced/ under !ater/etc  egend ore) Skalds lo1e le(ends about !ar and combat *e(end lore !orks the same %or Skalds as it does %or True Bards/ e4cept that Skalds can per%orm le(end lore only upon ma(ical items ha1in( to do !ith !ar or combat Fe.g., !eapons/ armor/ strength  potons, etc.G Secial %in!$ances'  The Skald's society does not ha1e a !ritten lan(ua(e Because o% this/ Skalds cannot take the readin(N!ritin( pro%iciency !hen created

3urthermore/ they do not (et the read lan(ua(es ability at ;rd le1el i% they stay in their home society Ho!e1er/ both o% these limits are li%ted once the Skald comes into contact !ith a culture that reads and !rites He can then pick up the readin(N!ritin( pro%iciency at t!ice the normal cost and (ains the read lan(ua(es ability at a L base F.e., he must  put points into the skill or he has a Dero chance %or successG Skalds do not (ain the use any !ritten ma(ical item ability at 5th le1el Spells are also nearly unkno!n in the Skald's society/ and they are 1ie!ed !ith suspicion in any e1ent Thus/ Skalds cannot learn any spells until they encounter a spellcastin( culture nce contact has been made/ the Skald can be(in castin( spells !hen he (ains his ne4t le1el &t this time he is considered a 2nd+le1el spellcaster Fpro1idin( he is at least ;rd le1el by this timeG His spellcastin( le1el increases by 5 e1ery time he (ains a le1el therea%ter I% your campai(n does not ha1e a >ikin( culture/ but a player still !ishes to play a Skald/ assume that the character le%t his distant homeland and has 7ourneyed to the e4istin( campai(n settin( This character can take readin(N!ritin( pro%iciency !hen he (ains his ne4t le1el/ pro1ided he has the pro%iciency slots a1ailable He (ains the ability to cast spells as outlined abo1e Notes'  The Ekngs Campagn %ourcebook  is a (ood resource to be used in con7unction !ith Skald bards

Thesian Secialt('  &ctorNMime )*alifications'  Standard ability scores +nt$o!*ction'  * am !lateela the Thespan. * would lke to n0te you to the  per(ormance o( the 6!reen Dragon and !olden ;nght,6 g0en ths weeks' end n the #ld  ;ng's Theater. * wll be playng Maden Fephna.  * ha0e played 0arous roles on the #ld ;ng's stage (or the past (our years. $ctng  s a wonder(ul occupaton. *'m always busy learnng parts, per(ormng, and teachng the  young chldren. hen *'m not per(ormng, some courtly gentleman or other has me o0er  (or blackroot tea. *'m on a (rst1name bass wth the cty mayor, all o( the rankng constables, and e0en the Duke knows me. hat (ew people real5e s that *'m sster to the n(amous wanderer Hanalacous, and we o(ten ad0enture together. Hanalacous s actually a warror. Her reputaton as a bard s a result o( my dressng up as her double and actng the part. *n ths way, the legend o( Hanalacous grows wth a speed that would be mpossble (or any sngle human. Unknown e0en to Hana s the (act that * occasonally play other o((1stage roles. Ths s the real thrll o( beng a Thespan. Aou can be anyone you want ( yo u are good enough.  Hope to see you ths weekend. $nd ( you whsper a word o( my secret to anyone,  you'd best beware o( e0eryone you meet, (or one o( them wll be me n dsguse and * wll  slence your loose tongue (ore0er. Desc$ition'  % all the 1arious types o% bards/ Thespians put the most time and ener(y into per%ormances Thespians are actors They display their talents in plays/ skits/

and dramatic productions Some e1en per%orm in streets or 1illa(e s.uares hen a Thespian isn't actin(/ he is likely !ritin( scripts or readin( %or upcomin( parts Thespians are some!hat like/ yet unlike/ Charlatans here Charlatans act to decei1e/ Thespians act to make others belie1e Because o% their similar methods/ Thespians ha1e some skills in common !ith Charlatans Role'  Thespians rarely tra1el %rom to!n to to!n unless they are on an actin( tour E1en i% they are on tour/ they o%ten return to their established home Most Thespians  belon( to the local actor's (uild and take part in re(ularly scheduled per%ormances ccasionally/ Thespians are secretly hired to ser1e as spies/ or temporarily %ill in %or a missin( person The (reat Thespian Hanalacious once %illed in as the *ord Mayor o%  the 3ree City o% reyha!k %or o1er a month !hile the real mayor !as a!ay on secret errands The ad1enturin( Thespian is a rare person Fplayer ch aracters represent almost all o% themG Such Thespians are o%ten out %or J%ield researchJ &%ter all/ i% you !ant to play the part o% a mi(hty !arrior/ !hat better practice than to (o dun(eoneerin( ther Thespians ad1enture %or the thrill o% it all They look upon such acti1ity as takin( a part in the Jrand Play o% *i%eJ Such Thespians o%ten (o to any len(th to mold the ad1enture into a dramatic production !ith themsel1es as the stars+o%ten to the cha(rin o% their %ello! party members Secon!a$( Skills'  &ny Weaon P$oficiencies'  Since they are actors/ Thespians spend a lot o% time  practicin( !ith all types o% !eapons/ in order to make their plays more realistic This  produces a uni.ue situation Thespians understand the sho!y sta(e methods %or usin( most !eapons/ but they rarely practice !ith any one !eapon lon( enou(h to become truly  pro%icient at it &s a result/ 5st+le1el Thespians are pro%icient only !ith the da((er &t 2nd le1el they become pro%icient !ith the kni%e/ and at 6th le1el Thespians (ain their %inal !eapon  pro%iciency++the short s!ord This restriction is partially o%%set by the %act that a Thespian su%%ers only a +2 nonpro%iciency penalty Fe.ual to that o% !arriorsG on all other !eapons because o%  practicin( !ith these !eapons durin( rehearsals Non,eaon P$oficiencies'  Bonuses) &ctin(/ 0is(uise/ *an(ua(es FmodernG/ Readin(Nritin( %uggested) &rtistic &bility/ Cro!d orkin(/ 0ancin(/ Eti.uette/ ,umpin(/ *an(ua(es FancientG/ Musical Instrument/ Poetry/ Readin( *ips/ SeamstressNTailor/ Sin(in(/ Tumblin(/ >entrilo.uism/ ea1in( A$o$-E.*ient'  &(ain/ Thespians are actors and don all %orms o% armor %or their 1arious roles This sets them apart %rom the norm &s a result/ they can !ear any %orm o% armor and e1en carry shields Ho!e1er/ they incur a 5 &rmor Class penalty !hen !earin( armor that is not standard %or the bard character class Ftheir understandin( o% these armor types is imper%ectG Thespians ha1e no real u nderstandin( o% shields thou(h they can carry shields/ they (ain no &rmor Class bonus %or the e%%ort Secial #enefits' !eneral $ctng) Thespians are master%ul actors "sin( this ability/ they can act as i% a li(ht blo! !as %atal/ pretend to %aint/ or e4a((erate their abilities These skills are re.uired on sta(e/ but are also 1ery use%ul durin( ad1entures nce/ Hanalacious's band came upon a camp o% si4 o(res RealiDin( that they

!ere outmatched/ Hana leapt %or!ard to meet the char(in( o(res She acted as i% the %irst strike a(ainst her !as a %atal blo! The o(res belie1ed this and char(ed on to attack the rest o% the band ith the time that Hana had bou(ht hersel%/ she mana(ed to unpack her %ireball scroll and succeeded in roastin( the o( res and sa1in( the day Hana's %inest per%ormance occurred in the %amous dun (eons o% the reyha!k ruins Here/ she came upon 3arcluun/ a (reat red dra(on 0urin( the ne4t %our hours/ Hanalacious !as in1ol1ed in the most dan(erous role she e1er played hen she sa! the (reat !yrm/ she .uickly dis(uised hersel% as Qa(i( 8ra(erne/ the ori(inal %ounder o% reyha!k Castle Enterin( the ca1ern o% 3arcluun/ Hana played up her kno!led(e/ !isdom/ and ma(ical pro!ess In the end/ she co!ed 3arcluun and actually had the dra(on huddled in a corner !ith threats o% turnin( its li%e's treasure tro1e into an ant hill &ctin( %unctions in much the same !ay as illusion spells I% the audience belie1es the act/ then it !orks !ithout .uestion I% the audience is skeptical/ they are allo!ed to roll a sa1in( thro! 1s spell !ith a +5 penalty %or e1ery three le1els o% the Thespian I% the sa1in( thro! succeeds/ they realiDe that the Thespian is actin( other!ise/ they accept the act % course/ acts can (o only so %ar It is impossible to act as i% you are li%tin( a @+pound boulder o1er your head unless you ha1e the aid o% ma(ic For a Stren(th o% 2 or moreG %pell $ctng) &ny Thespian !ho has taken the spellcra%t pro%iciency can act as i% he can cast po!er%ul spells To put on such a per%ormance/ the Thespian must be easily 1ie!ed by all !ho !ill be a%%ected The Thespian then stands up/ chants arcane !ords/ (estures/ and tosses Jma(icalJ po!der about 0urin( the spell actin(/ the Thespian directs his attention and (estures to!ard the intended tar(ets o% the spell &%ter one round/ the tar(ets must roll a success%ul morale check or %lee in terror I% the Thespian actually casts a %lashy spell durin( the act Fe.g., burnng handsG/ the morale check is made !ith a penalty e.ual to the spell's le1el Ima(ine !hat you !ould think i% a !iDard's hands sprouted %lame !hile he chanted and made (estures o% doom in your direction  *n(luence &eactons) Thespians can in%luence the reactions o% those they meet by tryin( to act in an appealin( manner &%ter 5d5 rounds o% such a per%ormance/ those associatin( !ith the Thespian roll a sa1in( thro! 1s paralyDation !ith a +5 penalty per three le1els o% the Thespian I% they %ail the sa1in( thro!/ their initial reactions are altered one le1el in the direction that the Thespian desires I% the sa1in( thro! succeeds/ the audience realiDes that the Thespian is actin( and their reactions are ad7usted one le1el in the opposite direction #bser0e Motons) &s actors/ Thespians are trained to obser1e the motions o% others "sually they use this skill to see cues %rom %ello! actors durin( a per%ormance This ability also enables them to predict the mo1ements o% opponents durin( combat In any round that a Thespian !ins initiati1e/ he (ains a 2 bonus to his &rmor Class and sa1in( thro!s and a 5 bonus to attack rolls Secial %in!$ances'  -one

C$eating Ne, 2its

<hou(h the list o% kits (i1en in this handbook is lar(e/ it isn't all+inclusi1e There are many other bard kits that 0Ms and players can come up !ith Be%ore desi(nin( a ne! kit/ %irst e4amine the e4istin( kits to see i% one o% them can be modi%ied to %ill your needs I% not/ make a photocopy o% the Bard )it Record Sheet located in the back o% this handbook 3ill it out !ith the description o% your ne! kit The in%ormation that should be listed under each section is described in detail at the be(innin( o% this chapter Re%er to it %or assistance &%ter you ha1e created a ne! kit/ present it to your 0un(eon Master %or appro1al %ten/ he !ill !ish to ad7ust certain aspects o% the ne! kit %or balance nce the kit is complete and ready %or use/ the 0un(eon Master still mi(ht ad7ust it in the %uture/ based on ho! !ell it !orks in play Here is a help%ul list o% additional bard kits that you may !ish to create on your o!n Historical Bard++0ruid historian 0er1ish++&rabian 0ancerNHealer  Muse++Sin(in( Healer  Scop++&n(lo+Sa4on Minstrel Entrancer++Spell 0ancer  Troubadour++Thie%NIllusionist Poet++CourtierNRomeo Rustic++3olk Sin(er  Rhythmist++Instrumental 0ancer  Sa1a(e++Medicine Man SleuthOSpy *e(ionnaire++Ca1alier 

Ac.*i$ing3 D$oing3 an! Changing 2its Bard kits should be taken only !hen the character is %irst created The one e4ception mi(ht occur !hen this handbook is %irst introduced into a campai(n In this case/ the 0un(eon Master may allo! certain e4istin( bards to be con1erted to the kits that most resemble the manner in !hich they ha1e been played in the past Ho!e1er/ note that such a trans%er !ill ha1e to be ad7udicated by the 0un(eon Master I% a player decides to drop a bard kit/ he should meet !ith his 0un(eon Master to discuss the manner in !hich the transition should occur hen a kit is dropped/ the character becomes a core bard Fnot a True BardG/ and that character cannot re(ain his old kit This has the %ollo!in( e%%ects upon the character# 3uture !eapon pro%iciency slots can be spent on any !eapon desired The bard's %our bonus pro%iciencies must either be droppe d or all %uture non!eapon  pro%iciency slots must be spent payin( %or them be%ore any ne! non!eapon  pro%iciencies can be selected The character no lon(er needs to pay attention to his old kit's su((ested non!eapon  pro%iciencies The character can !ear any armor normally allo!ed to the core bard/ but cannot use any other type o% armor Fincludin( shieldsG

&ll special bene%its are lost &ll special hindrances are i(nored It is possible %or a bard to chan(e kits/ but only in one 1ery limited manner 3irst/ the bard's e4istin( kit must be dropped Then/ i% the bard !ants/ he may (ain a ne! kit/  but it must be the True Bard kit The process %or (ainin( the True Bard kit (oes as %ollo!s nce the bard's old bonus non!eapon pro%iciencies are either dropped or paid %or/ the ne4t a1ailable pro%iciency slots must be spent (ainin( sin(in(/ musical instrument/ readin(N!ritin( Fnati1e ton(ueG/ and local history &s the bard (ains the ne4t %our le1els/ he (ains one o% the True Bard's special bene%its at each ne! le1el The speci%ic bene%it (ained is determined by the player

Chate$ 4' Dei"3 1*lti" an! D*al"Classe! #a$!s Deih*ans as #a$!s &s per the Player's Handbook / only humans and hal%+el1es can become bards E1en this book doesn't allo! d!ar1es/ el1es/ (nomes/ and hal%lin(s to become bards in the true sense o% the !ord Ho!e1er/ each o% these races has a stron( tradition in the  per%ormin( arts 0!ar1en chanters are le(endary/ as are the (reat el1en minstrels nome  pro%essors and hal%lin( !histlers are also !ell+kno!n "nlike humans and hal%+el1es/ those playin( demihumans must take a bard kit i% they are to run bard player characters I% the kit system is not used/ d!ar1es/ e l1es/ (nomes/ and hal%lin(s cannot be bards Since these races cannot be true bards/ they are re%erred to as demi+bards nly a %e! kits are o pen to these races/ but each race has a kit that is a1ailable only to members o% that race Findicated by italic type in the %ollo!in( tabeleG Table 54' DE1+"#ARDS Race 1a6i* )it *e1el D,a$7es8 Chanter Herald ? Skald 52

56

El7es

ypsy  Herald ? *oremaster 52 Meistersin(er 56 Minstrel 56

Gnoes88 Charlatan Herald ? Pro%essor ,ester 56 ,on(leur Riddlemaster

? 56  A

%alflings8 Herald ? ,ester A ,on(leur 52 Riddlemaster  histler 56

K Counter %pell) 0!ar1es and hal%lin(s are e4tremely nonma(ical These t!o demi+bards are not allo!ed to cast spells They also %ail to recei1e the 5th+le1el bard ability to use any !ritten ma(ical item Ho!e1er/ as demi+bards/ these t!o races possess the curiosity o% all bards This leads them to study the !orkin(s o% ma(ic F.e., d!ar% and hal%lin( demi+bards must take the spellcra%t pro%iciencyG <hou(h this doesn't result in the ac.uisition o% ma(ical  po!ers/ it enables them to (ain special resistances to spells they understand I% a hal%lin( or d!ar% is able to %ind a spell and learn it F.e., succeed !ith their Jchance to learn spellsJ rollG/ they become hi(hly resistant to the e%%ects o% that spell % course/ these t!o races can learn to resist only spells o% the same le1el as bards are typically able to cast Thus/ a 2nd+le1el d !ar% or hal%lin( demi+bard can learn ho! to resist the e%%ects o% all 5st+le1el spells that he has learned Fas per Table ?# Spell Pro(ressionG % course/ the demi+bard is still limited to the number o% spells he can learn to counter This limit is set by his JMa4imum  o% Spells per le1elJ Fan aspect o% Intelli(enceG hen a d!ar% or hal%lin( demi+bard is sub7ected to a learned spell's e%%ects/ he can roll his Jchance to learn spellsJ in an attempt to th!art the spell's e%%ects This roll is in addition to all other sa1in( thro!s normally allo!ed This does not cancel the spell it simply pre1ents it %rom ha1in( any e%%ect upon the d!ar% or hal%lin( demi+bard GG *llusons) nomes ha1e a hard time understandin( and castin( the more  practical and substantial spells They pre%er spells that create illusions/ %lashy colors/ and other !ondrous e%%ects Because o% this/ (nome demi+bards do n ot (ain the %ull ran(e o% spells normally allo!ed to bards Instead/ they must select and use spells as i% they !ere illusionists Ho!e1er/ they still use Table ?# Spell Pro(ression/ to determine the number o% spells they cast at a (i1en le1el

Deih*an 2its

3ollo!in( are %our kits a1ailable only to demihumans These kits cannot be selected by humans Ho!e1er/ hal%+el1es can select the Minstrel kit/ ad1ancin( up to 52th le1el

D,a$7en Chante$ Secialt('  ChanterNTime *ord )*alifications'  Chanters must ha1e a Constitution o% 5; or more Ho!e1er/ they ha1e no Intelli(ence .uali%ication Funlike most bardsG nly d!ar1es can become Chanters and they are limited to 56th le1el in ad1ancement Desc$ition'  Many times ha1e other races attempted to analyDe the phenomenal success o% the d!ar1en race their uncanny ability to sur1i1e incredible hardship/ their do((ed nature/ the immense amount o% !ork they per%orm/ and their success%ul military campai(ns &l!ays the analysis comes up short Much o% the success o% the d!ar1en race can be attributed to their Chanters Throu(hout the a(es/ these special d!ar1es ha1e passed alon( the secrets o% their kind They ha1e learned the many minin(/ %or(in(/ marchin(/ and !ar chants o % their elders ther races dismiss these chants as simple entertainment/ but it is the po!er o% the d!ar1en Chanter that has built the steel in the d!ar1en spine I% a skilled Chanter is  present/ d!ar1es can mine throu(h solid (ranite %or months !ithout (ro!in( bored or la4 Some chants are purely 1ocal/ but many re.uire the use o% a percussion instrument to keep the rhythm steady Chanters o%ten employ drums/ (on(s/ (ourds/ and so on Role'  The secret o% chantin( has been kept hidden %rom outsiders Thus/ Chanters are hea1ily (uarded and hi(hly re(arded !ithin the d!ar1en kin(dom % all d!ar1en or(aniDations/ the Chanter's Colle(e is one o% the most po!er%ul E1en kin(s ha1e been o1erruled in the past by mi(hty Chanters threatenin( to cease their rhythmic son(s ithout the Chanters/ the d!ar1en communities !ould slo! to a cra!l and their under!orld enemies !ould push them %rom their ho mes &d1enturin( Chanters are a (reat boon to any party and are e1en more use%ul in lar(e+scale battles They are the pace+setters and the 1ery heartbeat o% those around them Secon!a$( Skills'  &rmorer/ ,e!eler/ Mason/ Miner/ eaponsmith Weaon P$oficiencies' Chanters o%ten use their !eapons to beat upon an instrument/ a rock/ or e1en the (round Because o% this/ they (enerally become pro%icient only in blunt !eapons or stick+like !eapons The %ollo!in( !eapons are a1ailable to Chanters# club/ %lails FallG/ maces FallG/  7a1elin/ mornin( star/ .uartersta%%/ slin(/ spear/ sta%% slin(/ and the !arhammer Non,eaon P$oficiencies'  Bonuses) Cro!d orkin(/ Musical Instrument/ Chantin(/ Spellcra%t %uggested) &ncient History/ &ppraisin(/ &rmorer/ Blacksmithin(/ Cobblin(/ Cra%t Instrument/ En(ineerin(/ em Cuttin(/ *an(ua(es FancientG/ *an(u a(es FmodernG/ *ocal History/ Minin(/ Mountaineerin(/ Pottery/ Stonemasonry/ eaponsmithin( A$o$-E.*ient'  Chanters can !ear any armor e4cept %or plate plate mail/  bronDe plate/ %ield plate/ and %ull plate are all %orbidden They cannot employ shields Secial #enefits'

Counter Chant) *ike all d!ar1en demi+bards/ d!ar1en Chanters (ain the counter spell ability de%ined earlier In order to counter a spell/ a Chanter must 1oice the proper counter chant In addition to the typical counter spell ability/ Chanters can actually JattackJ certain spells & Chanter can !alk up to a !all o% %orce Fassumin( he has pre1iously learned the spellG/ be(in counter chantin(/ and i% he succeeds !ith his Jchance to learn spellsJ roll/ he actually cancels the entire spell %or a number o% rounds e.ual to his le1el I% the roll is e.ual to or less than the d!ar%'s le1el/ the cancellation is permanent ar Chant) 0!ar1en !ar chants are le(endary There is nothin( .uite so  po!er%ul and terri%yin( as !atchin( a mass o% hea1ily armed and (rim+lookin( d!ar1es ad1ancin( and chantin( Their deep 1oices/ all boomin( in unison/ o%ten destroy enemy morale and put %ear into the heart o% many a bra1e %oe hen a Chanter starts a !ar chant/ he can a%%ect up to ten d!ar1es per le1el or one non+d!ar% per le1el To be a%%ected/ the recipients must 7oin in the chant Fit doesn't matter i% they ha1e e1er heard it or notG &%ter 5d5 rounds o% chantin(/ the po!er o% the chant be(ins to take e%%ect & chantin( band (ains a 5 bonus to initiati1e/ a 2 bonus to resist surprise/ and a 2 bonus to all morale checks Those combatin( a chantin( (roup su%%er a +5 initiati1e penalty and a +2 penalty to all morale checks The bonuses %or a member o% the Chanter's party last %or as lon( as both the indi1idual and the Chanter are chantin( the penalties %or the opponents last as lon( as the Chanter keeps up the chant Tmng Chant) The real po!er o% the Chanter is the numerous timin( chants he kno!s These chants %unction similarly to !ar chants in that they take 5d5 rounds to take e%%ect/ and last !hile both the Chanter and a%%ected are chantin( But the results are .uite di%%erent There are %our common timin( chants# one each %or minin(/ %or(in(/ marchin(/ and (eneral labor The purpose o% each chant is to increase producti1ity/ soothe the mind/  pre1ent boredom/ sta1e o%% sleep/ and support resol1e &ll timin( chants must be accompanied by a percussion instrument Timin( chants by Chanters increase speed or production by 6L per le1el o% the Chanter & top+le1el F56thG Chanter can (et @6L more !ork out o% a (roup than it !ould normally produce % course/ such rapid !ork does take a physical toll/ e1en i% the mind is !illin( Each hour that a person !orks under the e%%ects o% a timin( chant/ he must roll a Constitution check & %ailed check results in the loss o% 5d< hit points This dama(e is temporary and is reco1erable at the rate o% 5 point per hour o% rest or sleep &nyone reduced to  hit points in this !ay %alls o1er %rom e4haustion death results unless a Constitution check succeeds Trance) b1iously/ i% a minin( cre!'s Chanter %alls o1er %rom lack o% sleep or e4haustion/ the timin( chant !ill cease 3or this reason/ Chanters ha1e learned to place themsel1es into a sel%+induced trance This takes 5d5 turns o% uninterrupted meditation/ durin( !hich the Chanter (rumbles the !ords to some ancient meditati1e script nce in a trance state/ the Chanter !ill be(in some set acti1ity# chantin(/ combat/ marchin(/ !orkin(/ studyin(/ etc The trance state causes the Chanter to shut do!n all o% his bein( Fmind and bodyG that is not needed %or the acti1ity at hand &n entranced Chanter can maintain this set acti1ity until a predetermined circumstance occurs 3or e4ample/ the Chanter may ha1e

said to himsel%/ J&!ake !hen there are no more (oblins on the %ield o% battle/J J&!ake !hen !e reach the )in(dom o% Thorbardin/J or J&!ake a%ter 5/ strikes o% the (reat drumJ Trances are not li(htly entered/ as they are 1ery d an(erous to the character 0urin( a trance state/ the Chanter does not drink/ eat/ rest/ or sleep E1ery time that one o% these acti1ities should normally occur/ the entranced Chanter must roll a Constitution check & %ailed check results in the loss o% hit points# 5dA %or drink/ 5d; %or %ood/ 5d< %or rest/ and 5dA %or sleep 3urthermore/ the only kno!n !ay to interrupt a trance be%ore the  predetermined circumstance occurs is to reduce the Chanter to  hit points F.e., knock him unconscious or kill himG 0ama(e resultin( %rom %ood and !ater depri1ation must be healed as i% it !ere combat dama(e/ but dama(e resultin( %rom lack o% rest or sleep is temporary and can be re(ained at the rate o% 5 point per hour o% rest or sleep I% reduced to  hit points by sleep or rest depri1ation/ the entranced Chanter %alls unconscious death results unless a Constitution check succeeds Ho!e1er/ i% all dama(e is a result o% %ood and !ater depri1ation/ the Chanter dies re(ardless o% the che ck result Secial %in!$ances'  *ike all d!ar1en demi+bards/ Chanters do not (ain the  bard's spell abilities -or do they (ain the 5th+le1el bard ability to use any !ritten ma(ical item

El7en 1inst$el Secialt('  El1en Spell Sin(er )*alifications' nly el1es and hal%+el1es can become Minstrels El1es can ad1ance up to 56th le1el as Minstrels/ !hile hal%+el1es are limited to 52th le1el Desc$ition'  % all musicians in the !orld/ none can play as purely as an el% Minstrels spend their entire li1es seekin( musical per%ection % course/ the de%inition o%  per%ection di%%ers %rom one culture to the ne4t El1es belie1e that music should be simple/  pure/ beauti%ul/ and natural 3urthermore/ those !ho listen should become lost in the music/ and their spirits should transcend their bodies to ride upon the s!eet %lo! o% (litterin( notes El1es are a 1ery ma(ical race/ and this is especially true o% Minstrels It is said that Minstrels cast spells by the simple strummin( o% an instrument Role'  ithin el1en society/ Minstrels are re(arded as nobles Minstrel (roups  per%orm durin( annual %esti1als %or the en7oyment o% all/ and kin(s in1ite them to dine in e4chan(e %or an e1enin('s son( utside their o!n culture/ el1en Minstrels are looked upon !ith en1y/ distrust/ and some %ear El1en Minstrels occasionally ad1enture out into the !orld Some seek li%e+ e4perience to hei(hten the .uality o% their music thers simply !ander/ relishin( the sensation o% %reedom that inspires their son(s & %e! Minstrels seek to pur(e themsel1es o% some impure act or e1ent Secon!a$( Skills'  Minstrels train to be (reat musicians all their li1es They do not spend the time necessary to learn a secondary skill Thus/ Minstrels ha1e no secondary skills Weaon P$oficiencies'  El1en Minstrels are limited to the %ollo!in( !eapon

 pro%iciencies# blo!(un/ bo! FanyG/ da((er/ dart/ hand a4e/ 7a1elin/ kni%e/ .uartersta%%/ slin(/ spear/ sta%% slin(/ lon( and short s!ords/ and the trident Non,eaon P$oficiencies'  Bonuses# Musical Instrument/ Readin(Nritin(/ Sin(in(/ Spellcra%t Su((ested# &ncient History/ &rtistic &bility/ Cra%t Instrument/ Eti.uette/ Heraldry/ *ocal History/ Poetry A$o$-E.*ient'  Minstrels can !ear only leather armor/ padded armor/ or el1en chain mail E1en studded leather is considered too harsh %or a Minstrel to don Secial #enefits' %pecal &esstance) El1en Minstrels (ain a 2 sa1in( thro! bonus a(ainst all ma(ical e%%ects based on music I% the attack does not allo! a sa1in( thro!/ they recei1e a normal sa1in( thro!/ any!ay %pell %ngng) Minstrels are some o% the %e! bein(s still in e4istence !ho k no! the ancient art o% spell sin(in( Some sa(es claim that ma(ic !as ori(inally released into the Prime Material plane by an ancient master musician These sa(es maintain that music is the true catalyst %or ultimate sorcery hether this is true or not/ it is a %act that el1en Minstrels cast spells throu(h their music Minstrels cannot cast spells in the typical manner hen a spell calls %or a somatic component/ they must play an instrument *ike!ise/ they must sin( !hen a spell re.uires a 1erbal component Material components must be carried on the Minstrel's person in a specially  prepared ba( Fmade %rom deer leatherG The Minstrel need not reach into the ba( or manipulate the material components hen the spell is cast/ the c omponents simply 1anish %rom !ithin the ba( I% the ba( does not contain the re.uired components/ the spell does not %unction  -ot all instruments can be used %or spell sin(in( 3irst o% all/ i% a spell re.uires a 1erbal component Fsin(in(G/ only those instruments that lea1e the Minstrel's mouth %ree can be used This eliminates most o% the !ind instruments I% the spell re.uires a somatic component/ the instrument must support numerous/ comple4 ha nd manipulations Fas is true o% any strin(ed instrumentG This eliminates (on(s/ cymbals/ drums/ and most o% the  percussion %amily Thus/ el1en Minstrels typically carry strin(ed instruments )eyboard instruments !ould !ork but are (enerally too bulky to carry around Spells that normally emanate %rom the caster's hands instead radiate %rom the spell sin(er's instrument Thus/ burnng hands produces its 52+de(ree arc o% %lame %rom the instrument Fand not the Minstrel's handsG Spell sin(in( is in all other !ays 7ust like typical spell castin(  *n(luence &eactons) This ability !orks 7ust like the True Bard's ability o% the same name Ho!e1er/ a Minstrel can sin( or play an instrument in an attempt to in%luence reactions &nd/ i% the Minstrel does both/ he can ad7ust the reactions b y t!o le1els instead o% the typical one This is not cumulati1e !ith the cro!d !orkin( pro%iciency or the  bard's reputation Counter %ong) The last special bene%it o% the Minstrel is identical to the True Bard's counter son( ability in e1ery !ay Secial %in!$ances'  ithout an instrument/ Minstrels cannot cast spells that re.uire somatic components

Gnoe P$ofesso$

Secialt('  *ecturer )*alifications'  The standard .uali%ications %or Intelli(ence and Charisma are s!itched %or (nome Pro%essors F.e., they must ha1e a minimum Intelli(ence o% 56 and Charisma o% 5;G Prime Re.uisites also chan(e to Intelli(ence and Charisma nly (nomes can become Pro%essors/ and they can ad1ance up to 56th le1el Desc$ition'  Pro%essors are an odd sort other races ha1e a hard time decidin( !hether these stran(e (nomes are (eniuses or %ools Hal% o% their speeches and in1entions seem re1olutionary The rest o% their speeches sound like endless babblin(/ and most their  in1entions are death traps that in7ure more (no mes than they help Pro%essors are eccentric (nomes !ho lo1e to tinker !ith thin(s# che micals/ (ears/  pulleys/ ma(ic/ and so on 3or a Pro%essor/ (ainin( kno!led(e %or its o!n sake is !aste%ul nly !hen it is bein( used to de1elop Jthin(s o% conse.uenceJ is kno!led(e !orth!hile Pro%essors o%ten say/ JI% the te4tbooks don't make sense/ thro! 'em a!ay and approach the problem e4perimentallyJ &bo1e all/ Pro%essors %eel that they ha1e an obli(ation to educate the i(norant and  pro1ide them !ith mechanical !onders to help ele1ate their standard o% li1in( Role' Pro%essors are held in hi(h re(ard !ithin (nome society E1ery (nome lo1es to sit in on one o% their %re.uent lectures or to ha1e a Pro%essor o1er %or tea 8et/ !hen Pro%essors (et that odd (lint in their e yes and start e4perimentin(/ e1en their  brethren kno! to run %or their little li1es &d1enturin( Pro%essors are o%ten intense and %anatically (reedy %or kn o!led(e Those !ho are dan(erous threats to other (nomes are acti1ely encoura(ed to (o out and help JeducateJ the other races But there are certain Pro%essors !ho truly possess some small spark o% (enius !ithin them These Pro%essors o%ten realiDe the potential kno!led(e and practical e4perience that ad1enturin( can pro1ide/ and they set out to e4plore the !orld Secon!a$( Skills'  Pro%essors can ha1e any secondary skill Weaon P$oficiencies'  Pro%essors are 1ery eccentric and lo1e comple4 de1ices !ith multiple mo1in( parts This personality trait is e1ident in the type o% !eapons they select Pro%essors can become pro%icient in the %ollo!in( !eapons# ar.ueb us/ blo!(un/  bo!/ crossbo!/ harpoon/ mancatcher/ scour(e/ slin(/ sta%% slin(/ and !hip Non,eaon P$oficiencies'  Bonuses) &ncient History/ *an(ua(es FancientG/ *an(ua(es FmodernG/ Readin(Nritin( %uggested) &(riculture/ &nimal *ore/ &ppraisin(/ &strolo(y/ Bre!in(/ Cookin(/ 0irection Sense/ En(ineerin(/ Eti.uette/ 3ire+Buildin(/ em Cuttin(/ Heraldry/ Herbalism/ *ocal History/ Musical Instrument/ -a1i(ation/ Reli(ion/ Rope "se/ Spellcra%t/ eather Sense/ histlin(NHummin( A$o$-E.*ient'  Pro%essors are not o1erly concerned about the practicality o% !earin( (ood armor They tend to !ear somethin( com%ortable unless they are e4perimentin( !ith armor %unctionality Pro%essors !ear only leather/ studded leather/ or padded armor on a re(ular basis Ho!e1er/ each month/ a Pro%essor can e4periment !ith one type o% armor Fe1en shieldsG %or up to 5d5 days hen e4perimentin( and !earin( other armor/ the Pro%essor su%%ers a 5 &rmor Class penalty and loses all 0e4terity de%ense ad7ustments Secial #enefits'  egend ore) This ability is e4actly like the True Bard's ability o% the same name

 Pro(ess) &ll  Pro(ess) &ll Pro%essors (i1e %re.uent speeches to anyone an yone !ho !ill listen <hou(h this can be entertainin( and occasionally educational/ such lectures ha1e little direct impact upon play Ho!e1er/ i% a Pro%essor is able to e4amine a situation and e1aluate it/ he sometimes comes up !ith a (reat plan The act o% re1ealin( such a plan is kno!n as Jpro%essin(J hen a Pro%essor e4amines a (i1en situation %or 5d5 rounds/ he is able to determine se1eral (ood plans to deal dea l !ith the situation I% the Pro%essor communicates Fpro%essesG this in%ormation to his comrades/ and they heed the in%ormation/ certain  bene%its result &%ter pro%essin( a course o% action/ the Pro%essor player is able to hand out a number o% bonuses e.ual to the Pro%essor's le1el These bonuses can be applied to any die roll Fprior to the rollG that the Pro%essor desi(nates/ as lon( as the a%%ected indi1idual is %ollo!in( the Pro%essor's su((ested course o% action FI% the roll is bein( made on  percenta(e dice/ the bonus is 6L/ other!ise a 5 bonus resultsG &s an e4ample/ ima(ine that an ad1enturin( party has spied throu(h a keyhole into a room The (nome Pro%essor/ -o!tal/ asks i% he can ha1e a look &%ter e4aminin( the orc+in%ested room %or si4 rounds Fa ? !as rolled on the 5d5G/ -o!tal comes up !ith a plan The player then role+plays his character/ in%ormin( the other players o% the plan# JTorcan/ JTorcan/ you slip around to the side door and 7ump into the room in an attempt to startle the orcs/ then *arcon Hea1y+Hand can char(e the main door in hopes o% breakin( it do!n %or a surprise rear attack 0urin( the commotion/ *e%ty !ill slip o1er to that chest and attempt to make a!ay !ith any interestin( contentsJ &s the party proceeds !ith the plan/ -o!tal's player hands out a 5 bonus bo nus on Torcan's Torcan's attempt to surprise the orcs He also boosts *arcon's bend bars attempt Fto increase his chance to break do!n the bolted door by 6LG Since -o!tal is only ;rd le1el/ he has only one more bonus to hand out He could use it to impro1e *arcon or Torcan's Torcan's attack roll/ increase dama(e/ etc Instead he (i1es it to the thie%/ *e%ty Ho!e1er/ *e%ty's player has decided to backstab an orc instead o% dashin( o1er to the chest Thus/ the 0M rules that *e%ty isn't %ollo!in( the Pro%essor's plan and -o!tal's player !ill ha1e to use his last bonus some!here else ,ust then/ an orc shaman casts a %ireball %rom a necklace o% missiles and the last bonus is used to help *arcon !ith his sa1in( thro!  -ote that these bonuses last only %or one die roll These sin(le sin(le bonuses cannot be combined into a 2 F5LG or better bonus  Mechancally *nclned) % *nclned) % all kno!n de1ices/ Pro%essors lo1e those !ith multiple mo1in( parts more than any other Since Pro%essors are mechanically inclined/ they can %ind and remo1e traps The chance to succeed at this pro(resses 7ust as the J%indNremo1e trapsJ skill on Table 5# Thie% &1era(e &bility Table/ in the DM!. the DM!. Since  Since Pro%essors approach traps %rom a purely mechanical standpoint/ they recei1e no racial/ 0e4terity/ or armor ad7ustments to this roll This same percenta(e chance can be used to help sol1e other mechanical  problems+much like ha1in( a Jmechanical pro%iciencyJ pro%iciencyJ 3or e4ample/ i% the party comes upon a %uturistic de1ice/ such as steam+dri1en bello!s/ the Pro%essor can e4amine it in an attempt to understand ho! it !orks I% the roll succeed s/ the 0M should in%orm the player  that his character understands the de1ice Throu(h role+playin(/ the player can then tell the rest o% the party ho! to operate it  *n0enton) &  *n0enton) & Pro%essor's Pro%essor's most use%ul ability/ and his most dan(erous/ is th at o%

in1ention Pro%essors lo1e to in1ent odd (ad( ets/ such as s!ord hilts !ith scre!+on  blades that can be used as short/ lon(/ broad/ bastard/ or t!o+handed s!ords ¬her ¬her in1ention mi(ht be a !a(on pulled by dra%t horses located in the center o% the !a(on This protects the animals %rom attack and allo!s the tea mster to %eed them as they !alk & Pro%essor's Pro%essor's chance to succeed !ith an a n in1ention is based upon his Jmechanical  pro%iciencyJ Fsee pre1ious para(raphsG 3rom that base chance/ the 0M must assess the di%%iculty o% an in1ention and apply a modi%ier Fusually in the ran(e o% +26L to 26LG 26 LG I% the proper tools/ ra! materials/ and time are a1 ailable/ a success%ul roll indicates that the in1ention !orks I% the roll is belo! the Pro%essor's le1el/ the in1en tion is a (reat success Ho!e1er/ i% the roll %ails/ the in1ention either has some ma7or %la! or is a total %lop I% the %ailed roll is a 6L or hi(her/ the %ailure results in an in7ury/ as determined by the 0un(eon Master & roll o% 5 indicates that a %atality results unless the 1ictim rolls a success%ul sa1in( thro! 1s paralyDation Secial %in!$ances'  "nlike typical bards/ (nomes are not eli(ible to learn and cast spells %rom any school o% ma(ic Instead/ they are restricted to the spell selection a1ailable to illusionists This is %urther e4plained in the JIllusionJ note %ound earlier in the J0emi+BardJ section

%alfling Whistle$ Secialt('  anderer Ho!e1er/ )*alifications'  histlers must ha1e a isdom o% 5; or better Ho!e1er/ .uali%yin( Intelli(ence is lo!ered to 5 Prime re.uisites %or histlers are isdom isdom and Charisma Hal%lin(s are the only race able to become histlers They are limited to 56th le1el Desc$ition'  Much like d!ar1en Chanters/ hal%lin( histlers are the unheralded heroes o% the hal%lin( race Hal%lin(s belon( to the (eneral cate(ory o% nature+sensiti1e races and pro%essions Because hal%lin(s hate to kill %orest animals %or %ood or butcher %arm pets/ they li1e by usin( their knack %or a(riculture Their success is lar(ely due to the e4istence o% hal%lin( histlers <hou(h <hou(h almost any hal%lin( can !histle up a tune/ true histlers are e4tremely rare Each hal%lin( community has but one or t!o histlers are e4tremely attuned to the natural en1ironment about them In  particular/ they lo1e %orest animals animals and all types o% plant li%e The 1ery tunes o% a skilled histler can help a (arden o1ercome drou(ht or bli(ht histlers can also communicate !ith birds to help pre1ent insect s!arms %rom !ipin( out a 1illa(e's %ood supply hen histlers aren't tendin( (ardens and crops/ they can be %ound per%ormin( %or the locals -early e1ery day/ a com%ortable cro!d %orms in some (rassy section o% the community %or an e1enin('s entertainment Some 7ust sit on the (rass and listen to the histlers' tunes/ !hile others dance about/ lau(h/ an d make merry Role' histlers are an odd mi4 o% a %armer/ %orest !anderer/ and entertainer <hou(h they are lo1ed b y e1eryone in the community/ most o% them seem a bit reclusi1e/ o%ten li1in( on the ed(e o% to!n or e1en in a small burro! 7ust !ithin the %orest's ed(e In truth/ they aren't reclusi1e+they are simply maintainin( their uni.ue link

!ith nature Secon!a$( Skills'  3armer/ 3orester/ 3isher/ *eather orker/ TailorNea1er/ TrapperN3urrier Fbut see belo!G ha l%lin(s/ histlers lo1e missile !eapons/ Weaon P$oficiencies'  *ike all hal%lin(s/  particularly those that can be thro!n &t &t least hal% o% a histler's histler's !eapons must be types that can be hurled histlers can select %rom amon( the %ollo!in( !eapons# blo!(un/ short bo! Feither typeG/ club/ li(ht crossbo!/ da((er/ dart/ %ootman's mace/ hand a4e/ harpoon/  7a1elin/ kni%e/ .uartersta%%/ slin(/ slin(/ spear/ sta%% slin(/ short s!ord/ or !ar hammer hammer In addition to these/ histlers can take a special !eapon pro%iciency# rock  pitchin( &ll hal%lin(s are skilled at pitchin( rocks/ but histlers histlers are especially reno!ned & J(oodJ rock can be pitched !ith the e4act same e%%ect as a dart/ d art/ e4cept that a histler (ains a 5 dama(e bonus i% he hits % course/ rocks cause blunt dama(e Fnot puncture dama(e as do dartsG nly (ood rocks that are specially selected by the histler (ain the abo1e ad1anta(e I% 7ust any old rock is bein( pitched/ dama(e is reduced to 5 Fplus any Stren(th ad7ustmentG and lon( ran(e becomes ; Fnot
They can carry on comple4 con1ersations !ith other chatterers and are e1en able to communicate !ith some animals histlers can communicate !ith any naturally occurrin( animal that can s.ueak/ chirp/ or !histle Such communication is on a %undamental le1el Basic in%ormation can  be e4chan(ed/ as !ell as mood/ %eelin(s/ etc 3or e4ample/ a histler could chatter !ith a s.uirrel and learn that it has a lot o% nuts hidden in a nearby oak tree histlin( !ith a  bird mi(ht enable the histler to learn i% it has seen any lar(e monsters Fbut not i% it has seen %i1e ettin or other speci%ic in%ormationG histlers o%ten %ind a %orest %riend that accompanies them on some o% their less dan(erous ad1entures 3errets and %o4es are particularly %ond o% ad1enturin( !ith histlers %tormwhstle) The phrase J!histle up a stormJ !as coined !hen a ran(er once !itnessed a hal%lin( Factually a histlerG standin( out in the middle o% a drou(ht+struck  potato %ield To the ran(er's amaDement/ the little %ello! stuck his hands into his pockets and startin( !histlin( PuDDled/ the ran(er crouched behind a lar(e birch and !atched &n hour later/ the sky had clouded o1er and it started to rain &%ter the rain !as comin( do!n .uite hea1ily/ the ran(er (limpsed a satis%ied+lookin( hal%lin( strollin( a!ay It is true that hal%lin(s can't cast !iDard spells Ho!e1er/ histlers are able to cast certain clerical spells They do not recei1e these spells like clerics In %act/ the source o% these spells is some!hat o% a mystery Most histlers a(ree that they are (ranted by Mother -ature hersel% In any e1ent/ histlers (ain the ability to cast each o% the %ollo!in( spells once  per day The usual components %or these spells are i(nored the histler need only !histle to cast the spell histlers (ain the %ollo!in( spells at the listed le1els# 5st le1el# pass wthout trace ;rd le1el# obscurement 6th le1el# plant growth @th le1el# speak wth plants th le1el# control wnds 55th le1el# weather summonng  5;th le1el# control  !eather 56th le1el# entangle Secial %in!$ances'  &s !ith all hal%lin( demi+bards/ histlers do not (ain the  bard ability to cast !iDard spells/ nor do they (ain the 5th+le1el bard ability to use any !ritten ma(ical item

1*lti"Classe! #a$!s &s noted in Chapter ; o% the Player's Handbook  under the discussion o% multi+ class bene%its and restrictions/ no multi+classed bards combination !ere listed -o! that this book is out/ it is time to introduce bard multi+class combinations -ote that multi+ class options are not open to human characters &ll o% the standard demihuman races and their allo!able bard multi+classes are listed belo! 3or added %la1or/ multi+class combinations ha1e been de%ined %or speci%ic

kits I% the kits are not used in your campai(n/ only those combinations that include the True Bard can be used Entries such as J3i(hterNChanter K SkaldJ are a shorthand !ay o% sayin( J3i(hterNChanter or 3i(hterNSkaldJ D,a$f 3i(hterNChanter K Skald Elf Ma(eNMinstrel Thie%Nypsy Gnoe IllusionistNPro%essor  Thie%NPro%essor K ,on(leur  %alf"Elf  3i(hterNTrue K Blade K allant K Skald Ran(erNTrue K Meistersin(er  Ma(eN*oremaster K Riddlemaster  ClericNTrue 0ruidNMeistersin(er  Thie%NTrue K ypsy K ,on(leur K Thespian %alfling Thie%N,on(leur 

D*al"Classe! #a$!s nly humans can be dual+classed 0ual+classed humans can use any kit that the 0un(eon Master allo!s in his campai(n In order to s!itch %rom the bard to another character class/ the character must ha1e a 56 or better in both 0e4terity and Charisma and a 5@ or better in the prime re.uisite o% the ne! class I% the character is o% another class and !ishes to pick up the bard class/ he must ha1e a 56 or better in the prime re.uisite o% his other class and a 5@ or better in both 0e4terity and Charisma

Chate$ 9' P$oficiencies 3ollo!in( their 7ack+o%+all+trades reputation/ bards can learn pro%iciencies %rom the (eneral/ ro(ue/ !arrior/ and !iDard pro%iciency (roups nly those pro%iciencies in the priest (roup cost an additional slot to (ain Ho!e1er/ because most pro%iciencies %all

into more than one (roup/ a lot o% pro%iciencies listed in the priest (roup are also a1ailable to the bard under another (roup In %act/ o% all the pro%iciencies listed in Chapter  6 o% the Player's Handbook, only one/ healin(/ is not in one o% the bard's pro%iciency (roups Thus only healin( re.uires the bard to spend an additional slot to ac.uire Fthree totalG

Coile! P$oficiencies The %ollo!in( table has been compiled in order to assist bard players in selectin( their non!eapon pro%iciencies #ol!"face!  pro%iciencies are ne! pro%iciencies %ound only in this book They are e4panded upon later  *talc5ed  pro%iciencies re.uire the player to record a speci%ic topic or area that the  pro%iciency co1ers 3or e4ample/ the sur1i1al pro%iciency must be speci%ied %or a  particular en1ironment Fe.g., arctic/ !oodland/ desert/ steppe/ mountain/ or tropicalG I% !oodland is chosen/ the pro%iciency is to be recorded as JSur1i1al FoodlandGJ Each additional pro%iciency slot used can either impro1e the pro%iciency %or a speci%ic topic or it can be used to (ain another topic/ such as JSur1i1al Foodland/ SteppeGJ Table 59' NONWEAPON PRO:+C+ENC+ES Slots Rele7ant P$oficienc( Re.;!< Abilit( Acting 5 Cha +5 &(riculture 5 Int   $ncent Hstory 5 Int &nimal Handlin( 5 is &nimal *ore 5 Int   $nmal Tranng  5 is &ppraisin( 5 Int  &rmorer 2 Int +2  $rtstc $blty 5 is &strolo(y 2 Int  Blacksmithin( 5 Str Blind+%i(htin( 2 -& -& Bo!yerN3letcher 5 0e4 Bre!in( 5 Int  Carpentry 5 Str  5 Cha 2 Chanting Charioteerin( 5 0e4 2 Cobblin( 5 0e4  Cookin( 5 Int  2 0e4 C$aft +nst$*ent C$o,! Wo$king  5 Cha 0ancin( 5 0e4  0irection Sense 5 is

1o!<

+5 +5 

  +5

+2  5

0is(uise 5 Endurance 2 En(ineerin( 2 Eti.uette 5 3ire+Buildin( 5 3ishin( 5 3or(ery 5 amin( 5 em Cuttin( 2 Healin( ;K Heraldry 5 Herbalism 2 Huntin( 5 ,u((lin( 5 ,umpin( 5  anguages, $ncent   anguages, Modern *eather!orkin(  ocal Hstory 5 Minin( 2 Mountaineerin(  Muscal *nstrument   -a1i(ation 5 Poetry 5 Int Pottery 5 Readin( *ips 2  &eadng7rtng    &elgon 5  &dng, $rborne  &dng, and1based  Rope "se 5 Runnin( 5 Seamanship 5 SeamstressNTailor Set Snares 5 Sin(in( 5 Spellcra%t 5 Stonemasonry 5 %ur00al 2 S!immin( 5 Ti(htrope alkin( Trackin( 2 Tumblin( 5 >entrilo.uism 5 eaponsmithin( eather Sense

Cha Con Int Cha is is 0e4 Cha 0e4 is Int Int is 0e4 Str 5 5 5 Cha is 5 5 Int +2 0e4 Int 5 is 2 5 0e4 Con 0e4 5 0e4 Cha Int Str Int Str 5 is 0e4 Int ; 5

+5  +;  +5 +5 +5  +2 +2  +2 +5 +5  Int Int Int  +; -& 0e4 +2 +2 +2 Int  is is  +? 5 0e4 +5  +2 +2   0e4   +2 Int is

  

-& +5

5 +2 ;

+5



+; +5

ea1in( 5 Int Whistling-%*ing 5

+5 0e4

2

K Healin( is not !ithin a bard's pro%iciency (roup/ thus it takes three slots to learn instead o% t!o as listed in the Player's Handbook .

Ne, P$oficiencies Acting

&ctin( enables a character to skill%ully portray 1arious roles &ctin( is most o%ten used as a %orm o% entertainment it can also be use%ul in aidin( a dis(uise I% both actin( and dis(uise are kno!n/ the pro%iciency check %or either is made !ith a 5 bonus Pro%iciency checks are re.uired only i% the actor must portray a particularly di%%icult character or is attemptin( an Jad libJ role F.e., a nonrehearsed role or on short noticeG Chanting

The character is an accomplished chanter and can use this ability to help %ello! !orkers or soldiers keep pace Pro%iciency ch ecks are used to determine the e%%ecti1eness o% the chantin( n a success%ul pro%iciency check/ those !ho can hear the chanter become sli(htly hypnotiDed by the rhythmic sound/ causin( the time spent on arduous/ repetiti1e tasks to pass .uickly The 0M can/ at his option/ ad7ust results %or %orced marchin(/ ro!in(/ di((in(/ and other such tasks accordin(ly C$aft +nst$*ent

Those !ho take this pro%iciency must speci%y !hether the y are skilled at cra%tin( !ind/ strin(ed/ percussion/ or keyboard instruments It takes an additional pro%iciency slot to (ain one o% the other skills Three additional slots allo! the character to take the title Jmaster cra%tsmanJ as he is able to cra%t instruments o% all %orms & cra%tsman must buy materials e.ual to a .uarter o% the instrument's sale 1alue It then takes 5d? days to cra%t a !ind or percussion instrument/ 2dA da ys to %orm a strin(ed instrument/ and ;d5 days to create a keyboard instrument These times assume that the cra%tsman is spendin( 5 hours a day !orkin( on the instrument I% cra%tsman tools Fcost 26 (p/ !ei(ht 6 poundsG are not a1ailable/ all times are doubled The .uality o% an instrument is determined by a %inal pro%iciency check 3ailure results in an instrument o% poor .uality/ !hile success indicates (ood .ua lity & natural 2 indicates that the instrument is non%unctional/ !hile a natural 5 results in a masterpiece !orth t!ice the normal 1alue Simple repairs take only 5d< hours and re.uire no pro%iciency check unless the  proper tools are not a1ailable Ho!e1er/ repairin( se1ere dama(e re.uires 5dA hours and a check is mandatory %or success

C$o,! Wo$king

&lmost e1ery bard is %amiliar !ith the !ays o% a cro!d Ho!e1er/ those !ho take cro!d !orkin( learn all the tricks o% the trade Such bards are skilled at obser1in( cro!ds and ad7ustin( their per%ormances accordin(ly &ny bard !ho is usin( a special ability to ad7ust the encounter reactions o% a cro!d Fe.g., in%luence reactionsG can make a cro!d !orkin( pro%iciency check I% this check is success%ul/ the bard can alter the reactions o% the cro!d by t!o le1els instead o% the typical one I% the bard or his (roup is solicitin( money %rom a cro!d/ a success%ul pro%iciency check indicates that the bard is particularly appealin( and the cro!d !illin(ly donates t!ice as much money as it normally !ould For conditions impro1e one cate(ory i% usin( the per%ormance rules earlier in this handbookG Poet$(

Pro%iciency in poetry includes the skills o% recitin( poetry and 7ud(in( its .uality It also indicates that the character has a repertoire o% poems memoriDed %or recital at any time -o pro%iciency check is re.uired %or a normal recital I% the character can read and !rite/ ori(inal poems can be !ritten & success%ul  pro%iciency check indicates that the poem is o% abo1e a1era(e .uality Whistling-%*ing

&lmost anyone can !histle or hum Those !ho take this pro%iciency are e4ceptional !histlers and hummers They can produce tunes as capti1atin( as most son(s & person !ith this pro%iciency is a true master !histler and hummer It is so easy to learn a ne! tune to !histle or hum that characters !ith this  pro%iciency can learn numerous tunes In %act/ i% a pro%iciency check is made/ a !histler or hummer kno!s any particular tune in .uestion In addition/ a character !ith both this  pro%iciency and the animal lore pro%iciency can mimic any bird call he has heard Ho!e1er/ most ad1enturers do not take !histlin( 7ust %or the entertainment 1alue Instead/ they are lookin( %or its uses in communication This communication is possible only amon( those !ho kno! this pro%iciency I% both characters succeed !ith their  pro%iciency checks/ a sin(le concept can be communicated Some e4amples are Jo around to the side door/J JI hear them comin(/J JSlo!ly reach out no!/ the (uard doesn't see youJ

Chate$ =' #a$! Abilities This section e4amines most o% the core bard's co mmon abilities These include  pick pockets/ detect noise/ climb !alls/ read lan(ua(es/ and the bard's 5th+le1el ability to use any !ritten ma(ical item The %irst %our o% these abilities are collecti1ely kno!n as a bard's Jthie% skills/J as

they mimic the thie% skills o% the same name &s stated in the Player's Handbook  under the section on the thie% class/ thie% skills cannot be raised abo1e 6L/ no matter !hat modi%iers are applied

Pick Pockets The ability to pick pockets e4tends %ar beyond reachin( into a 1ictim's coat pocket and remo1in( its contents It has many other applications/ as listed belo! Some o% these applications can be re1ersed and are indicated belo! 3or e4ample/ JRedoJ is the opposite o% J"ndoJ "ndoNRedo# & bard can untie/ unstrin(/ unclasp/ unbuckle/ unbutton/ etc/ an item !ithout bein( noticed PalmNPlace# Palmin( enables a bard's hand to be held naturally !hile lookin( empty/  but it actually contains some item# cards/ a da((er/ a scroll/ sil1er!are/ coins Fup to 5  2Nle1elG/ (ems Fup to 6  5Nle1elG/ etc *i%tN0rop# *i%tin( is the art o% remo1in( small items %rom others' pockets/ slee1es/ (irdles/ packs/ etc/ !ithout the 1ictims noticin( StripNarb# I% a bard remo1es any accessible item Fsmall or lar(eG %rom a sleepin(  person Fs!ords/ boots/ hat/ and so onG !ithout !akin( the 1ictim/ he is strippin( items %rom the 1ictim Slei(ht o% Hand# This is a (eneral cate(ory that enables a bard to trans%er an item %rom one hand to another/ make the item seem ali1e/ make it 1anish and reappear/ cause it to appear behind another's ear/ and so on &d7ust Items# This skill enables a bard to make subtle ad7ustments !ithout bein( noticed 3or e4ample/ a bard could slip a pe( %rom hole 5 o% some (ame into hole 2 E4chan(e# E4chan(e enables a bard to reach into a pile o% coins and remo1e more than he places there or to drop in a (old but remo1e a platinum Slit# Slittin( is the art o% cuttin( throu(h straps or cuttin( holes in ba(s/ (arments/  purses/ pouches/ etc/ !ithout bein( noticed Most o% these pick pockets %unctions can be re1ersed So doin( re.uires a success%ul pick pockets roll &n e4ample %ollo!s hile en7oyin( a %ancy dinner party/ the bard/ Rembam/ may !ish to %rame the (ood cleric Bald!in as a thie% To do so he mi(ht undo Mad am Mor(a1a's necklace/ li%t it %rom her/ then drop it in Bald!in's pocket Fthis process re.uires three pick pocke ts rollsG *ater Rembam could alter the topic o% discussion to that o% 7e!elry/ causin( Madam Mor(a1a to notice her missin( necklace &s soon as a lar(e stir is made/ Rembam mi(ht e4claim/ JI noticed the (ood cleric here !as dotin( o1er your person earlier Perhaps !e should ask him to empty his pocketsJ S*ccess-:ail*$e-Detection'  I% a bard rolls e.ual to or belo! his pick pockets score/ he succeeds in the attempt I% he rolls abo1e his pick pockets score/ he %ails Ho!e1er/ success and %ailure are separate %rom bein( detected & bard's attempt to li%t a (em %rom a merchant's pocket mi(ht be detected re(ardless o% !hether the bard succeeds in his attempt

0etection is determined by subtractin( three times the 1ictim's For obser1er'sG le1el %rom 5 I% the bard's roll is e.ual to or abo1e this number/ his attempt is detected Fre(ardless o% the attempt's success or %ailureG

Detect Noise Bards are attenti1e to e1ery sound or noise/ no matter ho! small or seemin(ly insi(ni%icant/ includin( %aint sounds that most others miss The rules listed in the Player's Handbook  under the thie% and bard classes Fas !ell as in the DU!"# M$%T"& !ude under J*istenin(J in Chapter 56G state that a listener may attempt to pick up %aint sounds any time he !ants/ simply by standin( still and listenin( %or one round &ny head (ear Fhat/ helmet/ etcG must be remo1ed and there cannot be any noise in the immediate 1icinity F.e., party members must be .uietG The check is made secretly by the 0un(eon Master Success means that the listener picks up some noise &dditional checks can be made in !hich the listener can attempt to discern one o% the %ollo!in( Fper checkG# number o% bein(s race nature o% bein(s e4act direction mo1ement  bits o% con1ersation distance to bein(s nce a check %ails/ no more in%ormation can be (ained unless conditions chan(e considerably Fand %a1orablyG I% you !ould like to add (reater detail to your character's chance to hear noise/ consider usin( Table 56 Table 5=' DETECT NO+SE 1OD+:+ERS FptionalG Sit*ation 1o!ifie$  Dstance ndoor7outdoorG "p to 6 %eetNyards 5L "p to 26 %eetNyards ++++ "p to 6 %eetNyards +5L "p to 5 %eetNyards +26L

"p to 56 %eetNyards "p to 2 %eetNyards "p to ; %eetNyards  "ar Co0erng  Cap +5L

+@6L +5L

+6L

Scar%NCloth +5L Hat +26L *eather helmet Metal helmet +@6L

+6L

%ound #bstructons Closed door +6L Ear pressed to door +2L Bend in corridor +5L Curtains +56L %ound Eolume hisper +26L Personal con1ersation Speakin( to an audience Shoutin( 26L 8ellin( 6L

++++ 5L

K0istances are measured in %eet indoors and in yards outdoors

Clib Walls There is an entire section in the Player's Handbook  de1oted to this skill It is %ound in Chapter 5<# Time and Mo1ement It is important to note that bards per%orm 7ust like thie1es !hen it comes to climbin( !alls &ny climbin( !alls comment that applies to thie1es also applies to bards 3or e4ample/ in the Player's Handbook, thie1es are (i1en a number o% special climbin( bene%its/ !hich all app ly to bards as !ell <hou(h most ad1enturers can climb rocky cli%%s and steep slopes/ ro(ues Fincludin( bardsG are %ar superior to others in this ability They not only succeed more o%ten than others/ but they can climb e1en the most di%%icult sur%aces !ithout the aid o% special (ear Fcalled %ree climbin(G Ro(ues are the only characters !ho can climb rou(h/ smooth/ and 1ery smooth sur%aces !ithout the use o% ropes or other e.uipment &nd they are the only characters able to climb 1ery smooth sur%aces !hen they are sli(htly slippery 3or your con1enience/ all climb !alls rules that apply to bards ha1e been compiled and are listed here in an easy+to+use %ormat 1o*ntainee$ing P$oficienc('  E1ery pro%iciency slot spent on mountaineerin( Fincludin( the initial slotG increases a bard's climb !alls score by 5L The bard is not re.uired to use climbin( (ear in order to (ain this bene%it It is a permanent increase that applies in all situations Table 5>' C0+1#+NG 1OD+:+ERS

Sit*ation

1o!ifie$

 Mscellaneous Rope and !allK 66L EncumbranceKK +6L Climber belo! hal% hp +5L  &appellng down a sur(ace Bottom o% rope is held Bottom o% rope is not held

6L ;L

%ur(ace condton &bundant handholds Fbrush/ trees/ led(esG <L Sloped in!ard 26L Sli(htly slippery F!et or crumblin(G +26L Slippery Ficy/ slimyG +<L  $sssted Clmbs Usng Clmbng ToolsGGG &ssisted Total &rmor Type Bonus Modi%ier  -o &rmorKKKK + 5L *eather &rmor + + Padded &rmor 26L +6L Studded *eather 26L +6L Rin( Mail 5L +56L Bri(andine + +26L Scale Mail ;L +56L Hide &rmor 26L +6L Chain Mail 5L +56L El1en Chain 56L +6L Splint Mail + +26L Banded &rmor ?6L +26L Plate Mail <6L +6L BronDe Plate <6L +6L 3ield Plate <6L +6L 3ull Plate <6L +6L KThis bonus applies !hen the character can brace his %eet a(ainst the !all and use the rope to assist in the climb KKThis penalty is cumulati1e %or each encumbrance cate(ory !orse than unencumbered Fe.g., a moderately encumbered bard !ould su%%er a +5L penaltyG KKKThe armor ad7ustments to a bard's climb !alls percenta(e/ (i1en on Tables  and 5 in the JCreationJ section/ apply to bards per%ormin( %ree climbs Fie/ climbs in !hich pitons/ rope/ and so on aren't used/ !hich is the norm %or ro(uesG hen a bard uses climbin( tools/ he is per%ormin( an assisted climb &ssisted climbers su%%er less

se1ere armor penalties/ as ropes can be coiled about and attached to their armor/ and they are able to lean out %rom the !all more/ makin( the bulkiness o% their armor less si(ni%icant The J&ssisted BonusJ column can be used by players !ho !ant to record only their %ree climbin( percenta(e F.e., their climbin( !alls score has been ad7usted as per Table  or 5 in the JCreationJ sectionG The JTotal Modi%ierJ column lists the result o% combinin( the armor penalty !ith the assisted climb bonus &s an e4ample/ studded leather normally causes a +;L climbin( penalty I% tools are used/ a bonus o% 26L is added/ makin( the penalty %or assisted climbin( in studded leather only +6L KKKKIncludes small ma(ical items such as rin(s/ bracers/ cloaks/ but no lar(e or  bulky de1ices Climbin( Checks# & climbin( check must be made an y time a bard tries to climb more than 5 %eet &ccordin( to the Player's Handbook  FChapter 5<# Time and Mo1ementG/ an initial check is made to see i% the bard is able to e1en attempt the climb I%  this check %ails/ the !all is too di%%icult and another attempt can be made only i% the bard's chance to succeed increases F.e., a rope is tossed do!nG or he mo1es to a si(ni%icantly di%%erent ne! location Fhal% a mile or more alon( a cli%%G ¬her check is not re.uired unless the bard climbs more than 5 %eet or takes more than a turn Ften roundsG to climb The reason %or this is that the %irst check assumes that the bard is scoutin( out the !all For cli%%G/ pickin( the best route I% the check is success%ul/ he has %ound such a route and can climb the sur%ace sa%ely #ptonal &ule) It should take one turn to scout out a sur%ace I% the sur%ace cannot  be seen or scouted %or some reason/ the bard must simply start climbin( and hope %or the  best In such cases/ a climb !alls check is made i% it %ails/ the bard %alls To determine ho! hi(h he had climbed/ roll a percentile die and that is the %raction o% the climb that had been completed be%ore the %all 3or e4ample/ i% &ld!in is ad1enturin( in a lar(e under(round ca1ern and decides to climb a !all/ he spends a turn e4aminin( !hat he can see Fsay 56 %eet in torch li(htG He then rolls his climb !alls check I% success%ul/ he sees an ob1ious route and can climb up to 56 %eet !ithout mishap I% he decides to climb the other 6 %eet o% this ?6+%oot+hi(h !all/ he must roll a second check Fit is impossible to scout in the middle o% a climbG He rolls and %ails no! the 0M rolls a percentile o% A  &ld!in almost reaches the top be%ore he %alls The 0M decides that the dama(e should be ?d? as &ld!in essentially %alls ? %eet 3allin(# &s al!ays/ %allin( dama(e is 5d? per 5 %eet & %all o% < %eet causes
Pitons and spikes are not completely reliable and pull out 56L o% the time Characters can also rope themsel1es to(ether I% a roped character %alls/ any character directly tied to him must immediately roll a climbin( check  Success stops the %all/ %ailure means that they are both %allin( I% more than one person is %allin(/ a +5L  penalty results %or e1ery %allin( character in addition to the %irst one Fe.g., i% three characters are %allin( the penalty !ould be +2LG Climbin( Rates# To determine ho! %ast a bard climbs/ look %or the type o% sur%ace and the sur%ace condition on the %ollo!in( table Multiply the resultin( number by the character's current mo1ement rate That is the number o% %eet per round the bard can tra1el in any direction Fup/ do!n/ side!ays/ or dia(onalG This rate is t!ice as %ast as nonro(ues can tra1el Table 5@# B&R0 C*IMBI- R&TES

Slightl( Type o% Sur%ace >ery smooth 5N2 Smooth/ cracked Rou(h 2 2N; Rou(h !Nled(es Ice !all + Tree A ? Slopin( !all ? Rope and !all Rappellin( 5

0ry 5N< 5 2 + < < 5

Slippery + 2N; 5N2 5 5N2 < 2 2 5

Slippery 5N2 2N;

5

Combat hile Climbin(# Combat is both di%%icult and dan(erous !hile climbin( Spells can be cast only i% the bard is in a steady/ braced position I% the spell has a material component/ the bard must ha1e one hand %ree Somatic components re.uire the use o% both hands F.e., the bard must be able to steady himsel% !ith rope and le(s aloneG The %ollo!in( additional ad7ustments occur !hile climbin(# 0e4terity and shield &rmor Class bonuses are lost Most attacks a(ainst a climber are made !ith the 2 rear attack bonus Climbers su%%er a +2 penalty to attack/ dama(e/ and sa1in( rolls &ttackin( %rom abo1e results in a 2 attack roll bonus and attackin( %rom belo! results in a +2 attack roll penalty These t!o ad7ustments apply to climbers and nonclimbers alike T!o+handed !eapons are rarely usable by climbers I% struck %or any amount o% dama(e !hile climbin(/ an immediate climbin( check must be rolled & %ree+climbin( character %alls i% this roll %ails/ !hile an assisted climber loses his balance %or a round Fhe can't attack/ su%%ers an additional +2  penalty to sa1in( thro!s/ and opponents (ain an additional 2 bonus to their attack rollsG &ll ad7ustments are cumulati1e Thus/ an o(re standin( atop a cli%% (ains a ? to

attack i% &ld!in has lost his balance on his assisted climb F2 because &ld!in is belo! the o(re/ 2 because &ld!in's back is e4posed as he is %acin( the cli%%/ and 2 because he is o%% balanceG

Readin(/ ritin(/ and Speakin( This section clari%ies the di%%erences and similarities bet!een the multiple !ays in !hich a bard can attempt to read/ !rite/ and speak lan(ua(es In particular the %ollo!in( !ill be e4amined# the thie% ability read lan(u a(es the pro%iciencies o% readin(N!ritin(/ ancient lan(ua(es/ and modern lan(ua(es the spell read magc and the 5th+le1el bard ability to use any !ritten ma(ical item Each has its o!n speci%ic %unctions/ but the 1arious uses o1erlap The thie% ability to read lan(ua(es enables any ro(ue/ includin( the bard subclass/ to attempt to read any material Fother lan(ua(es/ maps/ ideo(rams/ etcG that the character  isn't pro%icient in readin( This skill does not enable a thie% to read !ritin(s that others can read only by usin( a read magc spell F.e., ma(ical !ritin(s cannot be read !ith the read lan(ua(es abilityG The thie%'s ability to read lan(ua(es does not impart the ability to !rite or speak a lan(ua(e &ll three o% the lan(ua(e+oriented pro%iciencies re.uire the pla yer to record a speci%ic lan(ua(e !hen the pro%iciency is %irst learned &dditional pro%iciency slots can  be spent to (ain additional lan(ua(es/ !hich must also be speci%ied and recorded Characters automatically succeed !hen usin( these three pro%iciencies F.e., no  pro%iciency check is rolledG under most circumstances nly !hen the pro%iciency is used in e4treme cases/ such as readin( a 1ery old document or speakin( odd dialects/ is a  pro%iciency check rolled The pro%iciency readin(N!ritin( enables a character to b oth read and !rite a speci%ic lan(ua(e+no pro%iciency check is rolled and there is no need to roll a(ainst read lan(ua(es nly a JmodernJ lan(ua(e can be selected as the topic o% this pro%iciency/ and only i% the character already kno!s ho! to speak the lan(ua(e F& modern lan(ua(e is any lan(ua(e that is currently bein( used in the character's kno!n campai(n !orld I% a lan(ua(e is not modern/ it is al!ays JancientJG The modern lan(ua(es pro%iciency enables a character to speak a speci%ic lan(ua(e/ but not read or !rite it &ncient lan(ua(es is a uni.ue pro%iciency that combines the %unctions o% the abo1e t!o pro%iciencies !ith respect to ancient lan(ua(es hen an ancient lan(ua(e is speci%ied %or this pro%iciency/ the player must decide !hether the character is %luent in the lan(ua(e Fkno!s ho! to speak itG or i% the character is literate in the lan(ua( e Fcan read and !rite itG++both are not immediately (ained I% both skills are desired/ an additional  pro%iciency slot must be spent on the same lan(ua(e The spell read magc enables a caster to read/ but not !rite or speak/ any !ritin( that is ma(ical It doesn't matter !hat lan(ua(e it is !ritten in or !ho !rote it/ only that it is ma(ical nce read/ the caster can read it at any later time !ithout the use o% the spell I% the !ritin( isn't ma(ical/ this spell has absolutely no e%%ect The bard's 5th+le1el ability to use any !ritten ma(ical item F!ith a 56L chance o% usin( it incorrectlyG is a 1ery special case By the 5th le1el/ bards ha1e %inally learned

enou(h ma(ical symbols and si(ns that they are able to puDDle throu(h them !ithout the use o% read magc/ read languages/ or any other aid Ho!e1er/ a bard does not e4actly understand the e%%ects o% an item until he %irst uses it "p un til that time/ he has only a 1a(ue idea as to the item's (eneral use Fe.g., the bard mi(ht kno! that a (lame strke scroll contains an o%%ensi1e %ire spellG He must read the scroll and ac ti1ate its ma(ic to learn the e4act nature o% the scroll  -ote that at 5th le1el the bard can i(nore class restrictions %or all ma(ical items o% a !ritten nature

Chapter ?# Ma(ic Spell Books "nlike !iDards/ bards do not en(a(e in the systematic study o% ma(ic or the  pursuit o% speci%ic spells In spite o% this/ most bards pick up some ma(ical kno!led(e in the course o% their tra1els Ho!e1er/ understandin( the meanin( o% a spell is a di%%icult task Spell books are not %illed !ith lines o% neatly !ritten te4t Instead/ they contain arcane %ormulae/ stran(e symbols/ notes/ comments/ odd runes/ etc "nderstandin( them is di%%icult/ as spells aren't JreadJ like normal !ritin( they are Jsol1edJ like comple4 mathematical e.uations/ and impressed upon the mind by an act o% !ill nly those able to cast spells can attempt to unlock their secrets and tap the ener(ies needed to cast them The only !ay to do this is %or the spellcaster to success%ully roll under his Jchance to learn spellsJ score/ !hich is a %unction o% Intelli(ence nce understood/ no %urther attempts to sol1e a (i1en spell need to be made as lon( as the spell  book is a1ailable %or study -ote that a spellcaster cannot understand a spell o% a le1el hi(her than he can currently cast

Musical Components Most bards are almost ma(ically skilled at some %orm o% musical e4pression I% you are seekin( a !ay to more closely incorporate this talent !ith a bard's ma(ical abilities/ you may !ant to consider the option o% usin( music as the 1erbal component to spells Then/ instead o% speakin( arcane !ords to in1oke a spell/ the bard sin(s a son(/ recites poetry/ or plays a tune % course/ as !ith all optional rules/ you must %irst obtain your 0un (eon Master's appro1al I% this option is taken/ a bard can per%orm some %orm o% music in place o% a spell's 1erbal component Ho!e1er/ once this option is a(reed upon %or your bard/ he can no lon(er speak !ords to cast spells re.uirin( 1erbal components He must al!ays resort to music nly one o% the three musical mediums Fsin(in(/ poetry/ or instrumentalG !orks %or any particular bard Funtil 5th le1elG 0emi+bards ha1e di%%erent options a1ailable to them The musical options %or bards and demi+bards are ( i1en in Table 5A

Table 5A# >ERB&* CMP-E-T S"BSTIT"TES )it

Musical Substitute

True

Sin(in( or InstrumentalK

Blade Poetry Charlatan Sin(in( allant Poetry ypsy Instrumental Herald Instrumental ,ester Poetry/ Sin(in(/ or InstrumentalK ,on(leur Poetry *oremaster Instrumental Meistersin(er Instrumental Riddlemaster Poetry Skald Sin(in( Thespian Sin(in(  Dem1Bards Chanter Minstrel Pro%essor histler

Chantin( SpecialKK histlin( or InstrumentalK histlin(

KThe bard must select only one o% these options This choice is bindin( and cannot be altered at a later time KKMinstrels are a special case Re%er to their kit description

Ne, Sells Alte$ +nst$*ent ?Alte$ation@ *e1el# 5 Ran(e# Touch Components# >/ S 0uration# 5 turnNle1el Castin( Time# 5 &rea o% E%%ect# 5 instrument Sa1in( Thro!# -one

By usin( this spell/ the caster can trans%orm one musical instrument into another o% similar siDe and e.ual 1alue &ny hand+held instrument can be altered into any other hand+held instrument Ho!e1er/ in order to obtain a lar(e instrument/ such as a b ase harp/ or(an/ or any other instrument that is too lar(e or hea1 y to be easily carried/ the spellcaster must start !ith an e.ually lar(e instrument

In any e1ent/ the 1alue o% the ne! instrument is identical to the ori(inal & (olden recorder !ill (enerate a sil1er plated lute/ a child's drum !ill (enerate a non%unctional lyre/ etc. Bards use this spell to sa1e both money and e.uipment carried It is a lot cheaper to buy a sin(le instrument and alter it !hen another is needed than to buy e1ery instrument that mi(ht be re.uired This also sa1es a lot o% space in one's backpack I% the instrument the bard !ishes to alter is bein( carried or played by another character/ a success%ul attack roll a(ainst the opponent's &rmor Class must be made in order to touch the instrument

So*n! #*bble ?Ab*$ation3 E7ocation@

*e1el# 5 Ran(e#  Components# >/ S/ M 0uration# 5 rounds  5 roundNle1el Castin( Time# 5 &rea o% E%%ect# Special Sa1in( Thro!# -one hen this spell is cast/ an in1isible bubble sprin(s into e4istence It can either be centered on and mobile !ith the caster or cast on an area The mobile bubble has a radius o% 5 %eet/ !hile the area bubble has a radius o% 6 %eet per caster le1el The bubble has only one e%%ect# sound can't pass throu(h it Thus sound (enerated !ithin the bubble can 't  be heard by those on the outside and 1ice 1ersa Bards o%ten use this spell to enhance the .uality and e%%ect o% their per%ormances It also %unctions nicely !hen a bard !ishes to use one o% his talents in a dun(eon or other limited settin( in !hich noise is sure to dra! un!anted attention Besides its entertainment %unctions/ sound bubble is also use%ul in many o% the same situations in !hich slence is used The material component o% the spell is a blo!n e(( shell or a soap bubble

Silence 5=; Ra!i*s ?Alte$ation@

*e1el# 2 Ran(e# ? yards Components# >/ S 0uration# 2 roundsNle1el Castin( Time# 6 &rea o% E%%ect# 56+%oot+radius sphere Sa1in( Thro!# -one

"pon castin( this spell/ complete silence pre1ails in the a%%ected area &ll sound is stopped# con1ersation is impossible/ spells !ith 1erbal components cannot be cast/ and no noise issues %rom or enters the area The spell can be cast into the air or upon an ob7ect/  but the e%%ect is stationary unless cast on a mobile ob7ect or creature The spell lasts t!o rounds %or each le1el o% the e4perience o% the caster I% the spell is centered on a creature/ the e%%ect then radiates %rom the creature and mo1es as it mo1es &n un!illin( creature recei1es a sa1in( thro! 1s spell I% success%ul/ the spell e%%ect is centered about one %oot  behind the position o% the creature at the instant o% castin( Fthe e%%ect does not mo1e !ith the creature in this caseG This spell pro1ides a de%ense a(ainst sound+based attacks/ such as harpy sin(in(/ a horn o( blastng, etc.

+$o7e! 1agic 1o*th ?Alte$ation@

*e1el# ; Ran(e# 5 yards Components# >/ S/ M 0uration# Special Castin( Time# ; &rea o% E%%ect# 5 ob7ect Sa1in( Thro!# -one This spell !orks in all !ays like the 2nd+le1el !iDard spell magc mouth/ e4cept as %ollo!s hen this spell is cast/ the mouth is endo!ed !ith the bard's current kno!led(e/ Intelli(ence/ and personality hen the predetermined e1ent occurs that acti1ates the mouth/ it con1erses as i% the bard !ere actually there 3or e4ample/ the mouth mi(ht say/ Jho (oes thereJ and !ait %or a reply I% the 1isitors announce their names/ it could (o on to say/ JTarnak/ please proceed to the music room/ !hile the rest !ait in the sittin( roomJ The mouth lasts until the con1ersation is o1er <hou(h the mouth can be set to acti1ate due to a 1isual stimulus F.e., acti1ate i% anyone !earin( a (reen %eather approaches the castle (ateG/ once tri((ered/ it reacts only to sounds and speech &lso note that the mouth and the bard are not linked in any !ay nce cast/ the mouth's kno!led(e is set and !ill ne1er chan(e Thus/ i% a bard is e4tremely an(ry at Tarnak !hen he casts an mpro0ed magc mouth/ the mouth !ill remain in a state o% an(er/ e1en i% the bard and Tarnak ha1e reconciled

+nstant A*!ience ?Con*$ation@ *e1el# ; Ran(e# ; yards

Components# >/ S/ M 0uration# "p to < hours Castin( Time# 2 &rea o% E%%ect# 5 room or area !ithin ran(e Sa1in( Thro!# -one hen this spell is cast/ audience members are ma(ically con7ured Each round 5d< people enter the room or area in a normal manner FThey actually appear 7ust outside the room !hen no one is lookin(G This continues %or a number o% rounds e.ual to the caster's le1el The audience contains a combination o% races/ (ender/ and social class appropriate to the occasion Instant audience members act in e1ery !ay like any other members o% the audience They !alk around durin( intermission/ talk/ eat snacks/ and so on Ho!e1er/ they al!ays e1ade .uestions about their past/ their history/ or current e1ents/ as they ha1e no past/ no history/ and ha1e no idea as to !hat is (oin( on in the !orld outside o% the room Instant audience members are strictly noncombati1e and n e1er attack or cast spells Falthou(h they can be bullies or bra((arts i% that is appropriateG I% one su%%ers e1en a sin(le point o% dama(e/ he instantly 1anishes alon( !ith all o% his items Fincludin( items no lon(er on his body/ such as clothes that he hun( in the linen closetG nce the per%ormance ends/ instant audience members lea1e in an appropriate manner and 1anish as soon as they are out o% 1ie! I% the audience is treated in an inappropriate !ay Fas determined by the 0MG/ the spell instantly ends 3or e4ample/ an audience could be summoned to !atch a combat/  but i% the audience is used as a human shield/ it 1anishes The material components are a small collection o% the items carried by the appropriate audience Fa (old coin/ a piece o% %ine %abric/ a snu%% bo4/ etcG These are tossed into a ba( that contains at least one li1e mouse The mouse is not destroyed/ but 1anishes durin( the spell to reappear some!here in the room a%ter the spell ends

Wall of So*n! ?E7ocation@

*e1el# ; Ran(e# ? yards Components# >/ S/ M 0uration# Concentration  5 roundNle1el Castin( Time# ; &rea o% E%%ect# Special Sa1in( Thro!# -one The wall o( sound  spell brin(s %orth an immobile/ shimmerin( curtain o% 1iolently disturbed air The !all is made up o% a number o% 5'45' sections e.ual to the caster's le1el These sections can be arran(ed as desired as lon( as the resultin( !all all lies in

one plane F ie/ it must be %latG that stands up 1ertically ne side o% the !all/ selected by the caster/ produces a 1oluminous roar that completely disrupts all communication/ command !ords/ 1erbal spell componen ts/ and any other %orm o% or(aniDed sound !ithin ; %eet In addition/ those !ithin 5 %eet are dea%ened %or 5d< turns i% they %ail a sa1in( thro! 1s spell n the other side o% the !all/ a loud roar can be heard/ but communication is  possible by shoutin(/ and 1erbal components and command !ords %unction normally &nyone passin( throu(h the !all su%%ers 5dA points o% dama(e and is permanently dea%ened unless he rolls a success%ul sa1in( thro! 1s spell 0ea%ened creatures su%%er a +5 penalty to surprise rolls/ a 5 penalty to their initiati1e rolls/ and they are 2L likely to miscast spells !ith a 1erbal component & slence 3' radus spell cast by a hi(her le1el caster speci%ically %or this purpose !ill dispel the !all the !all other!ise destroys all slence spells that come into contact !ith it The material component is a piece o% slate and a %in(er nail clippin(

Con*$e Cabinet ?Con*$ation@

*e1el# < Ran(e# 5 %eet Components# >/ S 0uration# 5 roundNle1el Castin( Time# < &rea o% E%%ect# Special Sa1in( Thro!# -one This is a 1ery special spell created speci%ically %or the bard class Be%ore this spell can be used/ the bard must ha1e a special cabinet made It must be o% the hi(hest .uality/ !orth at least 5/ (old pieces It can be any siDe up to < %eet !ide by < %eet deep by A %eet hi(h nce the cabinet is made/ this spell must be cast upon it and the cabinet must be named &t any later date/ the bard can cast this spell and the cabinet temporarily teleports to the bard's current location The cabinet carries !ith it any contents that are o% a  per%ormin( nature usable by the bard F3or e4ample/ it mi(ht contain musical instruments/ cleanin( tools/ a playin( stool/ etc/ %or a True Bard It mi(ht be lined !ith thro!in( da((ers/ rapiers %or s!ord s!allo!in(/ and blind%olds %or a BladeG hen the cabinet teleports to the bard/ a percentile die must be rolled n a 5+ 
cabinet to another plane I% items o% a nonper%ormin( nature are le%t in the cabinet/ then the cabinet !ill not teleport

1agical +tes &s is the nature o% bards/ they meddle in e1erythin(/ includin( ma(ical items created by the (reat !iDards o% past and present Belo! you !ill %ind a list o% ne! ma(ical items/ old ma(ical items/ and ne! !ays to use old ma(ical items

Ne, 1agical +tes Case of Co$ession'  hen empty/ this musical instrument case appears as any other such case Ho!e1er/ !hen touched to any instrument normally carried in a case/ it trans%orms so that it per%ectly %its the instrument hen the case is closed !ith the instrument inside/ it shrinks until it easily %its in the palm o% the hand The reduced case !ei(hs only a pound hen the case is opened/ it returns itsel% and its instrument to %ull siDe &bout 5L o% these cases are cursed such cases de1our the instrument 26L o% the time Go*$! of T$a7el'  By shakin( this (ourd and sayin( the command !ord/ the bard is able to teleport himsel% and one other to any kno!n place & gourd o( tra0el  does not allo! %or tra1el bet!een planes & gourd o( tra0el  has 5d5 seeds !ithin it/ !hich produce the rattlin( sound that causes the (ourd to %unction E1ery time the (ourd is used/ one o% these seeds 1anishes hen the last seed 1anishes/ the (ourd becomes a nonma(ical item %a$ of %ealing'  hen this ma(ical harp is played !ithin 5 %eet o% !ounded creatures/ it heals each creature by one point per hour o% playin( Ho!e1er/ once the music stops or a ne! player takes o1er/ %urther playin( is useless unless ne! !ounds are recei1ed &%ter ei(ht hours o% continuous playin(/ a bard must be(in to make success%ul Constitution rolls once an hour or he misplays the harp and healin( ends %o$n of Alification'  This horn is not hollo! as one !ould e4pect Rather/ it is solid and resembles the horn o% a rhinoceros It is used by touchin( its base to the %orehead It ma(ically attaches and con1eys its special po!er &t this time/ the one !earin( the horn has his 1oice ampli%ied %rom t!o to ten times in 1olume The e4act increase is up to the character usin( the horn The horn has no other %unction It can be remo1ed by anyone !ho li(htly pulls on it This horn increases the ran(e o% all son(s/ 7okes/ rhymes/ and other %orms o% 1erbal communication proportionately Fe.g., an ampli%ication o% %i1e increases the ran(e  by %i1e times the normal distanceG The character can also yell & yell causes 2d5 points o% dama(e to e1eryone e4cept the user !ithin a ran(e o% 6 %eet times the ampli%ication Fe.g., settin( 2 has a 5+ %oot ran(e/ settin( 6 has a 26+%oot ran(e/ etcG & success%ul sa1in( thro! 1s petri%ication

reduces dama(e by hal% nly one yell per encounter can be attempted Each time the horn is used/ there is a 5L chance that it permanently a%%i4es to the user's %orehead and loses all ma(ical ability It can then be used as a !eapon %or head  butts/ causin( 5d; points o% dama(e Ho!e1er/ the oddity o% ha1in( a horn (ro!in( %rom the character's head results in a +2 Charisma penalty & !ish must be used to remo1e the horn %o$n of #a*bles'  hen this instrument is blo!n/ one 6'46'46' cube o% useless  baubles spe!s out o% it per le1el o% the blo!er <hou(h this is usually rather comical/ it can be dan(erous in a limited space The instrument can be sa%ely blo!n once e1ery hour I% blo!n more %re.uently/ there is a 5L cumulati1e chance that the horn back%ires/ suckin( the blo!er into it and spe!in( him out as a collection o% useless baubles It is impossible to resurrect or reincarnate a creature in this state/ althou(h a wsh can wsh can be used to reco1er the 1ictim 0($e of Wo*n!ing'  This cursed item appears normal in e1ery !ay until it is %irst  played hen the musician's %in(ers strike its its strin(s/ they se1er the tips o% his %in(ers %in(ers Roll 5d? %or the number o% %in(ers that the musician loses# 5+< the number o% lost %in(ers/ 6 all %in(ers and the thumb/ and ? escaped unscathed Each %in(er lost causes 5d2 points o% dama(e/ but the musician should not be lo!ered belo! 5 hit point due to lost %in(ers Each lost %in(er causes the musician's pro%iciency at playin( musical instruments to su%%er a penalty o% +2 ther pro%iciencies and acti1ities re.uirin( manual de4terity are like!ise reduced/ at the 0M's discretion *ost di(its can be re(enerated ma(ically &s !ith cursed s!ords/ !hene1er the musician decides to play/ the lyre leaps into his hands ma(ically alterin( the %orm o% the instrument does not abate its curse Pe$iat of P$oof Against So*n!'  This small periapt is indistin(uishable %rom other (ems The character !ho has this periapt (ains e4tra resistance to any sound+based attack or in%luence I% a sa1in( thro! is normally allo!ed/ the periapt pro1ides an e4 tra  bonus to the sa1in( thro! The le1el o% the bonus depends upon the .uality o% the periapt/ as %ollo!s# D5BB 5+< <5+? ?5+@6 @?+ 5+6 ?+

Sa7e #on*s 5 2 ; < 6 5/ 6' radius

I% no sa1in( thro! is usually allo!ed/ the periapt pro1ides a normal sa1in( thro! 1s spell a(ainst the sound & perapt & perapt o( proo( aganst sound  a%%ects  a%%ects all hostile sounds/ includin( harpy sin(in(/ sirens/ screams or shrieks that cause dama(e or %ear/ all musical in%luences Fincludin( bard abilitiesG/ spells that rely upon 1erbal communication to a%%ect their 1ictims Fe.g., Fe.g., command, suggeston, etc.G/ etc.G/ and so on Ho!e1er/ the periapt has no e%%ect upon communication/ such as/ J)ill that stupid bard/J 1erbal components %or spells/ ma(ical item command !ords/ or any other sound that does not directly a%%ect the indi1idual !ho has the periapt Pick of St$*ing'  This ma(ical pick enables the user to play any strin(ed

instrument that is normally plucked !ith %in(ers or a pick This includes ha rps/ lutes/ mandolins/ etc The person (raspin( the pick can play any son( he has e1er heard The  pick's ma(ic is so (reat that all %unctions o% the instrument instrument are instantly mastered Thus/ the bard automatically kno!s the proper (rips to use on the lute/ ho! to hold the harp/ ho! to ad7ust the strin(s o% the mandolin/ etc. His etc. His skill le1el ri1als that o% a master musician pro%icient in the instrument's use &lso/ a bard !ho uses this pick to play the lyre o% !oundin( does not su%%er any se1ered %in(ers Reco$!e$ of Reco$!ing'  This recorder has t!o ma(ical %unctions I%/ a%ter a son( is played on it/ the bard says/ JPlay it a(ain !hen = happens/J ha ppens/J the recorder !ill ma(ically  play the entire son( o1er a(ain any time condition = occurs Fe.g., Fe.g., Jhen  Jhen Tarnak Tarnak comes !ithin 2 %eetJG The other ma(ical %unction is acti1ated by speakin( the !ord/ Jrecord/J be%ore  playin( a son( &t any later time/ time/ the bard can say/ Jplay back/J and the recorder produces all sounds that it recorded !ithin ; %eet durin( the son( 3urthermore/ these sounds are  played back as i% the recorder hadn't been makin( any noise at the time The recorder does not reproduce special sound+based attacks o% any sort n ormal musical instrument ithe$ of See!'  This Dither appears to be a normal Ho!e1er/ i% it is played in a rapid tempo and the musician says/ J&da(ietto/J all allies !ithin ; %eet are a%%ected as i% under the in%luence o% a haste spell haste spell I% the Dither is played slo!ly and J&da(issimoJ is spoken/ all %oes !ithin ; %eet are a%%ected as i% under a slow a slow spell  spell Fno sa1in( thro!G The e%%ects last as lon( as the bard concentrates upon the music or until u ntil he plays the Dither at a moderate modera te tempo and says/ J&ndanteJ I% he mo1es/ de%ends himsel%/ su%%ers dama(e/ rolls %or a sa1in( thro!/ or  per%orms any other action/ his concentration is broken & 5ther o( speed  %unctions  %unctions only once per day 3urthermore/ %or e1ery successi1e day in a ro! that its ma(ic is used/ there is a 5L cumulati1e cu mulati1e chance that one o% its strin(s breaks/ renderin( the item useless unless it can be repa ired

Ol! 1agical +tes

The %ollo!in( ma(ical items are all located in the Dungeon the Dungeon Master's !ude !ude they are particularly suited to or %a1ored by bards *talc5ed  bards *talc5ed  entries  entries are cursed or are items that  bards %ind particularly distaste%ul Potions Philter o% libness  Phlter o( %tammerng and %tutterng  >entrilo.uism Rods Be(uilin( Rulership Splendor  1iscellaneo*s 1agic ?Noninst$*ental@

 Boots o( Dancng  Helm o% Comprehendin( *an(ua(es and Readin( Ma(ic Sheet o% Smallness Tome Tome o% *eadership and In%luence 1iscellaneo*s 1agic ?1*sical +nst$*ents@ Chme o( Hunger Chime o% Interruption Chime o% penin(  Drums o( Dea(enng 0rums o% Panic Harp o% Charmin(  Harp o( Dscord Horn o% Blastin(  Horn o( Bubbles Horn o% Collapsin( Horn o% 3o( Horn o% oodness FE1ilG Horn o% >alhalla *yre o% Buildin( Pipes o% Hauntin(  Ppes o( Pan Pipes o% Soundin( Pipes o% the Se!ers Weaons an! A$o$ &rmor o% Command El1en Chain Mail S!ord o% 0ancin( Ne, T,ists on Ol! +tes Fptional RulesG

This optional section contains su((ested special e%%ects that occur !hen 1arious  bard kits use the instruments and other ma(ical items listed listed abo1e &ll o% these su((estions are optional/ but !ill make %or a lot o% added %la1or and %un in your campai(n Because bards are so musically inclined/ their understandin( o% all musical instruments/ includin( ma(ical items/ is such that they (ain certain special bene%its This is also true o% se1eral other ma(ical items that are specially related to bards El7en 1inst$els'  Because these special demi+bards understand the un ion o% ma(ic and music better than an yone/ they (ain a special bene%it ben e%it &ny time a haDardous ma(ical e%%ect based on music occurs/ an el1en Minstrel (ains a 2 bonus to the sa1in( thro! Success indicates that the haDardous e%%ect is a1oided I% no sa1in( thro! is allo!ed/ this allo!s one at the normal chance ch ance %or success

Philte$ of Glibness'  I% a Charlatan imbibes this potion/ e1en detect le !ill ha1e only a 6L chance to note any Jstretchin( o% the truthJ Philte$ of Stae$ing an! St*tte$ing'  This potion %unctions as a phlter o(  glbness or persuas0eness !hen imbibed by a ,ester and has no ill e%%ects #oots of Dancing' These boots ha1e no e%%ect upon a ,ester %el of Co$ehen!ing 0ang*ages an! Rea!ing 1agic'  hen !orn by a  bard/ this helm (rants the ability to understand 6L o% stran(e !ritin(s and L o% ma(ical !ritin(s I% the bard is 5th le1el or hi(her/ the chance to understand ma(ical !ritin(s rises to 6L Toe of 0ea!e$shi an! +nfl*ence'  hen this is read by a bard/ the character increases by one le1el His e4perience points become e.ual to the minimum re.uired to attain the ne! le1el

"nless stated other!ise/ the %ollo!in( notes apply only to bard kits that ha1e Musical Instrument listed as a bonus pro%iciency Those kits that ha1e Musical Instrument listed as a su((ested pro%iciency are also a%%ected/ but only i% the bard in .uestion is  pro%icient !ith the particular instrument Chie of %*nge$'  hen struck by a bard/ this chime's cursed po!ers radiate out ? %eet  5 %eet per le1el o% the bard Chie of +nte$$*tion'  hen this is used by a bard/ a%%ected spellcasters must roll their sa1in( thro!s !ith a +5 penalty per three le1els o% the bard El1en Minstrels disrupt any spell that they can themsel1es cast Chie of Oening' Bards can attempt to destroy locks/ lids/ doors/ 1al1es/ and  portals !ith this chime Fin addition to its normal %unctionsG The chance to destroy is e.ual to 6L per le1el o% the bard Thus a ?th+le1el bard !ould ha1e a ;L chance to destroy such an item The ma4imum chance is 6L % course/ i% the bard doesn't !ant to destroy the item/ he can use the chime normally D$*s of Deafening'  These drums are a pair o% kettle drums/ but bards can in1oke the ma(ic in each drum separately I% the le%t drum is struck/ it causes those !ithin 5 %eet to be stunned %or 2d< rounds I% the ri(ht drum is struck/ it cau ses all !ithin @ %eet to be permanently dea%ened Fa heal  spell or similar ma(ic is needed to re(ain hearin(G 0!ar1en Chanters can double all areas o% e%%ect D$*s of Panic'  I% these drums are struck by a bard/ the radius o% the inner Jsa%e DoneJ can be reduced to any desired measurement &%%ected creatures su%%er a sa1in( thro! penalty o% +5 penalty per three le1els o% the bard %a$ of Cha$ing'  nce per turn a bard is able to cause the harp to cast a command  spell as a caster e.ual to the bard's le1el %a$ of Disco$!'  "n%ortunately %or bards/ their (reater musical talents cause the e%%ects o% this instrument to last %or 2d<2 rounds a%ter the music stops ,esters cause the e%%ect to last %or 2d< turns %o$n of #lasting'  Bards are better able to play this instrument/ so that there is only a 6L cumulati1e chance per day that the horn !ill e4plode 3urthermore/ the listed J2L cumulati1e chance o% the instrument sel%+destructin(J is reduced to 5L %o$n of #*bbles'  Bards are actually able to use this cursed ma(ical item to their ad1anta(e Fonce they determine !hat the horn isG hen properly blo!n by a bard/ the horn emits a cone o% bubbles ; %eet lon( !ith a ;+%oot diameter end &nyone cau(ht in

the bubbles is e%%ecti1ely blinded %or 2d5 rounds unless he rolls a success%ul sa1in( thro! 1s breath !eapon Ho!e1er/ there is a 6L chance that the horn back%ires and sucks the bard throu(h it/ emittin( him as a mass o% bubbles nce all o% the bubbles pop Ftakin( 2d5 roundsG/ the bard is irre1ocably dead ,esters ha1e only a 5L chance o%  bein( turned to bubbles %o$n of Collasing'  Bards ha1e only a 6L chance o% soundin( the horn improperly 0!ar1en Chanters ne1er use this instrument improperly once they kno! the command !ord %o$n of :og' hen this horn is blo!n/ bards are able to create the typical %o(/ or they can create a re(ion o% ma(ical rain Rain can be 1ery use%ul as a source o% !ater/ to  put out %ires/ or to %ill the bottom o% a room !ith !ater The rain !ill accumulate 5 inch o%  !ater per round in a 5+%oot s.uare %o$n of Goo!ness ?E7il@'  "n%ortunately %or many bards/ soundin( this instrument mi(ht produce an ali(nment chan(e There is a 6L chance that the bard  becomes neutral e1il/ other!ise he becomes neutral (ood I% the bard is already one o% these t!o ali(nments/ the horn %unctions normally %o$n of the T$itons' Bards are able to sound this horn e1en thou(h it isn't normally usable by ro(ues Meistersin(ers and hal%lin( histlers are able to use this ma(ical horn t!ice per day %o$n of Valhalla'  &t 6th le1el bards can sound the brass horn/ at 5th le1el the  bronDe horn/ and at 56th le1el the iron horn Skalds can play any o% these horns !ithout  penalty 0($e of #*il!ing'  & bard can ne(ate the e%%ects o% a horn o( blastng / a dsntegrate spell/ or the e%%ect o% up to three rounds o% attack %rom a ram or similar sie(e item This !orks once per day %or e1ery three le1els o% the bard hen the lyre is used to  per%orm !ork/ a bard is able to achie1e the !ork o% 5 men  5 men per le1el o% the  bard I% a bard should happen to %ail the %alse chord check/ a sa1in( thro! 1s  paralyDation is also allo!ed Success indicates that the bard reco1ered %rom his mistake !ithout mishap Pies of %a*nting'  hen these po!er%ul pipes are blo!n by a bard/ those !ho %ail their sa1in( thro!s 1s spell are a%%ected as i% sub7ect to a (ear  spell Those !ho succeed on the roll still su%%er the +2 penalty to morale checks and a +5 penalty to surprise rolls The bard can choose to use the pipes normally Pies of Pain'  Because o% the musical skills o% bards/ all !ithin ? %eet are sub7ect to the ma(ic o% these pipes !hen played by a bard Sa1in( thro!s are rolled !ith a +5 penalty per three le1els o% the bard Pies of So*n!ing'  Bards are able to (enerate any sound !ith these pipes/ up to and includin( the 1olume o% ei(ht yellin( men The only limit is that the sound can't imitate any %orm o% understandable 1erbal communication Charlatans/ ho!e1er/ can (enerate understandable communication Pies of the Se,e$s'  hen played by bards/ these pipes actually teleport the rats %rom some unkno!n location Thus/ a bard can summon rats e1en i% he is in an area completely de1oid o% rats Meistersin(ers can select !hether (iant or normal rats arri1e/ and ha1e a 5L bonus to any control rolls A$o$ of Coan!'  Bards !earin( this armor are able to speak one command  a

day !ith the e%%ects o% the %irst le1el priest spell/ command  S,o$! of Dancing'  Bards can release a sword o( dancng  on any round in !hich its plus isn't a 5 Fe.g., round 2/;/
Chate$ ' 1*sic Th$o*gho*t %isto$( This section contains a short/ non%antasy look at the history o% music %rom the 0ark &(es throu(h the Renaissance period This e4amination concentrates upon !estern culture/ !hich is the primary basis %or the &090: (ame Music !as not al!ays the sophisticated production that !e o % the 2th century are used to hearin( <hou(h it has played a part in the li%e o% the human race since be%ore recorded history/ modern music took many years to de1elop Be%ore the time o% the Christian church/ music !as rarely !ritten do!n ith such sparse in%ormation/ it is hard to decipher !hat the son(s o% the ancients !ere like Ho!e1er/ it is likely that they !ere 1ery simple rhythms that !ere pounded out !ith sticks or simple percussion instruments E1entually reeds or canes !ere used to %orm the %irst !ood!inds and a ne! musical sound emer(ed But !e still don't kno! !ha t the music o% this early era sounded like It !asn't until the As that music !as bein( re(ularly recorded in !estern ci1iliDations E1en then/ it !as only the monks o% the Christian church !ho !ere !ritin( it do!n Thus/ our records o% these early son(s are some!hat slanted Music throu(hout most o% the 0ark &(es Fup until &0 55G consisted mainly o% simple tunes that !ere  played or sun( in unison/ thus they !ere pure melody .e., no accompanimentG They !ere primarily used either to help pass time durin( !ork or to sin( durin( reli(ious ceremonies This 0ark &(e music !as based on the modal scale/ as opposed to the keyed scale o% modern times 0ark &(e music !as likely borro!ed %rom the reeks and Romans <hou(h simple/ it could be 1ery ele(ant and beauti%ully e4pressi1e  -ear the end o% the 0ark &(es/ musicians !ere combinin( se1eral melodic lines &t %irst this !as per%ormed by mirrorin( a tune at a di%%erent pitch/ but soon the added lines !ere takin( on a %orm o% their o!n/ becomin( a melody in their o!n ri(ht This de1elopment !as immeasurably enhanced !hen a system %or !ritin( do!n music de1eloped around &0  &round &0 55/ e4amples o% !ritten music be(in appearin( outside the Christian church Son(s and dances !ere !ritten by and per%ormed by public entertainers Flike many o% the bard kits included in this bookG 3rom the mid+5
&ccompaniments and ad1anced multiple melodies FpolyphonicsG !ere bein( used This spurred an increased demand %or public entertainment and noblemen be(an takin( a ma7or interest in music It became a matter o% honor and pride %or a nobleman to support a pro%essional musician at his court 0urin( the Renaissance/ the cry %or secular music increased dramatically/ !ith master compositions appearin( around &0 56 These compositions included both instrumental and 1ocal parts 8et/ e1en then/ most composers !rote primarily %or the church or !ealthy noblemen Music continued to e1ol1e throu(h the baro.ue period F& 0 5?+5@6G/ classical period F& 0 5@6+5A2@G/ and on into the modern era/ but these are beyond the scope o% the &090: (ame

+nst$*ents Most bards !ould not be cau(ht dead !ithout at least one musical instrument upon their person or near at hand Many o% their special abilities rely upon the use o% an instrument Instruments are also used as status symbols/ trade symbols/ and as part o% the  bard's personal (arb Some instruments take on a li%e o% their o!n/ (ainin( more %ame than the bards !ho play them Musical instruments are 1ery rare/ e4pensi1e/ and complicated de 1ices nly a master cra%tsmen !ould e1en think o% constructin( a lyre or herald's trumpet/ let alone a  pipe or(an Bards not only understand ho! these rare and comple4 de1ices !ork/ they can use them to produce beauti%ul sounds By simply !orkin( the strin(s and keys o% these de1ices/ bards can brin( a cro!d to tears or ha1e them leapin( %or 7oy Fall this !ithout e1en usin( their kit's special bene%itsG Most bardic colle(es a(ree that the instruments o% the time should be di1ide into %our (eneral cate(ories# !ind/ strin(ed/ percussion/ and ke yboard Common instruments !ithin each o% these cate(ories %ollo! in Table 2 Fas !ell as an JtherJ cate(ory %or se1eral instruments that do not %all into the %our (eneral cate(oriesG &%ter each instrument is a one+letter code that identi%ies the time period durin( !h ich this instrument !as de1eloped and used these periods coincide !ith the %ollo!in( dates Table 5' ERAS Co!e E$a Tie San & &ncient orld prior to & 0 <6 0 0ark &(es & 0 <6J55 M Middle &(es & 0 55J5<6 R Renaissance & 0 5<6J5?

1*sical P$oficienc(

There are no! !ell o1er 6 musical instruments %or bard players to choose %rom <hou(h such a lar(e selection is nice/ players mi(ht !o nder i% they ha1e to spend a

 pro%iciency slot %or each instrument they !ish their bards to master 3ortunately/ the ans!er is JnoJ The instruments in Table 2 ha1e been broken do!n into con1enient cate(ories and (rouped appropriately into an indented outline %ormat & number in parenthesis appears a%ter each le1el that contains subentries This is the number o% pro%iciency slots that must be spent in order to (ain pro%iciency in all instruments indented beneath that le1el 3or e4ample/ %or %i1e pro%iciency slots/ a character can become pro%icient in all !ind instruments %or only three slots he can limit himsel% to becomin( pro%icient in all instruments in the %lute %amily Those instruments that don't ha1e a number ne4t to them cost a sin(le slot to (ain  -ote that pro%iciency in an instrument or cate(ory includes not only those instruments listed/ but any others in his campai(n !orld that %all into the same cate(ory Thus/ i% a bard spends t!o slots to (ain pro%iciency in ba(pipes/ he isn't limited to 7ust the dudy and Dampo(na He kno!s ho! to play any ba(pipe that e4ists in his campai(n !orld

Cost an! Weight

 -ote that some cate(ory names/ such as JBa(pipes/J are also the names o% speci%ic instruments These cate(ories ha1e a (old piece cost and !ei(ht in pounds listed ne4t to them so you can buy the instrument o% that name Ho!e1er/ purchasin( a (eneric  ba(pipe does not mean that you ha1e both a dud y and Dampo(na++you ha1e only a (eneric ba(pipe

Glossa$( of 1*sical +nst$*ents

The %ollo!in( section describes some o% the a%orementioned musical instruments AEolian ha$'  -amed a%ter the reek (od o% !inds/ this instrument is played by the !ind &Eolian harps resemble %lat bo4es !ith strin(s Alho$n'  &n alphorn is a ?+ to 52+%oot+lon(/ J,J+shaped/ S!iss horn used to call cattle/ amon( other thin(s #agie'  This ancient instrument !as used throu(hout the !orld# Rome/  -orthumberland/ Scotland/ Ireland/ Brittany/ 3rance/ Italy/ Spain/ Portu(al/ -or!ay/ 3inland/ Poland/ Russia/ reece/ Persia/ China/ India/ and the Balkan countries #alalaika'  This is a three+strin( Russian trian(ular (uitar It comes in 1arious siDes/ the lar(est restin( upon the (round !hen played #ells'  These are sometimes attached to clothin( to acc entuate rhythm in dance #ones' & simple instrument in !hich t!o pieces o% bone are clacked to(ether Castanets'  This Spanish instrument consists o% t!o small/ hollo!+shaped pieces o% !ood Castanets are !orn on the %in(er and thumb *ike bones/ they are clacked to(ether Cebalo'  This !as the old Italian name %or dulcimer Fbut it !as later used to re%er to the harpsichordG Chita$$one'  This double+necked lute is 1ery lar(e/ o%ten si4 %eet lon(/ and has 2

!ires It !as also called the Roman theorbo Citole'  This instrument !as in1ented in Italy It has a %lat body/ a short neck/ %our  brass or steel strin(s/ and is plucked !ith a .uill By 566 this !as kno!n as the cittern Citte$n'  & member o% the (uitar %amily/ the cittern is shaped like a %i(/ !ith a %lat  back/ %retted %in(erboard/ and !ire strin(s Fusually %our pairsG It is a descendant o% the Medie1al citole The bass cittern is also called the pandora Clae$s' T!o pieces o% hard material F!ood/ bone/ metal/ etcG struck to(ether are called clappers They ha1e e4isted %or thousands o% years in all parts o% !orld Fas spoons/ bones/ etcG Cla$sach'  &n ancient small harp o% the Scottish hi(hlands Cla7ecin'  3rench harpsichord Cla7es' hen these short/ round sticks o% hard!ood are used/ the hollo! o% one's hand acts as a resonatin( ca1ity %or sound ampli%ication Cla7icebalo'  This is the Italian harpsichord and is o%ten abbre1iated as JcembaloJ The !ord deri1es %rom latin Jcla1isJ+a key/ and JcembaloJ+a dulcimer/ !hich describes the instrument+it's a keyed dulcimer Cla7icho$!'  This keyboard instrument is small/ o%ten 7ust an oblon( bo4 placed on the table It can ha1e its o!n le(s and stand on the %loor/ but this !as a later de1elopment Sound is made !hen a small piece o% metal hits a strin(/ producin( a so%t/ .uiet tone Clogs'  ooden shoes Co$nett'  The cornett Fnot cornetG is a !ood!ind !ith a cupped mouthpiece Flike that o% a trumpetG that comes in three siDes# treble/ small treble/ and tenor It is shaped either as a strai(ht tube or as a tube cur1ed like an S C$*ho$n'  This double+reed !ood!ind comes in all siDes# trebles/ tenors/ and  basses C(bals'  These are brass dishes that are slammed to(ether D$*s' 0rums ha1e e4isted %or thousands o% years The man y types ha1e one thin( in common# a skin or membrane stretched ti(htly o1er some kind o% hollo! 1essel The membrane is beaten !ith sticks or the hands The e4ception is the %riction drum/ !hich has its skin pierced by a stick or strin( that is rubbed or pulled/ causin( the skin to 1ibrate  ;ettledrums are metal bo!ls !ith parchment stretched o1er them %de drums are !ooden or metal cylinders !ith skin o1er each end The lo!er end has strin( or (ut/ called snares/ stretched o1er it that causes the drum to rattle !hen it is  beaten  Bass drums are 1ery lar(e/ double+headed drums %rom t!o to three %eet in diameter and o% e.ual len(th !ong drums are like bass drums but they ha1e only one head FmembraneG  Bongos are t!o small drums that sit side by side Tom1toms are small riental drums !ith pi(skin heads stretched o1er a bo!l+ shaped shell Cylnder drums are a type o% base drum that is beaten at both ends The changgo is a )orean t!o+headed lap drum Talkng drums are used to send messa(es %lt drums can be made by hollo!in( out a tree or lo( throu(h a lon( narro! slit

The !ood is then beaten to produce the sound D*lcie$'  "sed in Hun(ary/ Rumania/ and CDechoslo1akia/ the dulcimer is a shallo!/ closed bo4 o1er !hich are strun( !ires that are struck !ith a !ooden hammer In Hun(ary and Rumania this is called a cimbalom/ and in reece/ a santouri :anfa$e t$*et'  This is o%ten hun( !ith a heraldic banner and used %or state and ceremonial purposes :i!!le'  There are t!o types o% %iddles# %olk For spikedG %iddles and medie1al %iddles & spiked %iddle is a type o% bo!ed lute and either has a lon( neck Ftypical o% &%rica/ &sia/ and the Middle EastG or a short neck as %ound in Europe Most spiked %iddles ha1e one to three strin(s Medie1al %iddles !ere replaced by the 1iol %amily and usually had three to %i1e strin(s !ith both %lat and rounded backs 3ipple %lute# This type o% %lute is held 1ertically and is !inded %rom the end :l*te'  There are t!o types o% %lutes# the 1ertically !inded %ipple %lute and the horiDontally held trans1erse %lute The trans1erse is made o% !ood or metal stopped at one end The player blo!s in a side hole/ !ith notes made by closin( holes alon( the %lute's  body Gesho$n'  This is an ancient type o% recorder made o% chamois or (oat horn Gitte$n'  & medie1al (uitar Glokensiel'  This ori(inated in ermany and !as used in !ar bands Gong' & (on( is a lar(e metal plate that is struck !ith a mallet %a$onica'  This instrument ori(inated in &sia and China around 55 BC %a$' The harp is an ancient instrument It consists o% a sound bo4 near the  player and numerous strin(s that are each plucked to produce a speci%ic tone %a$sicho$!'  This is much like a keyboarded psaltery in that its keys cause the strin( to be plucked %o$ns' Horns ha1e e4isted all o1er the !orld throu(hout recorded history The earliest %orm !as the animal horn or lar(e sea shell Most are end+ blo!n/ but some side+  blo!n horns e4ist Metal horns arose in the 5
0*$' The lur is an ancient trumpet o% Scandina1ian ori(in It is made in pairs t!istin( in opposite directions to resemble horns or the tusks o% an animal 0*te' The lute is o% Persian+&rabian ori(in and came to Europe at the time o% the crusades The body resembles a pear split len(th!ise Thus/ it has a cur1ed back/ a %lat  belly/ and a %retted neck It ran(es in siDe %rom the lar(e chitarrone and theorbo to the small mandora 0($e' The lyre has e4isted since ; BC It has %our components# a sound bo4/ t!o arms/ and a crossbar Strin(s run %rom the cross bar do!n across the sound bo4 1an!oline o$ an!olin'  & lute+shaped/ small strin(ed instrument 1etallohone'  This resembles a 4ylophone/ but it has metal bars that are beaten !ith small hammers Nake$s'  These are small kettledrums o% &rabian ori(in that came !est durin( the crusades They are made o% metal or !ooden bo!ls co1ered !ith skin and are used in  pairs like bon(os Nightingale'  This toy !histle o% (lass is lo!ered into !ater to emit a bubblin( sound not unlike the ni(htin(ale F ie/ the birdG Oca$ina'  This 1essel %lute is (lobular or pear+shaped !ith a mouthpiece on o ne side and holes cut in its body The holes are opened and closed !ith the %in(ers O$gan' &n or(an has pipes connected to a !ind supply that is controlled by a keyboard There are t!o types o% or(an pipes# %lue pipes and reed pipes 3lue pipes  produce sound like a !histle+%lute Reed pipes contain a thin strip o% metal that 1ibrates r(an pipes ran(e %rom len(ths o% a %e! inches to ?< %eet I% an or(an is keyed !ith the hands it is called a Jmanual/J i% played !ith the %eet it is a Jpedal boardsJ Pan!o$a o$ #an!o$a'  This is the bass cittern it has a %lat back !ith !ire strin(s and %rets It usually has three pronounced rid(es/ makin( it easy to identi%y Panies'  Panpipes are simply a set o% !histle+%lutes supposedly in1ented by the (od Pan Postho$n'  & posthorn !as used to announce the arri1al o% a mail coach Most !ere strai(ht/ althou(h a %e! !ere coiled Psalte$('  This type o% dulcimer has a s.uare or trian(ular bo4 o1er !hich are strin(s It is held on the lap or a(ainst the chest and plucked Rackett'  This is an early double+reed !ood!ind Rattle'  & rattle can be made o% a (ourd/ clay/ !ood/ or leather/ and it is %illed !ith  pellets Rebec' This is the strin(ed ancestor o% the 1iolin %amily The rebec e1ol1ed %rom the &rabian %iddle but has a rounded back/ u nlike the %iddle The body is pear shaped and has three strin(s The rebec is played on the shoulder or a(ainst the chest Reco$!e$'  &lso kno!n as the En(lish %lute/ the recorder is blo!n at the end It has ei(ht holes !ith !hich to alter the produced sound Sansa' The sansa is &%rican in ori(in and has a metal or cane ton(u e attached to a !ooden board or bo4 It is also called the thumb piano Sc$ae$'  hen you scrape a stick o1er a series o% notches in !ood or bone/ you ha1e a basic scraper Se$ent'  This !ood!ind is shaped like a pronounced S Shaisen ?saisen@' This ,apanese lon(+necked lute has a s.uare !ooden body

Its belly and bottom are made o% cat skin and it has %rets !ith three strin(s that are  plucked hard Sha,' This early double+reed is an outdoor instrument that produces a loud  buDDin( sound Sheng'  This is a Chinese mouth or(an Sist$*' The sistrum is an open/ "+shaped rattle that contains metal discs or other ob7ects that rattle !hen shaken Sita$' This three+ to se1en+strin(ed Indian lute !as in1ented in Persia Staing stick'  ne o% the oldest kno!n instruments is the stampin( stick It is simply a len(th o% hollo! !ood or bamboo that is beaten on the (round It !as o%ten used to beat (rain or other %ood into pulp !hile pro1idin( simple music durin( !ork Tabo$'  This early side FsnareG drum is usually slun( %rom the !aist Smaller 1ersions can be played !ith 7ust the le%t hand !hile the bard plays a small !histle %lute in the other hand Tabo*$ine'  The tambourine likely ori(inated in Rome It is a shallo! !ooden hoop parchment stretched o1er a %rame that is struck !ith knuckles or rubbed !ith the thumb The hoop has imbedded metal plates that 7in(le !hen shaken Ta"ta' BronDe (on( o% Chinese ori(in Theo$bo'  & double+necked instrument T$iangle'  & trian(le is a steel bar bent into a trian(le that is struck !ith a metal rod T$*et'  The Medie1al trumpet !as non1al1ed and !as played %rom the side or end Violin' This instrument e1ol1ed %rom the %iddle/ rebec/ and lira da braccio Viols an! Viol fail('  These instruments produce a so%t sound they resemble 1iolins Ho!e1er/ their shoulders slope/ their backs are %lat/ their sound holes are C+ shaped/ they ha1e broader necks/ and they ha1e si4 strin(s/ not %our Woo! block' & Chinese percussion instrument made o% a hollo! !ooden block that is struck !ith a stick ithe$'  The Dither has a %lat bo4 that is strun( !ith strin(s o% metal or (ut It is  plucked !hile restin( on a table (lohone'  This consists o% hard!ood blocks that are hit !ith a mallet

Glossa$( of So*n! <hou(h a de(ree in music isn't re.uired to play a bard character/ it o%ten increases realism i% such players kno! a %e! basics This !ay they can role+play their characters !ith an air o% authority/ understandin(/ and authenticity 3or this reason/ a %e! common terms associated !ith many %orms o% music are de%ined belo! By brie%ly studyin( this mini+(lossary/ you can breathe some ne! li%e into the 1ocabulary o% your  bard

:*n!aentals of 1*sic

Accent' To stress or emphasiDe a note Type %tressed by 0ynamic >olume Tonic Pitch &(o(ic >alue Fsee Ealue G #eat'  "nit o% measure that sets the tempo Beats are measured by tappin( one's %oot/ the stroke o% the conductor's baton/ etc Coass'  The ran(e o% a 1oice or instrument D(naics'  The (radations o% loudness or so%tness !ith !hich music is  per%ormed Term Meanng  Pianissimo 1ery so%t Piano so%t MeDDo piano moderately so%t MeDDo %orte moderately loud 3orte loud 3ortissimo 1ery loud 3orte piano loud/ then so%t S%orDando/ s%orDato sharply accented 3orDando/ %orDato sharply accented Crescendo (radually louder 0ecrescendo (radually so%ter 0iminuendo (radually so%ter :o$' Musical structure and ho! the musical elements are put to(ether The  basic elements are indi1idual pitches FnotesG/ ho! they sound to(ether FharmonyG/ and ho! much time they take up in relation to one another FrhythmG :$e.*enc('  Sound !a1e crests per second/ !hich determines pitch +ntonation'  & per%ormer's accuracy !ith respect to pitch 1eas*$e o$ ba$'  The base (roupin( o% beats Fusually there are 2/ ;/ or < beats per  measureG 1elo!(' & (roup o% musical tones in se.uence makin( up a meanin(%ul !hole 1ete$' The number o% beats per measure and the type o% note that de%ines a beat Common meters are 2N2 Ft!o beats based on hal% notesG/ 2N< Ft!o beats based on .uarter notesG/ ;N< Fthree beats based on .uarter notesG/ and
directi1es and their meanin(s are listed belo! %tyle Meanng  &%%abile smoothly and (race%ul &%%ettuoso tenderly !ith %eelin( &(ilmente li(htly and smoothly &(itato restlessly/ in an e4cited manner &n(stlich %ear%ully/ in an an4ious manner &nimato li1ely/ in a spirited manner &ppasionato !ith intense %eelin( Brillante in a sho!y/ brilliant manner Brusco abruptly/ !ith harsh accents Teo'  The speed at !hich a piece is played or sun( Tempos #rder o( %peed  &da(issimo >ery slo! *ar(o *ento &da(io &da(ietto &ndante or Moderato Moderate &ndantino &lle(retto &lle(ro Presto >ery %ast Changng Tempos Meanng  &llentando Slo! do!n Ritardando radually slo! do!n Rallentando radually slo! do!n &llar(ando Slo! do!n and play louder Rubato 3ree tempo &ccelerando radually speed up Calcando Speed up Tone' &ny sound o% de%inite pitch &lso re%ers to the .uality o% sound Val*e' The duration o% a note Voice Range'  Ran(e o% 1oice Each bard can be classi%ied as one o% the %ollo!in(# Eoce &ange Soprano Hi(hest %emale ran(e MeDDo soprano Mid %emale ran(e <o *o!est %emale ran(e/ hi(hest male ran(e Tenor Hi(h male ran(e Baritone Mid male ran(e Bass *o!est male ran(e

Vol*e' *oudness

Coon 1*sical Te$s Accoanient'  Musical material that supports the main melody or 1 oice+part A$$angeent'  Re!ritin( o% a composition %or a ne! medium Finstrument/ 1oice/

(roupG Conce$t' & public per%ormance o% music other than opera or church music Con!*cting'  The art o% directin( a (roup o% musical per%ormers Conser1atory or Colle(e# & school that specialiDes in musical instruction Deb*t'  3irst public per%ormance o% a musician Enco$e' &udience's appeal %or an additional per%ormance 1o7eent'  & ma7or section in a son( Notation' & system %or !ritin( do!n music usin( notes 1*sical G$o*s' !roup Composton) !roup Components Band Brass/ !ood!ind/ 9 percussion Choir roup o% sin(ers Chorus *ar(e choir ha1in( more than one sin(er per part

Ensemble rchestra !roup %5e)  ame Solo Recital 0uet Trio $uartet $uintet Se4tet Septet ctet  -onet

&ny (roup o% per%ormers Strin(ed/ brass/ !ood!ind/ and percussion  umber o( 0oces or nstruments 5 5 or 2 2 ; < 6 ? @ A 

Pa$t'  The music !ritten %or a sin(le type o% instrument Passage' &ny short section o% a musical composition Sco$e' The !ritten notes to be per%ormed by all instruments or 1oices T*ning' &d7ustin( an instrument so it produces the proper sounds

1*sical +tes

#aton' The slender stick used by conductors to direct a per%ormance 1et$onoe'  & de1ice that produces re(ularly timed beats 1*te' & de1ice that mu%%les the sound o% an instrument Plect$*'  eneral name %or any de1ice used to pluck the strin(s o% a musical instrument Po!i*' Raised plat%orm on !hich the conductor stands

T(es of Songs Ai$ !e co*$' & short son( o% se1eral stanDas %or one or more 1oices accompanied  by lute or harpsichord Anthe' & short choral piece based on a reli(ious te4t or source A$abes.*e'  & short ima(inati1e piece A$ia'  &n elaborate solo son( (enerally !ith instrumental accompaniment A$ioso'  & style o% recitati1e that is more son(+like and e4pressi1e than ordinary recitati1e A*ba!e' & piece o% instrumental music played in the mornin( as opposed to the serenade/ !hich is played in the e1enin( A($e' &n En(lish solo son( accompanied by the lute/ theorbo/ or bass 1iol Fand occasionally by t!o sin(ersG #agatelle'  & short piece %or a keyboard instrument #alla!'  & solo son( that tells a story in simple 1erse The same music is repeated %or each stanDa #an!ine$ie'  & %ast/ dancelike piece Canon o$ :*g*e'  & musical composition in !hich a melody in one 1oice+part is imitated by other 1oice+parts that are sli(htly o%%set Fe.g., ro!/ ro!/ ro! your boatG Ca$ol3 Noel3 o$ Weihnachtslie!'  & son( sun( in honor o% a holiday Fe.g., Christmas son(sG Chant' "sually re%ers to the music o% churches :a"la'  &n En(lish son( sun( in nonsense syllables e.g., %alala/ %a la laG :anfa$e'  & tune used to announce someone's arri1al/ the start o% a parade/ the start o% a 7oustin( tournament/ etc :olk *sic'  Music that is learned by !ord o% mouth %(n' &ny son( that e4presses praise or lo1e o% a deity +$o7isation'  Composin( a son( or theme as it is bein( per%ormed /ig' & li1ely dance 0ai' & %orm o% music and poetry de1eloped in 3rance in the 5;th Century 0aent' & composition that mourns someone's death 0*llab('  & cradle son( used by mothers to lull their babies to sleep 0($ic' Means Json(likeJ %ten used to describe instrumental pieces that are short and e4pressi1e 1e!le(' & (roup o% %amiliar tunes played one a%ter another and loosely linked to(ether National anthe'  & son( adopted by a kin(dom as its o%%icial son(

O!e' & musical settin( o% a poem !ritten in honor o% a person or special occasion Oe$a' & play in !hich the characters sin( rather than speak Pa$o!(' &n e4a((erated imitation o% a composition/ o%ten to make %un o% it P$og$a *sic'  & (eneral term %or music that tells a story Psal'  & musical composition based on the te4t %rom the book o% Psalms Recitati7e'  & style style o% sin(in( that closely resembles speech/ !ith little chan(e in  pitch and rhythm Ro*n!' & 1ocal composition !ith three or more parts that enter one a%ter another/ repeatin( the same !ords Fe.g  Fe.g / / canons and %u(uesG Se$ena!e' & lo1e son( sun( durin( the e1enin( belo! a belo1ed's !indo! Shant('  & !ork son( sun( by sailors to help keep time durin( 7obs that re.uire team!ork S,an song'  & term used %or a person's %inal !ork be%ore his death

Sale Songs The %ollo!in( are a %e! sample son(s to !het your appetite I% you !ould like to !rite your o!n son(s %or your bard to sin(/ it is su((ested that you (et a book o% old/ traditional %olk son(s/ and replace e4istin( !ords !ith those o % your o!n choosin( #onnie Geo$ge Cabell ?Scottish balla!@

5 Hie upon Hielands/ and lai(h upon Tay/ Tay/ Bonnie eor(e Campbell rode out on a day He saddled/ he bridled/ and (allant rode he/ &nd hame cam his (uid horse/ but ne1er cam he 2 ut cam his mother/ dear/ (reetin( %u sair/ &nd out cam his bonnie bryde/ ri1in( her hair The meado! lies (reen/ the corn is unshorn/ But bonnie eor(e Campbell !ill ne1er return ; Saddled and bridled and booted rode he/ & plume in his helmet/ a s!ord at his knee But toom cam his saddle/ all bloody to see/ h/ hame cam his (uid horse/ but ne1er cam he 1( Gentle %a$ ?+$ish lo7e song@

5 My (entle harp/ once more I !aken the s!eetness o% thy slumb'rin( strain/ In tears our last %are!ell !as taken/ &nd no! in tears !e meet a(ain 8et 8et e1en then !hile peace !as sin(in( Her halcyon son( o'er land and sea/

Thou(h 7oy and hope to others brin(in(/ She only brou(ht ne! tears to thee 2 Then !ho can ask %or notes o% pleasure/ My droopin( harp/ %rom chords like thine &las/ the lark's (ay mornin( measure &s ill !ould suit the s!an's decline r ho! shall I/ !ho lo1e/ !ho bless thee/ In1oke thy breath %or %reedom's strains/ hen e'en the !reaths in !hich I dress thee/ &re sadly mi4ed/ hal% %lo!ers/ hal% chains Sk(e #oat Song ?Scottish balla!@

5 *oud the !inds ho!l/ loud the !a1es roar  Thunder clouds rend the air Ba%%led our %oe's stand on the shore/ 3ollo! they !ill not dare 2 Thou(h the !a1es leap/ so%t shall ye sleep/ cean's a royal bed Rock'd in the deep/ 3lora !ill keep !atch by your !eary head ;Many's the lad %ou(ht on that day/ ell e ll the claymore could !ield hen the ni(ht came/ silently lay 0ead on Culloden's %ield < Burn'd our homes/ e4ile and death Scatter the loyal men 8et/ 8et/ e'er the s!ord cool in the sheath/ Charlie !ill come a(ain Chorus) Speed/ bonnie boat/ like a bird on the !in(/ Jn!ardJ the sailors cry JCarry the lad that's born to be kin( 1er the sea to SkyeJ The 1inst$el #o( ?+$ish song of 7alo$@

5 The minstrel boy to the !ar is (one/ In the ranks o% death you'll %ind him h im His %ather's s!ord he has (irded on/ &nd his !ild harp slun( behind him

J*and o% son(J said the !arrior bard/ JThou(h all the !orld betrays thee/ ne s!ord/ at least/ thy ri(hts shall (uard/ ne %aith%ul harp shall praise theeJ 2 The minstrel %ell/ but the %oeman's chain Could not brin( that proud soul under The harp he lo1'd ne'er spoke a(ain/ 3or he tore its chords a sunder &nd said/ J-o chain shall sully thee/ Thou soul o% lo1e and bra1ery Thy son(s !ere made %or the pure and %ree/ They shall ne1er sound in sla1eryJ

Chate$ H' Role"Pla(ing #a$!s A #a$!;s 1in! +sn;t #a$$e! elcome to the mind o% a bard To play a bard/ you must think like a bard He is a elcome dreamer/ a romantic/ and a part+time philosopher & bard !ants to be a master o% all skills He !ants to try e1erythin(/ kno! e1erythin(/ and be e1erythin( "n%ortunately/ most  bards are mortal The constraints o% mortality mortality keep a bard mo1in( %rom one pro%ession and acti1ity to the ne4t He %ears that i% he spends too much time in one place or doin( one thin(/ he !ill miss out on somethin( else Pra(matists claim that bards su%%er %rom J(reen pasture syndromeJ This syndrome (ets its name %rom co!s They constantly poke their heads o1er or throu(h %ences in an attempt to eat the (rass on the other side 3armers lau(h at their li1estock  because the (rass in their o!n pasture is o%ten (reener than the (rass on the other side But the co!s ha1e (reen pasture syndrome and al!ays seem to think that thin(s are better  some!here else Bards are easily e4cited about ne! de1elopments/ upcomin( e1ents/ and chan(e in (eneral I% thin(s aren't chan(in(/ they become bored 1ery .uickly Thus/ bards are not ones to hold do!n lon(+time 7obs hen they do take 7obs/ they !ork at them at a  breakneck pace at %irst Then/ as the 7ob becomes routine/ their pace slo!s and they spend more time ponderin( the %uture and !here it !ill take them ne4t &ll o% this is also true %or ad1enturin( bards They !ant to (et (oin(/ attack no!/ stop listenin( at e1ery door/ rush %or!ard and meet li%e head on  Bards don't al!ays select the most e%%ecti1e spells or the most ad1anta(eous pro%iciencies Instead/ they select the most dramatic/ the most %un/ those that can be used in uni.ue situations & %lashy spell/ such as color spray/ spray/ is al!ays pre%erable to a borin( one/ such as hold as  hold portal  or sleep  or sleep . Bards lo1e cro!ds and lo1e to be around people They tend to ha1e many ac.uaintances but %e! close %riends Some bards actually push a!ay those !ho try to (et too close & bindin( %riendship or relationship is like a root# It attempts to plant the bard in one place and lock him into the relationship This is %ar more than 7ust undesirable to

most bards+it is do!nri(ht %ri(htenin( Bards en7oy their %reedom and don't !an t anythin( to 7eopardiDe it % all the character classes/ none are as care%ree and li(hthearted as bards These characters rarely o!n more than they can carry To bards/ all the !orld is their home and their ima(ination is the only limit to their aspirations <hou(h they can be pro%oundly mo1ed by others' pli(hts/ bards reco1er .uickly %rom any sadness they mi(ht %eel %ten they deal !ith problems by lea1in( them behind and tra1elin( on to some (reener  pasture I% you are (oin( to play a bard/ remember at least this one rule o% thumb# 8our character's main (oal is to/ Jmo1e on and e4perience all that there isJ

E6e$ience &ccordin( to the Dungeon Master's !ude FChapter 2# E4perienceG/ bards (ain e4perience %or the %ollo!in( reasons# Table I5' #ARD EPER+ENCE P Reason

2 2 6 TypK TypK

Per success%ul use o% a special ability Per (old piece 1alue o% treasure obtained Per hit die o% creatures de%eated Monster e4perience ther (roup e4perience

K JTypJ stands %or a typical share o% e4perience &ll o% the abo1e reasons are sel%+e4planatory e4cep t %or Jsuccess%ul use o% a special abilityJ & bard's special abilities include his thie% skills/ his ability to read any !ritten ma(ical item/ and his special bene%its I% you !ould like to tailor e4perience a!ards to better re%lect the e4periences o% the bard class/ the %ollo!in( is su((ested Table II' CO1P0ETE #ARD EPER+ENCE P Reason 5 Per success%ul use o% a thie% ability 2 Per success%ul use o% 5th+le1el ability to read any !ritten ma(ical de1ice

56 26 5 6 5 6

Per success%ul use o% a special bene%it Per spell le1el cast to o1ercome %oes or problems 3or each si(ni%icant per%ormance o% the bard's entertainin( talents 3or each ma7or per%ormance o% the bard's entertainin( talents Per (old piece 1alue o% treasure obtained Per hit die o% creatures de%eated

TypK TypK

Monster e4perience ther (roup e4perience

K JTypJ stands %or a typical share o% e4perience

Re*tation So ho! (ood is a bard's per%ormance It depends partly upon his skill and le1el/  but most importantly/ upon his reputation The son(s o% a %amous skald hailin( %rom the icy north are met !ith (reat anticipation and acceptance &n in%amous blade kno!n %or his many assassinations dra!s 7ust as lar(e a cro!d to his darin( per%ormances o% !eaponry Reputation is an intan(ible aspect o% any bard &s the bard tra1els the path o% li%e/ his reputation can (ro! into that o% a (reat sin(in( hero/ it can be slandered so e1eryone thinks the bard is a co!ardly oa%/ or the bard's reputation can become an in%amous cloak !ith !hich to %ri(hten !atchmen and thrill the cro!ds hen you %irst (enerate your character/ his reputation is based upon that o% his %amily 3rom there/ e1ents and the !ay the bard is role+played continually ad7ust his reputation Read on %or the e1ents that de%ine a bard's reputation

:ollo,ing a Pe$fo$e$ & bard's reputation is a 1ariable that can chan(e in an instant 3urthermore/ reputation 1aries %rom one 1illa(e or to!n to the ne4t & bard's initial reputation applies to his home to!n only This is the center o% the bard's reputation *et's %ollo! the de1elopment o% the (reat Hanalacious's reputation She put on her  %irst public per%ormance in reyha!k City at the a(e o% 5? 3irst impressions are e4tremely important and 1ary uncontrollably dependin( upon the mood o% the audience/ season/ local e1ents/ etc &%ter her %irst per%ormance/ Hana became a JnotedJ member o% the entertainin( class To determine Hana's initial reputation/ the %ollo!in( table !as consulted Table I4' +N+T+A0 REPUTAT+ON I!9 Roll +n!e6 Title 2  "nsun( ; 5 &ccepted < 2 )no!n 6 ; -oted ? < ood standin( @ 6 *iked A ? ell+kno!n

Hanalacious !as pleased !ith her initial reputation/ but she had aspirations o% (reatness She looked upon those (reat bards !ho !ere her teachers/ and she en1ied the reputations they had built %or themsel1es Some !ere popular/ some !ere celebrated/ a %e! !ere e1en acclaimed by the citiDens o% reyha!k/ but Hana !anted to attain a re1ered reputation %or hersel% Table I9' REPUTAT+ON 0ADDER

+n!e6  5 2 ; < 6 ? @ A  5 55 52 5; 5< 56 5? 5@ 5A 5 2

Title "nsun( &ccepted )no!n -oted ood standin( *iked ell+kno!n &dmired Prominent 0istin(uished Popular Reputable Honored Celebrated Illustrious Eminent &cclaimed Presti(ious 3amousNIn%amous Reno!ned Re1ered

Reachin( %or a re1ered reputation !ould be a lon( and delicate process %or Hanalacious She !ould ha1e to !atch her e1ery action and !ord/ bein( care%ul to a1oid entan(lements !ith the la!/ yet helpin( those in need % course/ all this !ould mean nothin( i% she didn't also put on %re.uent per%ormances o% her musical talents Hana made a list o% all the thin(s that could both help and hinder her climb to %ame on the ladder in Table 2< &mon( them she included the %ollo!in(# Table 26# REP"T&TI- M0I3IERS  ast per(ormance was) !ithin the !eek o1er a !eek a(o o1er a month a(o

5  +5

o1er ; months a(o o1er ? months a(o o1er  months a(o o1er a year a(o

+2 +; +< +6

 "ach attempt to publcly n(luence reactons that succeeds 2 %ails but no reaction ad7ustment +5 %ails and !orsens reactions +;  Money spent on local appearance7reputaton) L o% income +2 5L o% income  26L o% income 5 6L o% income 2 @6L o% income ; L o% income < Completed a local ad1enture 5 3ul%illed a local .uest 2 Blamed %or a 1iolent crime +2 Con1icted o% a 1iolent crime +6 0M's option N+6 Hanalacious realiDed that there are t!o types o% reputable per%ormers/ both o% !hom dra! lar(e cro!ds# those !ho are %amous and those !ho are in%amous The %amous person is looked upon as a public hero/ upholder o% (ood/ and a (enerally la!+ abidin( citiDen The in%amous per%ormer is !ell kno!n as a courser/ a romantic thie% !ho li1es abo1e the la! and leads a hi(h+paced/ romantic li%e Fe.g., Robin HoodG % course/ Hana decided to !alk the path to in%amy/ realiDin( that there is a hu(e (ap bet!een an in%amous per%ormer and a 1iolent bully/ ruthless thu(/ or e1il 1illain &(ain/ Hana made a list o% those actions that (ained a person the reputation o%  bein( in%amous as opposed to those that (ained a person %ame Table 2?# 3&ME &-0 I-3&M8 3ame Scale#

Calmed a 1iolent situation 2 Made a hostile person look %oolish Turned a cro!d's mood a(ainst e1il Pre1ented a crime %rom occurrin( "pheld a (ood person's reputation "pheld !hat's ri(ht 1s ad1ersaries +nfa( Scale'

5 ; 2 5 5

Blamed %or a non1iolent crime &1oided imprisonment 2 Escaped imprisonment ; Make to!n !atch look %oolish Created a political scandal ;

5

5

3or a bard tryin( to become in%amous/ per%ormin( acts on the in%amy list impro1e the chances %or buildin( his reputation/ !hile per%ormin( acts on the %ame scale decrease these chances The opposite is true %or a bard !ho is attemptin( to become %amous & bard's reputation is ad7usted only in t!o situations# !hen he increases in le1el/ and !hen he puts on a si(ni%icant public per%ormance Fin !hich case it is checked 7ust as the per%ormance be(insG & d2 is rolled and any modi%iers %rom the precedin( three tables are a pplied to it only i% their total is ne(ati1e Fi% the net total modi%ier ends up bein( positi1e/ it is simply i(noredG I% the result o% the d2/ ad7usted by a possible ne(ati1e modi%ier/ is (reater than or  e.ual to the bard's current reputation/ then the reputation increases one cate(ory I% the net result is a ne(ati1e number/ the bard's reputation is lo!ered by this amount Fthus a net result o% +; !ould lo!er the bard's reputation by three places on Table 2
6 to!ns or 2 miles +5 3arther -o reputation

0ocal Re*tation

&s noted earlier/ a bard's initial reputation applies to his home to!n only This reputation increases and decreases based upon reputation modi%iers 3urthermore/ the decision !hether to become in%amous or %amous must be made This selection determines ho! certain e1ents a%%ect the bard's reputation hen a bard enters another 1illa(e/ to!n/ or city/ his reputation should be determined %or that area This is done by consultin( Taable 2@ The bard's closest established reputation is used as a base &n established reputation is de%ined as a p lace in !hich the bard has put on some %orm o% entertainment per%ormance The closest established reputation is then ad7usted by distance 3or e4ample/ i% the nearest established reputation is t!o to!ns a!a y/ the bard's local reputation is %our le1els lo!er I% the bard !ishes to establish a local reputation/ he simply puts on a public per%ormance or series o% per%ormances Fspread out o1er no more than a year's timeG Each per%ormance costs the bard 5 (p per 5/ citiDens in the to!n F.e., 5 sil1er piece per personG The bard then becomes an established per%ormer in the community nce a reputation is established/ it is ne1er a(ain in%luenced by other established reputations Thus/ a%ter Hanalacious's bi( per%ormance in Hardby/ her reputation in reyha!k City has no impact upon her reputation in Hardby She thus has an independent/ established reputation in both cities Hana's player should !rite do!n the t!o city names and note Hana's reputation ne4t to each name

#enefits of a Goo! Re*tation

Reputation is treated much like a special pro%iciency/ althou(h no pro%iciency slots are For can beG spent on it hen a situation arises in !hich the bard's reputation should be considered/ 5d2 is rolled+this is called a reputation che ck &ny roll e.ual to or less than the bard's reputation le1el is considered a success Ho!e1er/ no such roll should e1er replace role+playin( In %act/ the bard player should role+play any situation be%ore a reputation check is made The 0un(eon Master should then assi(n an ad7ustment to the reputation check based upon the role+playin( I% a bard is attemptin( to alter encounter reactions F.e., in%luence reactions or some similar abilityG/ a success%ul reputation check indicates that the bard c an ad7ust the reactions by t!o le1els instead o% the typical one & reputation can be used as an in1isible key & success%ul reputation check can (et a bard into pri1ate parties or %unctions e1en !hen the bard isn't on the (uest re(istry & reputable bard !ill also %ind it easy to (et a seat at the most prominent ban.uet hall in to!n/ e1en i% there is a lon( line and the bard %ailed to make a reser1ation 0ealin( !ith prominent public %i(ures is also easier !ith a (ood reputation & city's mayor is more likely to in1ite a reputable person to dinner than a commoner Reputation can also be used to help smooth out deals/ such as the price re.uired to rent

the public theater %or a !eekend's per%ormance Many other uses o% reputation e4ist and should be ad7udicated by the 0un(eon Master

The Pe$fo$e$ So !hat is it that makes bards such %antastic entertainers hy is a bard !ith a 56  pro%iciency in musical instrument any better than a %i(hter/ priest/ or !iDard !ith a 56 hat makes bards so special The ans!er to these .uestions and other .uestions are %ound in this section "nlike all the other character classes/ bards are per%ormers This is a special trait common to all bards There is no die roll bonus associated !ith this trait/ it isn't listed under any kit's special bene%its/ and it isn't a pro%iciency Bein( a true per%ormer is so %undamental to the bard character class that it isn't listed at all Instead/ this %act in%luences almost e1ery aspect o% the character class It is  because o% their per%ormin( nature that bards (ain special abilities !ith music/ son(/  poems/ 7u((lin(/ and so on Fbased upon the kitG Bein( per%ormers is as %undamental to the bard class as bein( combatants is to the !arrior class It is the one element common to all the bard kits/ the element that de%ines the essence o% bein( a bard Back to the e4ample o% musical instrument pro%iciency It is true that a !arrior !ith a pro%iciency o% 5? in musical instruments is able to play more precisely and more accurately than a bard !ith a 56 or less Ho!e1er/ playin( music technically correct is only hal% the picture Since bards are per%ormers/ they understand numerous hidden aspects relatin( to music They are more in tune !ith their audience and adapt their  per%ormances appropriately Bards are more a!are o% mood/ %eelin(/ tone/ and the dramatic e%%ects o% stretchin( the music beyond the technicalities o% precise playin( & !arrior !ho is a master musician Fpro%iciency 2G can play the most complicated piece o% music e4actly as !ritten Moreo1er/ e1ery time he plays the piece/ it sounds 7ust as it did the last time But a bard !ith only a 56 pro%iciency can entertain audiences %ar more success%ully E1ery per%ormance is custom tailored to the occasion and the audience The bard takes the liberty o% interpretin( the son( and !on't simply repeat it

The Effect on Role"Pla(ing

&s a role+player/ i% you can capture this per%ormin( aspect o% the bard class/ you !ill ha1e captured the essence o% your character E1erythin( should center around this aspect The spells you choose should not al!ays be chosen to ma4imiDe your character's e%%ecti1eness in combat Rather/ they should make the most dramatic impact upon those around him Fincludin( the ad1enturin( partyG 8our bard li1es to per%orm *ike!ise/ !hen you select your bard's !eapons/ clothin(/ items/ pro%iciencies/ %riends/ allies/ enemies/ etc/ you should try to e4amine these choices %rom a per%ormer's  point o% 1ie! hat !eapon !ill compliment your bard's role as a per%ormer/ both on the sta(e

and o%% hat color should his cape be hich pro%iciencies !ill make h im a more e%%ecti1e per%ormer or a more memorable personality hich spells produce e%%ects in line !ith your bard's persona Ho! can these spells be used to build up the reputation o% your bard These are the .uestions to ask yoursel% Playin( a bard can be a lot o% %un Play up the details &dd %la1or to the (ame Immerse the other players in the %antasy o% the (ame 8ou should al!ays play hea1y on description and mood 3or e4ample/ it isn't the success or %ailure o% an attack that matters/ it's the !ay in !hich it is made &s a player you are succeedin( at your 7ob i% your %ello! role+players kno! the color o% your bard's boots/ !hat kind o% !eapon he !ields/ the name o% his %a1orite son( Fbetter yet/ the !ords to itG/ the material components to his most+used spells/ the lesser details o% his personality/ his 1ocal ran(e/ etc I% they kno! your bard as i% he !ere a real  person/ then you are a true bard role+player To establish such a realistic character/ you must ha1e a 1ery solid men tal ima(e o%  your bard's appearance/ personality/ and mannerisms 3or belie1ability/ these aspects must be predetermined/ consistent/ and you must portray them reliably Some role+players are skilled at establishin( such a solidly de%ined cha racter %ten they base the bard upon a character in a mo1ie or book that they kno! thers spend hours mentally de1elopin( their bard and (ettin( to kno! him as a %riend Some (enerate pa(es o% notes to help them out 8ou can use any method you like and the %ollo!in( section should help you out !ith this process

Defining Jo*$ #a$!;s Pe$sonalit(

Most o% the other Complete Handbooks present sample personality types It can  be 1ery use%ul to read o1er these sections to help you de%ine your character's personality <hou(h such descriptions are color%ul and use%ul/ the y 7ust be(in to establish the many %acets that you should de%ine %or a bard eneratin( complete e4amples o% indi1idual bard personalities !ould take pa(es o% te4t and !ould result in only a doDen options %or you to choose %rom 3or this reason/  personality types are not presented in this handbook Rather/ the %ollo!in( section contains many traits o% a character's personality/ alon( !ith se1eral e4amples o% each trait <hou(h e4amples under each trait are numbered/ you should only roll randomly i% you are ha1in( a hard time selectin( an appropriate trait &lso note that randomly rollin( e1ery trait !ill likely result in combinations that make little sense or are unplayable So (o throu(h and care%ully select your character's traits )eep in mind his kit/ ali(nment/ race/ other traits/ and all other elements that you ha1e already de%ined  -ote that the e4amples under each trait are not e4hausti1e 3eel %ree to select any other descripti1e term that could de%ine the trait 8ou can also select one or more traits !ithin a speci%ic cate(ory i% they aren't contradictory &lso/ note that the %ollo!in( list o% traits is %ar %rom complete Selectin( the %ollo!in( traits !ill help de%ine your bard's  persona and is a (ood start/ but you should e4pand these descripti1e terms in your o!n mind or on paper E4amine your character as a !hole/ then %ill in the (aps and add some e4tra details

Table IH' #ARD TRA+TS Personality  &atonalty 5 -eurotic 2 -ormal ; Sli(htly insane < Stable 6 "nstable ? >ery stable  Mannersm 5 Careless 2 CuriousNIn.uisiti1e ; 3anaticalNbsessi1e < Percepti1e 6 PreciseNE4actin( ? Rela4ed @ Retirin( A Somber  Studious 5 SuspiciousNCautious %el(1"steem 5 E(oistN&rro(ant 2 Humble ; Modest < Proper 6 ProudNHau(hty ? Ser1ileNbse.uious  Phlosophy 5 <ruist 2 Bene1olent ; E4tro1erted < Hedonist 6 Intro1erted ? Male1olent @ ptimist A Pessimist  *ntellect  5 &cti1e 2 &nti+intellectual

; < 6 ? @ A

&1era(e Brilliant 3li(hty 0ull Ponderous Schemin(

 Bra0ery 5 Bra1e 2 Calculatin( ; Cra1en < 3earless 6 3oolhardy ? -ormal  Morals 5 &esthetic 2 &moral ; 0epra1ed < Immoral 6 *ust%ul ? *usty @ -ormal A Per1erted  Sadistic 5 >irtuous  Pety 5 &1era(e 2 Iconoclastic ; Impious < Irreli(ious 6 Irre1erent ? MartyrN Qealot @ Pious A Pro%ane  Re1erent 5 Saintly  Mot0aton 5 0ri1en 2 Ener(etic ; *aDy < Moti1ated 6 -ormal ? Sloth%ul

Interests  Hobbes 5 <ruism 2 &thletics ; Community ser1ice < 0ancin( 6 E4otic animals ? 3ishin( @ 3oods 9 Preparation A amblin(  Handicra%ts 5 History 55 Horticulture 52 Huntin( 5; Husbandry 5< *e(ends 56 -ature 5? -one 5@ Politics 5A Reli(ion 5 Smokin( 9 Pipes 2 ines 9 Spirits  o0es 5 2 ; < 6 ? @ A  5 55 52

&rmor &rt!ork Books 9 Scrolls Coins 9 Tokens )ni1es 9 0a((ers Minerals 9 ems rnaments 9 ,e!elry Porcelain/ China/ 9 Crystal Shields 9 eapons S!ords Trophies 9 Skins eapons

 2ears 5 2 ; < 6 ?

Ca1es Enclosed places Cro!ds 0ark 0yin( Hei(hts

@ A  5 55 52 5; 5< 56 5? 5@ 5A 5 2

Horses Insects *oneliness Pain Poison Priests Si(ht o% o!n blood Snakes Spiders Torture Traps "ndead ater iDards

 Hates 5 2 ; < 6 ? @ A  5 55 52 5; 5< 56 5? 5@ 5A 5 2

&uthority Bad %ood Be((ars Bra((arts Bullies reed uards Heretics *a!s *o!er class 3armers Priests Ri1al clan Sel%ishness Stupidity Thie1es Bi( cities "pper class arriors iDards

Relationships  $lles 5 2 ; < 6

Baker Be((ars Blacksmith Constable 3orei(ner

? @ A  5 55 52 5; 5< 56 5? 5@ 5A 5 2

Innkeeper )in( *ocal colle(e Mayor Merchant Prince Princess Sa(e Sheri%% Sla1e master Ta1ern master Thie% Thie1es' uild arrior iDard

 2oes 5 2 ; < 6 ? @ A  5 55 52 5; 5< 56 5? 5@ 5A 5 2

Be((ars Criminals 0ra(ons 0!ar1es El1es nomes Hal%+el1es Hal%+races Hal%lin(s Hi(h!aymen Humans *iDard men *o!er class -onhumans Planar bein(s Ru%%ians Thie1es "nder!orlders "pper class "se ally list

 Manner  5 &brasi1e 2 &nta(onistic ; Blusterin( < CapriciousNMischie1ous 6 CompassionateNSensiti1e ? Courteous @ 0iplomatic

A  5 55 52 5; 5< 56 5? 5@ 5A 5 2

3orce%ul 3oulNBarbaric Help%ulN)indly Hostile pinionatedNContrary 1erbearin( Practical 7okerNPrankster Rash Rude Trustin( >en(e%ul >iolentNar+like ell+spoken

 Mood7Dsposton 5 &loo% 2 Cheer%ul ; CruelNCallous < Easy(oin( 6 E1en+tempered ? 3or(i1in( @ Hard+hearted A Harsh  Hot+tempered 5 Pleasant 55 Moody 52 Silly 5; Peace%ul 5< Reser1ed 56 Schemin( 5? So%t+hearted 5@ SolitaryNSecreti1e 5A Taciturn 5 "n%eelin(NInsensiti1e 2 "n%or(i1in(  Honesty 5 &1era(e 2 0eceit%ul ; *iar < Scrupulous 6 Truth%ul ? >ery honorable &ppearanceNPossessions

!eneral 5 0andyish 2 0i(ni%ied ; 3oppish < Imposin( 6 Slob ? Spartan @ Stately A Typical uantty 5 &bo1e &1era(e 2 &bundant ; &1era(e < E4ceptional 6 3e! ? Scant ualty 5 Cheap 2 0urable ; arish < 3unctional 6 Hi(h ? ,unk @ )in(ly A *o!  Practical 5 Trash  Personal Habts 5 0ishe1eled 2 Immaculate ; -onchalant < r(aniDed 6 Per%ectionist ? Prim and proper @ Scatterbrained A Sloppy %tate o( Clothng  5 Clean 2 0irty ; Immaculate < Ra((ed 6 Rou(h

?

"nkempt

Thr(t 5 2 ; < 6 ? @ A  5

&scetic &1era(e Charitable Co1etous enerous reedy Miserly Spendthri%t Thri%ty astrel

Per%ormances  -o! that you ha1e your bard %ully de%ined/ it is time to put on a sho! Bards  per%orm in e1ery situation/ %rom street sho!s to elaborate per%ormances in the to!n's (rand theater This section contains the in%ormation you and your 0un(eon Master need to determine the cost/ turnout/ and income %rom such per%ormances In se1eral places in this section/ a pro%iciency ch eck is asked %or !ithout the e4act  pro%iciency bein( speci%ied The actual pro%iciency depends upon the type o%  per%ormance I% the bard is playin( an instrument/ use the musical instrument pro%iciency i% he is 7u((lin( kni1es/ use the 7u((lin( pro%iciency and i% he is sin(in(/ use the sin(in(  pro%iciency Thus/ the pro%iciency check matches the per%ormance bein( (i1en Street+side Per%ormances Street+side per%ormances include any situation in !hich the bard plays %or a chan(in( audience in a public place Bards can try playin( on the sides o% streets/ in %ront o% public buildin(s/ in the to!n baDaar/ etc &ll a bard needs to per%orm street+side is a coin c ollection de1ice Fa bo4/ cup/ or open knapsackG/ his per%ormin( implements/ and some time In some to!ns and 1illa(es/ the la! considers street+side per%ormers to be be(( ars and 1a(rants In such to!ns a permit containin( a !a4 seal set !ith the appropriate o%%icial's rin( must be carried or the per%ormer is likely to end up payin( t!ice the amount he made and possibly spendin( a ni(ht in the to!n dun(eon The typical %ee %or such a document is 5 (p The document is (ood as lon( as it lasts F!hich is usually 5dA days/ due to the %ra(ile nature o% the !a4G The bi( dan(er or thrill Fdependin( upon point o% 1ie!G o% per%ormin( street side lies in the per%ormer's e4posure Thie1es consider street+side per%ormers to be easy  pickin(s e1en be((ars ha1e been kno!n to loot a bard's takin(s n occasion a (an( o% ru%%ians !ill attack the per%ormer in an attempt to (ain his 1aluables Finstruments are !ell !orth such a riskG Per%ormin( street side %or money is considered a desperate act a bard !ith a

reputation o% 5 or abo1e loses t!o places on the ladder durin( any !eek in !hich he (i1es such a per%ormance The income (ained %rom a street+side per%ormance is %i(ured b y rollin( both a  pro%iciency check and a reputation check The number o% success%ul rolls F both %ail/ 5/ or 2 both succeedG is checked a(ainst the conditions/ as determined by the 0un(eon Master/ on Table 2 The bard's total income %rom the per%ormance is determined by multiplyin( the hourly income F%ound in Table 2G by the number o% hours the bard  per%orms that day -e! checks are needed %or each day's per%ormance Table 2# H"R*8 STREET+SI0E I-CME Success%ul Checks Conditions  5 2 Horrid  5 cp 5d2 cp Poor  5d2 cp 5d< cp 3air 5 cp 5d< cp 5dA cp ood 5d< cp 5d2 sp 5d< sp E4cellent 5d5 cp 5d< sp 5dA sp 3abulous 5d< sp 5dA sp 5d< (p

Booked Per%ormances & bookin( is an arran(ement in !hich a bard entertains the cro!d o% some pri1ate  business Fusually a ta1ernG The ta1ern master and bard come to some prearran(ed a(reement as to the income/ hours/ and type o% entertainment The bard Fand his assistants i% anyG simply sho! up and per%orm The ta1ern master al!ays has a place set aside %or the per%ormer Perhaps a small sta(e/ a corner o% the ta1ern %loor/ or e1en some old keyboard instrument Typically/ it is the bard's responsibility to brin( a ll the instruments re.uired %or his  per%ormance ther than that/ the bard has no set e4penses 0rinks are usually on the house as lon( as the bard doesn't select the more e4pensi1e items Ho!e1e r/ it is considered pro%essional to tip the bar maids and !enches hea1ily !hen they brin( a  per%ormer drinks Fit sets a (ood e4ample %or the customersG 3e! cities ha1e any le(al limitations on booked per%ormances <hou(h a booked per%ormer is a bit more protected %rom snatch+and+run thie1es/ the dan(er %rom bar %i(hts and bra!ls is almost as bad It is unlikely that the bard !ill lose money in such situations/ but his body and instruments can be se1erely dama(ed Bookin(s are considered a (ood startin( place %or bards Such per%ormances satis%y the re.uirement %or a bard to per%orm locally in a to!n in order to maintain his reputation Ho!e1er/ hi(hly reputable bards F5; or hi(herG su%%er a +5 reputation ad7ustment %or (i1in( a booked per%ormance in any but the most la1ish surroundin(s The method o% payment 1aries !idely %rom ta1ern to ta1ern and %rom lo! to hi(h social le1el The tendency is %or the ta1ern master to pay the bard a set salary once a ni(ht/ !eek/ or month n top o% this/ !ise ta1ern masters also allo! bards to put out a collection bo!l This ensures that the bard (i1es his all du rin( the per%ormance Collection bo!ls (ain money at the street+side per%ormance rate speci%ied on

Table 2 The salaried income should be determined randomly on Table ; The bard can then ad7ust this random result by one in any direction i% he rolls a success%ul reputation check or a pro%iciency check/ or by t!o i% he succeeds !ith both checks Table ;# B)E0 I-CME 0A Roll Salary

5 3ree room 2 ; < 6 ? @ A

& %ree meal Room and board 0ouble the collection bo!l contents 6 electrum per ni(ht 6 (old per ni(ht 2dA (old 2d52 (old

Ca$ni7als

The term carni1al is used here to include any circus/ carni1al/ cara1an/ or other tra1elin( %orm o% entertainment &ll o% these (roups arri1e at most to!ns %rom time to time 0urin( the local har1est season/ circuses o%ten arri1e to 7oin in the celebration and %esti1ities Holidays are o%ten tar(eted by carni1al bands ccasionally the (o1 ernin(  body o% a lar(e city actually contracts %or a carni1al as part o% a %und raisin( dri1e Carni1al bands are comple4 and e4pensi1e operations to run/ and they include multiple per%ormers It is easiest %or a bard to 7oin in an e4istin( carni1al/ but i% he !ants to start his o!n he has to in1est some time and money The base list o% needed assets includes at least one !a(on Fthou(h a one+!a(on carni1al is unlikely to see much successG/ horses or o4en to pull it/ entertainin( implements/ portable per%ormance area Fa sta(e/ tents/ etcG/ se1eral hi(h+.uality per%ormers/ and the necessary support cre! Fteamster/ cook/ carpenter/ etcG Total outlay o% (old %or such an operation is in the thousands o% (old pieces It is ille(al in most to!ns and 1illa(es %or a carni1al to simply set up tents and  be(in per%ormin( Funless it is !ell outside o% the to!n !allsG *e(al permission ran(es %rom simple 1erbal appro1al to purchasin( a carni1al or circus permit %rom the to!n Such permits typically cost 6 (old per tent/ sta(e/ or per%ormin( area and are (enerally (ood %or one !eek The dan(ers a carni1al %aces are much the same as those %aced by a tra1elin( merchant# hi(h!ay robbery/ pirates Fdurin( !ater transportG/ and monster raids are common E1en !ithin the !alls o% a to!n/ a carni1al is %ar %rom sa%e Thie1es and  be((ars are attracted to carni1als like %lies <hou(h these lo!li%es typically play the cro!d/ they aren't a(ainst makin( o%% !ith a 1aluable instrument or the carni1al stron(  bo4 E1en more dan(erous are the ri1al carni1als and per%ormers !ho are in competition %or the same audience Such (roups occasionally resort to practical 7okes/ 1andalism/ employin( bullies/ or e1en hirin( assassins to dri1e o%% the competition Per%ormin( in a carni1al is considered .uite reputable and satis%ies the  per%ormance criteria o% reputation up to and includin( a reputation o% 5@ I% a more

reputable bard per%orms %or any but the most elite carni1als/ he !ill su%%er a +5 ad7ustment to his local reputation Carni1al per%ormers are (i1en %ree room and board !hile on the road Ftypically some blankets and a mat to thro! in/ under/ or around the !a(on o r tents at ni(ht and relati1ely (ood %ood %rom the tra1elin( cookG n top o% this/ they make !a(es The normal arran(ement is that each per%ormin( ni(ht's income is di1ided up as %ollo!s# 6L to the carni1al master and 6L to the cre! The cre!'s hal% o% the money is not split e1enly Each member is assi(ned a number o% shares Typical shares are as %ollo!s# Table 45' CARN+VA0 S%ARES Position Sha$es of C$e, +ncoe Per%ormers ;  F o% success%ul checksGK Cook < Carpenter ; Teamster 2 Sta(e Hands 5 uards *e1el F(enerally 5+
KRoll one pro%iciency check and one reputation check the number o% success%ul checks is used on this table and on Table ;2 as !ell The ni(ht's total income is e.ual to the total number o% attendees Fattendees plus  patronsG times the carni1al %ee Each per%ormer dra!s in a number o% attendees based upon a reputation and  pro%iciency check FThese attendees are in addition to applicable patrons++see pa(e 55@ %or more about patronsG The number dra!n by each per%ormer should be checked separately F%or simplicity/ 0Ms may use the J5J column on Table ;2 %or all -PC  per%ormersG Roll both a pro%iciency check and a reputation check/ then consult the %ollo!in( table to determine ho! many attendees that per%ormer dre! into the carni1al  -ote that this doesn't mean that this is the number that the per%ormer entertains/ as attendees dra!n in by other per%ormers !ander around and obser1e all the acts The typical %ee %or a ni(ht at the carni1al is one electrum piece per person Fe4cept in%ants/ !ho are admitted %or %reeG I% this carni1al's entrance %ee is h i(her or lo!er/ the 0un(eon Master !ill take this into account !hen he determines the ni(htly conditions %or  the purposes o% Table ;2 Fhi(her %ees e%%ecti1ely impro1e the conditions/ lo!er %ees !orsen the conditionsG Table 4I' N+G%T0J ATTENDANCE PER PER:OR1ER S*ccessf*l Checks Con!itions B Horrid 5d< 2d< Poor 5d? 2d? 3air 5dA 2dA ood 5d5 2d5

5 I ;d< ;d? ;dA ;d5

E4cellent 3abulous

5d52 5d2

2d52 2d2

;d52 ;d2

Sho,s an! P$o!*ctions

Sho!s and productions are the bi( time %or per%ormers These include any  per%ormance that takes place in an established buildin( or place !here the audience sho!s up speci%ically %or the per%ormance and n othin( else Some e4amples include plays and recitals (i1en at the local theater or opera house/ concerts at the local music hall/ and  productions put on at local bard colle(es Such a per%ormance is either a re(ularly scheduled e1ent or is accompanied by a lot o% promotion and ad1ertisin( The cost o% puttin( on a sho! or production is lar(e Costs include ad1ertisin(/ %acility rental/ sta(e hands/ per%ormer's %ees/ etc & typical outlay is 5d< sil1er pieces times the ma4imum possible cro!d Fthis is usually e.ual to the a1ailable seatin(G Sho!s and per%ormances are usually outside the domain o% city la!s E1en i% there are %ees/ the o!ner o% the %acility is (enerally responsible %or payment Ftypically an additional sil1er piece per audience memberG & nice side bene%it to such e4tra1a(ant per%ormances is the unlikely e1ent o % 1ictimiDation The only crooks !ho dare mess !ith such e1ents are hi(h+rankin( master thie1es or a %ully planned hit by the local thie1es' (uild/ thou(h these are 1ery rare occurrences It is considered an honor to per%orm in sho!s or productions This satis%ies  per%ormance re.uirements %or any reputation le1el and actually boosts reputations o% 5 or less by 5 Ho!e1er/ it is rare %or any per%ormer belo! a 5 reputation to be in1ited to  per%orm at such e1ents The standard auditions eliminate all but the best per%ormers % all per%ormances/ productions pro1ide the (reatest %or potential income/ but they are also the most risky &s !ith carni1als/ the net ni(htly income is e. ual to the number o% attendees times the admittance %ee Typical admittance %ees to productions are 5 (old piece/ althou(h really elaborate per%ormances put on in e4tra1a(ant theaters can ran(e up to a platinum piece or more Be%ore the actual number o% attendees is determined/ the ma4imum possible number must be %ound I% the per%ormance is to take place !ithin a buildin(/ the ma4imum e.uals the buildin('s seatin( capacity ther!ise/ some reasonable number !ill ha1e to be settled upon bet!een 0un(eon Master and the in1ol1ed players nce the ma4imum possible cro!d is determined/ each per%ormer rolls both a reputation check and a pro%iciency check Take the total number o% success%ul checks %rom all per%ormers and di1ide this by the number o% checks that !ere rolled This (i1es a number bet!een  and 5/ inclusi1e Multiply this number by the ma4imum possible cro!d to determine ho! many people actually sho! up I% e1ery per%ormer succeeds at both checks/ then the ma4imum possible cro!d sho!s up I% only hal% o% the checks succeed/ then the number o% attendees is only hal% the ma4imum I% 26L succeed/ then 26L sho! up/ etc n top o% this/ bards ha1e their applicable patrons sho! up Hal% o% the net income Fattendance %ees minus production costsG (oes to the %acility's o!ner and the other hal% is di1ided amon( the per%ormers and sta(e hands usin(

the carni1al's share system

Chate$ ' Co$a!es Bards ha1e many comrades throu(hout their li1es &s they climb the ranks o% %ame to!ard a (reat reputation/ they rely hea1ily upon the 1arious bard colle(es These institutions contain %ello! per%ormers (reat and small Bards meet those !ho ser1e as teachers/ critics/ peers/ and %riends !ithin the bard colle(es & bard !ho pro1es to be a (ood entertainer ( ains a pool o% patrons !ho (o out o% their !ay to attend his per%ormances and occasionally help him out I% a bard sur1i1es lon( enou(h/ he e1entually (ains de1oted %ollo!ers

#a$! Colleges Bards o%ten associate !ith one another/ especially those !ho hold similar 1ie!s and practice similar %orms o% entertainment I% such a (roup becomes established/ it is kno!n as a colle(e Colle(es are to bards !hat (uilds are to most other characters These are places in !hich skills/ philosophies/ belie%s/ and talents are pooled to(ether Ho!e1er/ colle(es are too uni.ue to be (i1en the (eneric label o% J(uildJ Membership in most (uilds is a permanent matter or at least a lon(+term one I% a thie% 7oins the local thie1es' (uild/ he is likely (oin( to remain there until somethin( drastic happens This is not so !ith bards 7oinin( bard colle(es Bards %loat %rom one colle(e to the ne4t hen they are 1isitin( a particular city or 1illa(e/ they look up the local colle(e and partake in its %unctions Then !hen the  bard's mood chan(es/ he parts !ith that colle(e and proceeds on his merry !ay Colle(es ser1e as a %orm o% specialty inn+members come and stay %or a !hile/ then mo1e on 3rom one month to the ne4t/ the entire membership o% a (i1en colle(e can chan(e &s !ould be e4pected/ this demands that bard colle(es be set up in a 1ery loose %ormat Most colle(es ha1e a set o% rules posted in some easily accessible location Fo%ten 7ust inside the entry !ayG These rules are amended/ repealed/ and redra%ted as o%ten as membership turno1er causes a shi%t in philosophy The %unctions o% a colle(e are determined by the current members Most meetin(s are called on an in%ormal basis those !ho sho! up partake in the discussion/ practice/ or seminar Such meetin(s can e1ol1e into a re(ular e1ent F%or a short !hileG/ %ra(ment into smaller (roups/ or simply end in lieu o% more e4citin( e1ents &uthority is treated as is e1erythin( else+in a 1ery nonch alant !ay I% the current rankin( member o% the colle(e is a neutral e1il bard/ authority is determined b y a(e/  po!er/ and underhanded tricks I% a la!%ul neutral bard is in control/ authority is (o1erned strictly by a set o% !ritten la!s and proceedin(s % course/ as one leader departs the colle(e and another comes into po!er/ the rules and methods o% determinin( authority are likely to chan(e & common sayin( amon( bards is/ JI% you don't like the !ay a colle(e is run/ !ait a minute and it'll chan(eJ Coon E7ents

There are numerous e1ents that occur at any colle(e & %e! o% the most common are per%ormances/ practices/ debates/ dress rehearsals/ collectin( dues/ seminars/ discussions/ (atherin(s/ and (eneral meetin(s Per%ormances are (i1en by one or more bards These ran(e %rom 1ocal solos to dancin( duets to an entire cast o% actors puttin( on a play Some per%ormances are restricted to audiences made up o% %riends or colle(e members thers are open to the  public and help %und the colle(e E1ery decent colle(e has a sta(e or other per%ormance area/ but many per%ormances take place at the local theater or in the 1illa(e s.uare &ll bards are per%ormers o% one sort or another/ and no per%ormer can ele1ate his talents by study alone Practice literally makes per%ect %or the skills o% a bard Thus numerous practices are held at the colle(e Here/ bards can play be%ore peers/ (ain the ad1ice o% a master/ learn the latest techni.ues %or strin(in( a harp/ a nd so on I% optional trainin( rules are used/ colle(e is !here most bards train Since bards are romantic philosophers at heart/ it is no small !onder that debates %re.uently crop up Sub7ects ran(e %rom the proper !ay to pluck a mandolin to the best  philosophical ali(nment to hold !hen (oin( throu(h li%e <hou(h debate is de%ined as a controlled discussion in !hich t!o or more sides air their 1ie!s/ it is n ot uncommon %or such debates to boil into heated ar(uments endin( !hen one side or another dra!s its !eapons and threatens 1iolence Be%ore any pro%essional production/ a dress rehearsal must take place This  brid(es the (ap bet!een practices and actual per%ormances The intent is to run throu(h the entire per%ormance !ithout an audience or only a specially selected audience This enables the bards to 7ud(e the len(th o% the per%ormance and make any last minute alterations ccasionally/ dress rehearsals are used as test per%ormances be%ore a small sample audience The purpose o% this is to determine i% the sub7ect matter is too 1olatile %or the tar(et audience 0ues are usually collected as soon as a bard %irst enters a colle(e Typical dues are an electrum piece plus 26L o% all income the bard makes !hile associatin( !ith the colle(e F6L i% the colle(e is used to put on the per%ormanceG I% a bard doesn't per%orm or dra!s in only small cro!ds/ he !ill be asked to lea1e or contribute a platinum piece each !eek Fhis decisionG Hi(h+le1el bards o%ten make money at colle(es by plannin( seminars and other e1ents and char(in( a co1er %ee Fusually a %e! sil1er piecesG Seminars are e1ents in !hich a small panel o% bards Fusually 5 to ;G presents in%ormation on some predetermined topic Seminars are learnin( e1ents those !ho attend e4pect to ha1e %un/ learn somethin( use%ul/ and (et a chance to ask .uestions o% the masters Seminar audien ces should al!ays be at least t!o le1els belo! those o% the panel Thus/ a bard must be at least ;rd le1el to put on a seminar 0iscussions are simply planned e1ents in !hich a small+ to med ium+siDed (roup F;+5G o% bards (et to(ether and discuss a topic The sub7ect can be pro%essional Factin( techni.ues/ ho! to clean instrumentsG/ rela4in( Freminiscin( about the (ood old daysG/ or  philosophical Fdiscussin( the li%estyle o% the pi4ieG 0iscussions are 1ery loose in %ormat/ and no one is necessarily in char(e atherin(s are some o% the most cherished e1ents o% a colle(e & (atherin( is rarely a planned %ormal e1ent Rather/ it occurs !hen se1eral bards be(in talkin( about

the same topic/ such as the proper tempo %or an epic poem In other !ords/ (atherin(s are ac.uaintance meetin(s Stories are s!apped/ tales told/ rumors shared/ and lau(hs had by all ccasionally a (atherin( is planned/ such as an early brunch or late e1enin( ball 3inally/ no colle(e !ould be complete !ithout the (eneral colle(e meetin( These are %ormal e1ents held %or the sole purpose o% discussin( the colle(e/ its policies/ %uture/ and other %unctions Some colle(e meetin(s are mandatory a %ine F5 spG or penalty must  be paid by those !ho do not sho! Common topics include assi(nin( personnel to cleanin( and cookin( details/ discussin( methods %or ad1ertisin( colle(e per%ormances/ 1otin( on !hether or not to per%orm at a local duke's !eddin(/ and so on

Pat$ons &s a bard's reputation (ro!s/ he be(ins to attract patrons These people (o out o% their !ay to attend the bard's per%ormances Some e1en take up tra1elin( !ith the bard on short per%ormin( tours Such de1oted patrons o%ten ser1e the bard as sta(e hands Patrons should not be con%used !ith %ollo!ers Patrons are more interested in a  bard's per%ormances than in the bard as an indi1idual They are cau(ht up !ith the bard's artistic talents Some !ill tra1el miles to attend as many per%ormances as possible/ others donate sil1er and (old to ensure that their %a1orite per%ormer can support his career 0e1oted patrons lo1e his per%ormances so much that they are !illin( to help him out in order to (et him on sta(e more o%ten Patrons are a 1aluable commodity to bards and are al!ays treated !ith care

+nitial Pat$ons

&c.uirin(/ (ainin(/ and losin( patrons is based upon the optional reputation system  presented in this handbook I% this system isn't used/ substitute the bard's le1el %or his reputation nce a bard becomes !ell+kno!n Freputation ?G he (ains his %irst patrons To determine ho! many patrons the bard initially (ains/ roll 5d2 a number o% times e.ua l to the bard's ma4imum number o% henchmen Fa %unction o% CharismaG E1ery result e.ual to or belo! the bard's reputation indicates that one more patron is ac.uired  -ote that patrons are not henchmen and do not count a(ainst this number

Gaining an! 0osing Pat$ons

The number o% a bard's patrons %luctuates as the bard's reputation chan(es &ny time the bard's reputation increases/ more patrons can be (ained The bard rolls 5d2 in an attempt to roll e.ual to or belo! his ne! reputation He can keep rollin( until he %ails The number o% consecuti1e rolls e.ual to or belo! his ne! reputation is the number o% ne! patrons (ained Ho!e1er/ the number o% a bard's patrons is limited by his ma4imum number o% henchmen and by his le1el/ as sho!n on Table ;; The number ne4t to the  bard's le1el is multiplied by the bard's ma4imum number o% henchmen Fsee Table ? in the

 PHB G to determine the bard's ma4imum number o% patrons Table 44' NU1#ER O: PATRONS

#a$!;s

1a6i* K of

*e1el Henchmen Times# 5+< 5 6+ 2 5+5< ; 56+5 < 2 6 I% a bard's reputation e1er drops/ he must check to see i% any o% his patrons lea1e him This is done by rollin( once %or each patron &ny roll abo1e the bard's ne! reputation indicates that the patron has lost his in%atuation !ith the bard and is no lon(er a patron & natural roll o% 2 indicates that the patron is 1ery upset !ith the bard and !ill ha1e nothin( more to do !ith him I% you !ant to add e1en more detail to your bard's patrons/ you can roll on the %ollo!in( table %or each one Table ;<# T8PE 3 P&TR5d2 Roll 5+5 55+52

Type o% Patron 3an 0iehard

0escription &ttends e1ery local per%ormance &ttends e1ery per%ormance !ithin 5 miles and insists on payin( 5d< times !hat others  pay Booster &ttends all local per%ormances and brin(s 5d?

5;+5<

%riends alon( 56

Enthusiast ill ser1e as a sta(e hand !ithout char(e in e4chan(e %or %ree admittance

5? supporter 

5@

5A

5

Supporter

Roll 5d52 in that many months the

!ill donate 5d5 times the bard's le1el/ in (old/ to the bard Qealot Qealots %ollo! the bard around to e1ery  per%ormance Some ha1e been kno!n to secretly shado! the bard !here1er he (oes/ e1en on dan(erous .uests F%rom !hich they seldom returnG 0e%ender 0e%enders are Dealots !ho ha1e taken it upon themsel1es to protect the bard/ ser1in( as body (uards E4tremist E4tremists attempt to mimic the bard as

2

3anatic

much as possible They dress like him/ act like him/ learn his habits/ and !ill e1en attempt to steal authentic items %rom him Some e4tremists e1en attempt to be%riend the bard's %riends and lo1ers 3anatics are e4tremists/ but i% the bard e1er  rolls that a %anatic drops %rom the ranks o% his patrons/ the %anatic is 26L likely to attempt to assassinate the bard

:ollo,e$s &s stated in the Player's Handbook / the True Bard can attract 5d? +le1el soldiers at the th le1el/ i% he builds a stron(hold These %ollo!ers arri1e o1er a period o% time and are not automatically replaced i% lost in battle The abo1e in%ormation is correct %or the True Bard % the other kits/ only the Skald and some Heralds recei1e such %ollo!ers The other kits recei1e %ollo!ers as indicated belo! Table 4=' :O00OWERS #J 2+T 2it :ollo,e$s True 5d? +le1el !arriors Blade ;d? Fuse Table ;5 in the PHBG Charlatan 5d? 5st+le1el Charlatans allant ;d< +le1el !arriors and 5 ;rd+le1el s.uire ypsy+bardF5G ;d? (ypsies F6L thie1es/ 2L %i(hters/ 2L %i(hterNthie1es/ 6L thie%Nma(es/
5 To attract these %ollo!ers/ a th+le1el For hi(herG ypsy+bard must %irst  purchase a !a(on and t!o carts 2 & Herald has t!o options I% he decides to build a stron(hold o% his o!n/ he attracts 5d? +le1el !arriors Ho!e1er/ i% the herald is ser1in( a lord as his a(ent/ the lord donates a section o% his %ortress to the herald/ alon( !ith 5d< 2nd+le1el !arriors and 5d? ;rd+le1el thie1es

; *oremasters do not build typical stron(holds Instead/ they ac.uire a to!er in the corner o% some nobleman's keep/ or a house in the scholarly .uarter o% to!n < Meistersin(ers do not build typical stron(holds They construct a number o% hidden cotta(es instead 6 These actors do not ha1e a class and do not (ain le1els They pay %or all o% their  o!n e4penses and brin( in an additional 5d? (old each per month %or the thespian

Aen!i6' O$iginal #a$!s Table >"Si!e! Dice fo$

D$*i!

E6< E6e$ience Cha$ 00888 *e1el 5

Points +2/ L 2/5+
A!!l<

Acc*<

hp

0e7el

Sells

0ang<

K

Title Rhymer

52;<6 Colle(e )no!n L 5JJJJ FProbationerG KK

L 6L

2 6L ;
5

*yrist

2JJJJ

3ochlucan



2L

2

Sonneteer

;JJJJ 3ochlucan



22L

;

Skald

;5JJJ 3ochlucan

5

2
<

Racaraide

;2JJJ Mac3uirmidh



;L

6

,on(leur

;;JJJ Mac3uirmidh

5

;2L

?

Troubadour

;;5JJ Mac3uirmidh

5

;
@ A  5 5  5

Minstrel Muse *orist Bard Master Bard

;;2JJ ;;;JJ ;;;5J ;;;2J ;;;;J

0oss 0oss 0oss Canaith Canaith

 5 5  5

<L <2L <
26L ;L ;6L <L <6L

5; </5+?/ 5< ?/5+A/ 56 A/5+5// 5? 5//+5/2/ 5@ 5/2/5+5/</ 5A 5/</5+5/?/ 5 5/?/5+5/A/ 2 5/A/5+2//

5  2 5  ; 5  < 5  6 5  ? 5  @ 5  A 5  

M Bard 5; M Bard 5
;;;;5 ;;;;2 ;;;;; <;;;; <<;;; <<<;; 6<<<; 6<<<<

Canaith Cli Cli Cli &nstruth &nstruth &nstruth llamh

5  5 5  5 5 5

6?L ?L ?;L ??L @L @;L @?L AL

6L 66L ?L ?6L @L @6L AL A6L

25 2//5+2/2/ L

5  5

th

st

M Bard 25

66<<< llamh

5

A
nd

22 2/2/5+;// 6L

5  55

M Bard 22

2; ;//5+up L

5  52

M Bard 2;

rd

666<< llamh

5

AAL

66666 Ma(na

5

6L

&lumnae K The bard has as many Hit 0ice as he has pre1iously earned as a %i(hter Fplus the  possible addition o% those earned as a thie%/ i% that class le1el e4ceeds the class le1el o% %i(hterG &ll bard Hit 0ice Fand additional hit pointsG are additions to e4istin( Hit 0ice+ none are lost %or becomin( a bard KK The character may already kno! lan(ua(es %rom his pre1ious e4perience KKKStands %or J*e(end *ore and Item )no!led(eJ  -otes Re(ardin( the ri(inal Bards Table E4perience points are strictly those (ained as a bard &ll pre1iously earned e4perience  points are not considered here E4perience le1el is that o% the bard class only There is no le1el beyond the 2;rd The  bard (ains druidic po!ers as a druid o% the same le1el !ould/ and he learns and casts spells e4actly as a druid o% the same le1el/ but he does not pro(ress beyond the 52th le1el o% druid ability until the 2;rd le1el Fat !hich time he casts spells at the 5;th le1el o% abilityG Bards can read scroll that contain druidic spells &t %irst le1el/ the bard has as many Hit 0ice as he has pre1iously earned as a %i(hter Fplus the possible addition o% those earned as a thie% i% that class e4ceeds the class le1el o% %i(hterG &ll bard Hit 0ice Fand additional hit pointsG are additions to e4istin( Hit 0ice+none are lost %or becomin( a b ard Colle(e is an important distinction to a bard he !ill not associate !ith a bard o% a lesser colle(e The e4ceptions to this rule are the Magna $lumnae/ !ho !ill happily aid Fby ad1ice and su((estionG any bard o% any le1el The bard need not study to learn the additional lan(ua(es indicated on the table+this  process is subsumed as pre1ious !ork Charm percenta(e is the chance the bard has o% success%ully castin( a charm person For charm monster G spell !ith his music It does not ne(ate any immunities or sa1in( thro!s 1s ma(ic *e(end lore and item kno!led(e percenta(e sho!s the chance a bard has o% kno!in( somethin( about a le(endary person/ place/ or thin(/ or o% kno!in( !hat a  particular ma(ical item is The latter ability is limited to !eapons/ armor/ potions/ scrolls/ and those items o% ma(ical nature that the bard can employ or !hich bear ma(ical inscriptions &ll bards kno! runes/ (lyphs/ chara cters/ symbols/ etc  -aturally/ any kno!led(e (ained by the bard !hile in his %ormer classes is retained at all le1els Class 0escription &s this character class subsumes the %unctions o% t!o other classes+%i(hters and thie1es+and tops them o%% !ith ma(ical abilities/ it is o%ten not allo!ed by 0un(eon Masters E1en thou(h this presentation is (reatly modi%ied %rom the ori(inal bard class/ it is o%%ered as supplemental to the system/ and the 0M !ill be the %inal arbiter as to the

inclusion o% bards in the campai(n & bard must ha1e scores o% 56 or better in the %ollo!in( abilities# Stren(th/ isdom/ 0e4terity/ and Charisma He must also ha1e an Intelli(ence score o% at least 52 and a Constitution score o% at least 5 The character must be either a human or a hal%+el% Bards be(in play as %i(hters and must remain e4 clusi1ely so until they ha1e achie1ed at least the 6th le1el o% e4perience &nytime therea%ter/ and in any e1ent prior to attainin( the Ath le1el/ they must chan(e to the thie% class Sometime bet!een 6th and th le1el/ bards must lea1e the thie% class and become a druid+at this time/ they are actually  bards under druidic tutela(e Bards must %ul%ill the re.uirements in all  the abo1e classes  be%ore pro(ressin( to the ri(inal Bards Table They must al!ays remain -eutral/ but they may be ood/ Chaotic/ E1il/ or *a!%ul i% they !ish & bard al!ays en(a(es in combat at the le1el he attained as a %i(hter *ike!ise/ he is able to %unction as a thie% o% the le1el attained &ll sa1in( thro!s are made on the most %a1orable table/ !ith the actual bard le1el considered to be that o% a druid He must al!ays ha1e a strin(ed instrument The bard's poetic ability raises the morale o% associated creatures b y 5L It like!ise can inspire %erocity in battle/ so attack rolls (ain a 5 bonus Both e%%ects re.uire t!o rounds to inspire the desired e%%ect/ and the y last %or one turn -ote that the bard can en(a(e in combat !hile en(a(ed in this ability/ but he cannot sin( or cast spells & bard's sin(in( and playin( ne(ates the son( e%%ects o% harpies and similar attacks that rely upon son( It ne(ates the sound o% shriekers/ !ho are soothed by the sound o% the bard's instrument hen the bard plays his instrument/ creatures Fnot in the bard's partyG !ithin