About Anton Vitruvian
Favored class: Bard (1-hp)
Init +5 ; Senses Perception +3
Skill points: 9 (8 +1 INT)/lvl
Languages Common, Infernal, Abyssal
+4 (CL 1 +3 cha)
0th (4) : Dancing Lights, Message, Prestidigitation, Unwitting Ally
1st (2) : Charm Person, Cure Light Wounds
Encumbrance 0 lbs (33 lbs=light; 66 lbs=medium; 100 lbs=heavy)
Cash 0 gp
• NATURAL CHARMER (general): You can take 20 on any Charisma-based skills to charm, convince, persuade, or seduce humanoids whose attitude is at least friendly to you. Taking 20 still requires 20 times the normal time to perform the skill.
• RACIAL HERITAGE (dhampir): Choose another humanoid race. You count as both human and that race for any effects related to race. For example, if you choose dwarf, you are considered both a human and a dwarf for the purpose of taking traits, feats, how spells and magic items affect you, and so on.
• LESSER NOBLE (regional): You gain a +1 trait bonus on Diplomacy and Knowledge (nobility) checks. In addition, your starting money is increased by 100 gp— your “birthright,” such as it is.
• SEDITION (campaign): You have attempted to covertly stir up rebellion against your rightful sovereign. This differs from high treason in that you attempted to convince others to make war against Talingarde instead of taking direct action yourself. A subtle difference to be sure. But it is the difference between receiving the swift justice of the axe instead of the slow suffering upon the rack. Punishment: Death by beheading Benefit: You receive a +1 trait bonus to Bluff checks and Bluff is always a class skill for you. Further if you ever take the Leadership feat, you gain a +1 trait bonus to your Leadership score.
• BARDIC KNOWLEDGE (Ex): A bard adds half his class level (minimum 1) to all Knowledge skill checks and may make all Knowledge skill checks untrained.
• BARDIC PERFORMANCE : A bard is trained to use the Perform skill to create magical effects on those around him, including himself if desired. He can use this ability for a number of rounds per day equal to 4 + his Charisma modifier. At each level after 1st a bard can use bardic performance for 2 additional rounds per day. Each round, the bard can produce any one of the types of bardic performance that he has mastered, as indicated by his level.
Starting a bardic performance is a standard action, but it can be maintained each round as a free action. Changing a bardic performance from one effect to another requires the bard to stop the previous performance and start a new one as a standard action. A bardic performance cannot be disrupted, but it ends immediately if the bard is killed, paralyzed, stunned, knocked unconscious, or otherwise prevented from taking a free action to maintain it each round. A bard cannot have more than one bardic performance in effect at one time.
At 7th level, a bard can start a bardic performance as a move action instead of a standard action. At 13th level, a bard can start a bardic performance as a swift action.
Each bardic performance has audible components, visual components, or both.
If a bardic performance has audible components, the targets must be able to hear the bard for the performance to have any effect, and many such performances are language dependent (as noted in the description). A deaf bard has a 20% change to fail when attempting to use a bardic performance with an audible component. If he fails this check, the attempt still counts against his daily limit. Deaf creatures are immune to bardic performances with audible components.
If a bardic performance has a visual component, the targets must have line of sight to the bard for the performance to have any effect. A blind bard has a 50% chance to fail when attempting to use a bardic performance with a visual component. If he fails this check, the attempt still counts against his daily limit. Blind creatures are immune to bardic performances with visual components.
(Su): At 1st level, a bard learns to counter magic effects that depend on sound (but not spells that have verbal components.) Each round of the countersong he makes a Perform (keyboard, percussion, wind, string, or sing) skill check. Any creature within 30 feet of the bard (including the bard himself) that is affected by a sonic or language-dependent magical attack may use the bard's Perform check result in place of its saving throw if, after the saving throw is rolled, the Perform check result proves to be higher. If a creature within range of the countersong is already under the effect of a non-instantaneous sonic or language-dependent magical attack, it gains another saving throw against the effect each round it hears the countersong, but it must use the bard's Perform skill check result for the save. Countersong does not work on effects that don't allow saves. Countersong relies on audible components.
(Su): At 1st level, a bard can use his performance to counter magic effects that depend on sight. Each round of the Distraction, he makes a Perform (act, comedy, dance, or oratory) skill check. Any creature within 30 feet of the bard (including the bard himself) that is affected by an illusion (pattern) or illusion (figment) magical attack may use the bard’s Perform check result in place of its saving throw if, after the saving throw is rolled, the Perform check result proves to be higher. If a creature within range of the Distraction is already under the effect of a non-instantaneous illusion (pattern) or illusion (figment) magical attack, it gains another saving throw against the effect each round it sees the Distraction, but it must use the bard’s Perform check result for the save. Distraction does not work on effects that don’t allow saves. Distraction relies on visual components.
(Su): At 1st level, a bard can use his performance to cause one or more creatures to become fascinated with him. Each creature to be fascinated must be within 90 feet, able to see and hear the bard, and capable of paying attention to him. The bard must also be able to see the creatures affected. The Distraction of a nearby combat or other dangers prevents the ability from working. For every three levels a bard has attained beyond 1st, he can target one additional creature with this ability.
Each creature within range receives a Will save (DC 10 + 1/2 the bard’s level + the bard’s Cha modifier) to negate the effect. If a creature’s saving throw succeeds, the bard cannot attempt to fascinate that creature again for 24 hours. If its saving throw fails, the creature sits quietly and observes the performance for as long as the bard continues to maintain it. While fascinated, a target takes a –4 penalty on skill checks made as reactions, such as Perception checks. Any potential threat to the target allows the target to make a new saving throw against the effect. Any obvious threat, such as someone drawing a weapon, casting a spell, or aiming a weapon at the target, automatically breaks the effect.
Fascinate is an enchantment (compulsion), mind-affecting ability. Fascinate relies on audible and visual components in order to function.
(Su): A 1st level bard can use his performance to inspire courage in his allies (including himself), bolstering them against fear and improving their combat abilities. To be affected, an ally must be able to perceive the bard’s performance. An affected ally receives a +1 morale bonus on saving throws against charm and fear effects and a +1 competence bonus on attack and weapon damage rolls. At 5th level, and every six bard levels thereafter, this bonus increases by +1, to a maximum of +4 at 17th level. Inspire courage is a mind-affecting ability. inspire courage can use audible or visual components. The bard must choose which component to use when starting his performance.
• BONUS FEAT: Humans select one extra feat at 1st level.
• SILVER TONGUED: Human are often adept at subtle manipulation and putting even sworn foes at ease. Humans with this trait gain a +2 bonus on Diplomacy and Bluff checks. In addition, when they use Diplomacy to shift a creature's attitude, they can shift up to three steps up rather than just two. This racial trait replaces skilled.
House Vitruvian was among the greatest of noble families in the kingdom of Talingarde, a strong ally of House Barca. Their families intermingled, spreading the vampire-tainted bloodline. The Vitruvians held to the wrong side, however, and with the great loss at the Battle of Taberlyn, they met a similar fate to that of House Barca... The undead were destroyed and the survivors forced to renounce Asmodeus for the Shining One and swear allegiance to the new king. Although they were accepted back into the kingdom, the greatness of House Vitruvian waned.
Anton was born in the height of Markadian IV's Great Purge. House Vitruvian, with their historic alliances with vampires, was not spared the wrath of this political fiction. Already a weakened house, they were forced to flee and hide themselves from the raging mobs. His distant blood heritage, along with the unstable circumstances surrounding his birth, Anton was born a sickly child. It was a wonder he was able to survive through his childhood, but he learned to work around his weakness. He developed a greater agility in order to avoid accident or injury and he also became quite the charmer, able to talk his way out of many a hairy situation.
Once the activities of the Great Purge waned, House Vitruvian was able to return to the nobility, but with greatly reduced influence, most of their lands and heritage, taken away or destroyed. Anton grew to hate this new kingdom of Talingarde for the way they treated his family. He began to consort with other like-minded individuals, the poor, the persecuted, down-trodden individuals, stirring up their ire against the king, organising them in cells to spread out and begin to cause strife within the kingdom, stir up and spread rebellion further, in hopes to ultimately tear down the king, replace him with someone more worthy, perhaps Anton himself... At last the House Vitruvian would ascend to power again!
But this was not to be as his machinations were discovered and agents of the king were able to work their way through the organization to discover who was truly at the head of the rebellion. Anton was caught, and there was no talking his way out of this punishment. Now he rests in Brandenscar prison, his neck awaiting the headsman's axe.