Name Kessel Cobey (aka KC, Casey, and Kessel Cool)
Male NG Human Bard 3/Druid 2
Age 21, Height5'6, weight 160lbs
Melee: Rapier +3, 1d6, piercing
Ranged: short bow +5, 1d6, piercing, range 60
Hit points: 45/45
Description: Kessel is clean cut and shaven young man. His cloths are always neat and trim, his boots polished, and his shirts are always starched and ironed. It’s very easy to assume that Kessel is a city boy by his dress and appearance but his fresh pressed shirts hide the druidic tattoos on his arms that honor his parents and pledge his soul to the old faith.
The two most remarkable features of Kessel Cobey are his eyes and his voice. His eyes are such a deep chestnut brown that they almost appear to be black, they are both deep and penetrating, and most find it somewhat unsettling to have his eyes fall on them for long. His voice, equally deep and penetrating, could easily fill a room, and many wonder how such a slight man could possess such a powerful voice. Anyone who knew Kessel from when he was a child could tell you he also had a beautiful singing voice, but he’s never used it since his return to Daggerford for some strange reason. Rumor, being what it is, has suggested that he had his heart broken in the free city. Ironically this is true . . . after a fashion.
Speed and check penalty:
Speed (full gear):30ft.
Check penalty (full gear):0.
Speed (combat gear): 30ft.
Check penalty (combat gear):0.
* Medium: As Medium creatures, humans have no special bonuses or penalties due to their size.
* Human base land speed is 30 feet.
* 1 extra feat at 1st level.
* 1 extra skill point at 1st level and 1 extra skill point at each additional level.
* Automatic Language: Common. Bonus Languages: Any (other than secret languages, such as Druidic). See the Speak Language skill.
* Favored Class: Any. When determining whether a multiclass human takes an experience point penalty, his or her highest-level class does not count.
* +2 to any attribute (CHA)
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 Music (12 rounds /Day)
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 such performances are language dependent. A deaf bard has a 20% chance 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.
Countersong (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 noninstantaneous 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.
Distraction (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 skill check proves to be higher. If a creature within range of the distraction is already under the effect of a noninstantaneous 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 skill check result for the save. Distraction does not work on effects that don't allow saves. Distraction relies on visual components.
Fascinate (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 this ability from working. For every three levels the 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 all 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.
Inspire Courage (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.
A bard knows a number of Cantrips. He can cast these spells at will as a spell-like ability. Cantrips are treated like any other spell cast by the bard in terms of duration and other veriables based on level.
A druid can channel stored spell energy into summoning spells that she hasn't prepared ahead of time. She can “lose” a prepared spell in order to cast any summon nature's ally spell of the same level or lower.
Druids can prepare a number of orisons, or 0-level spells, each day, as noted on Table: Druid under “Spells per Day.” These spells are cast like any other spell, but they are not expended when cast and may be used again.
Nature Bond (Ex):
At 1st level, a druid forms a bond with nature, granting the druid one of the following cleric domains: Air, Animal, Earth, Fire, Plant, Water, or Weather. When determining the powers and bonus spells granted by this domain, the druid's effective cleric level is equal to her druid level. A druid that selects this option also receives additional domain spell slots, just like a cleric. She must prepare the spell from her domain in this slot and this spell cannot be used to cast a spell spontaneously.
Nature Sense (Ex)
A druid gains a +2 bonus on Knowledge (nature) and Survival checks.
Wild Empathy (Ex)
A druid can improve the attitude of an animal. This ability functions just like a Diplomacy check made to improve the attitude of a person (see Using Skills). The druid rolls 1d20 and adds her druid level and her Charisma modifier to determine the wild empathy check result. The typical domestic animal has a starting attitude of indifferent, while wild animals are usually unfriendly.
To use wild empathy, the druid and the animal must be within 30 feet of one another under normal conditions. Generally, influencing an animal in this way takes 1 minute but, as with influencing people, it might take more or less time.
A druid can also use this ability to influence a magical beast with an Intelligence score of 1 or 2, but she takes a –4 penalty on the check.
Speak with Animals (Sp): You can speak with animals, as per the spell, for a number of rounds per day equal to 3 + your cleric level.
Spells usually prepared:
0:Guidance, Light, Purify food and water
1:Entangle, Cure light wounds. Calm Animals
Equipment and encumbrance:
Equipment (traveling): sunrod (x2), map case, rapier, Alchemist fire x2, acid, belt pouch, chalk x2, candles x2, flint and steel, sewing needle, signal whistle, small steel mirror, scroll of cure light wounds, masterwork leather armor.
Encumbrance from equipment and weapons (full load): 28lbs.
Equipment (combat): rapier, shortbow, 20 masterwork arrows, Masterwork leather armor.
Encumbrance from equipment and weapons (combat): 22lbs
Cohorts, hirelings, and Animal Companions
Size/Type: Large Animal
Hit Dice: 3d8+9 (22 hp)
Speed: 30 ft. (6 squares)
Armor Class: 13 (-1 size, +1 Dex, +3 natural), touch 10, flat-footed 12
Base Attack/Grapple: +2/+9
Attack: Hoof +4 melee (1d4+3)
Full Attack: 2 hooves +4 melee (1d4+3)
Space/Reach: 10 ft./5 ft.
Special Attacks: —
Special Qualities: Low-light vision, scent
Saves: Fort +6, Ref +4, Will +1
Abilities: Str 16, Dex 13, Con 17, Int 2, Wis 11, Cha 6
Skills: Listen +6, Spot +6
Feats: Alertness, Endurance
Environment: Warm plains
Challenge Rating: 1
Level Adjustment: —
Mules are sterile crossbreeds of donkeys and horses. A mule is similar to a light horse, but slightly stronger and more agile.
A mule’s powerful kick can be dangerous.
A light load for a mule is up to 230 pounds; a medium load, 231-460 pounds; and a heavy load, 461-690 pounds. A mule can drag 3,450 pounds.
Mules have a +2 racial bonus on Dexterity checks to avoid slipping or falling.
Equipment: Yorick is carrying the following:
water skin 4lbs
trail rations x2 2lbs
pack saddle 15lbs
100ft hempen rope 20lbs
feed x10 100lbs
Total weight: 145lbs
Kessel and his twin sister Morra was born and raised within a stone’s throw of the Bronzewood lodge. His mother, Kassandra, was the young and hauntingly beautiful 7th daughter of the high priestess Kass of Kells. Kass of Kells, by then was well into her 80s (thanks to her timeless body), and she didn’t survive the birth. Kassandra grew up in the care of Cyanna, Kass’ second youngest daughter, who had just given birth to a daughter of her own. Cyanna was married, and not long after Kassandra’s birth and their mother’s funeral, Cyanna moved to the Bronzewood Lodge with her husband Nogson, eldest child of Nogwier.
The old blood runs strong in Kessel’s family and by the time his mother was seventeen she was a priestess and a growing power in the lodge. It was said that Kassandra could have had any man she wanted, yet instead of marrying for power, she ultimately choose to marry for love. Not that Harold Cobey was a poor choice for the young priestess, but it was thought that she could have married a man of power outside of the old faith, perhaps even the mayor of Daggerford, but instead she choose a bardic priest. Kessel only had the vaguest memories of his father, he was often away on business, but Kessel remembers him as a charming and kind. Harold taught the young lad how to play the lute.
When Kessel and his sister were six, news came that their father had died. Their mother, heartbroken, died not much long after. Kessel and his sister were sent to their aunt’s house. For a time Kessel became an ordinary child again, playing with his sister and the other local children, and he grew close to his aunt and uncle. When Kessel was nine tragedy struck again, Nogson, his uncle died in a goblin ambush. This death affected him greater than the death of his two parents, for Kessel had grown much attached to Nogson who had treated Kessel as a favorite grandchild. Kessel turned to his music as comfort.
Kessel was raised and schooled the old ways, when he was fourteen, and he thought himself a man, Kessel had the ancient family symbols tattooed onto his arms: a dragon on his left arm to represent his mother’s family, the stag to represent his father’s. Kessel fully expected to become a druidic priest like his parents but on his fifteenth birthday Kessel found his bags packed and himself shipped off to Waterdeep to study at a prestigious New Olaman Bardic collage. Kessel would later learn that his father’s side of the family had arranged for the schooling (even though they’d never met Kessel) and his current family patriarch, Nogwier, had agreed because he respected the Codey clan and he saw that Kessel’s bardic training could be used to spread the influence of the Bronzewood Lodge.
Initially Kessel was miserable at New Olaman, he didn’t like the big city, and he didn’t like the strict structure of collage life. Eventually though he began to thrive, Kessel was a talented musician and he was gifted with an extraordinary voice, and the collage allowed him to express and challenge his creative side. Kessel was also pleased to discover some of the instructors had known his father, and although they could tell him little of his life away from the school, they were more than willing to tell Kessel what his father Harold had been like when he’d been living there nearly thirty years earlier.
Kessel seemed to excel at everything, he managed to pass nearly every test and benchmark with little or no effort, and it wasn’t till some five years later Kessel came to the first great test of his young life. He had just graduated, and one of the time honored traditions of the academy was to find a placement for each of the young graduates, the most prestigious placement being the Fochlucan collage, and naturally that was the placement Kessel wanted. Placement for such an honor would be assessed by Kelthul Majaraa, a man who sat at the head of the collage for a lifetime, and taught at the collage for many more. Kessel would later learn that there wasn’t a time, in living memory, when the master hadn’t been at the school. It was said that he could pick a single voice out of a choir. Kessel took out his lute and preformed his most challenging piece of work.
“Adequate,” croaked the blind man, “all the notes were there, but it was a bit over struck at times and the notes bled together in fourth and eight bars. Let me hear your voice.”
Kessel sang his favorite song, one that reminded him of his mother and his father, and their tragic love for each other. When he’d finished Kessel saw that the master was crying.
“Oh, such a beautiful voice,” he sighed, “a voice which comes only once in a lifetime. A voice that is only gifted once in a generation, but it’s so empty, so hollow, he knows the words, but he doesn’t know the words. He doesn’t know love, he doesn’t know pain, and he doesn’t know sorrow. He doesn’t have enough experience to sing that song. Tell him to come back. Tell him to play for me when he has aged some. Tell him to come back when he has loved a little, cried a little, and tell him to come back when he truly knows sacrifice.”
Kessel was shattered. Although his instructors urged him to try other placements Kessel returned to Daggerford and the Bronzewood Lodge in defeat. From that moment Kessel has been drifting through life as if in a daze, he hasn’t sung sense, and he only plays to earn a few coins. Kessel is looking for meaning in his life and he desperately needs to find a cause and something to believe in. His sister has completed her druidic training and he is jealous of the happiness she has found. Perhaps there is something somewhere that will help give him the strength to get his life back together.