About Boreyn SteelhymnBoreyn Steelhymn:
Boreyn Steelhymn; Age: 207 Male Dwarven(Respected Speaker)/ Bard (Soundstriker) 1 NG Medium Humanoid (Dwarf) Init +2; Senses: Perception +5 (Darkvision) --------------------
AC 16, touch 12, flat-footed 14. . (+2 Dex, +3 Armor, +1 Shield, -1 Flaw) (+4 Dodge vs Giant-type monsters)
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Speed 20 ft. (Light Armor)
Ranged: Light Crossbow +2 (1d6) --------------------
Str 8 (10-2), Dex 14, Con 10, Int 14, Wis 12 (10+2), Cha 18 (16+2)
Skills: Acrobatics 1 rank (+6), Diplomacy 1 rank (+8), Knowledge History 1 rank (+9), Knowledge Nobility 1 rank (+9), Linguistics 1 rank (+6), Perception 1 rank (+5), Perform Sing 1 rank (+8), Perform Percussion 1 rank (+8). Other Knowledge skills at +5, Knowledge Arcana at +6
Favored class: Bard; (-1% arcane spell failure, at -10% gain Medium armour proficiency) Bardic Performance, 8/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, knockedunconscious, 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 blindbard 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 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'sPerform 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 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. 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 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. 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. Spells Known DC 14 Cantrips Ghost Sound Read Magic Detect Magic Mage Hand Level 1 spells 2/day DC 15 Grease Ear-Piercing Scream (DC 16) Background:
Boreyn Steelhymn is probably one of the oldest dwarves still living around the old place called Dammerhall. Actually he might be the only one who still remembers it’s fall, though he was only a child at the time. Younger dwarves come to him to seek knowledge, but mostly stories about their lost home under the earth. Boreyn is usually keen to indulge them in their questions and requests, but his face turns dark and grim when asked about the Fall of Dammerhall. It is then when Boreyn’s face turns sour and he refuses to talk, only glancing outside in the direction of where he came up to the surface all those many years ago. From time to time only muttering a few words only a perceptive young dwarf could have heard: ”Dammerhall should never be forgotten, it should be restored.”
Ever since he escaped from the dark depths and the crumbling earth and stone underneath his feet, ever since he settled with the humans he has looked and dreamed to reclaim Dammerhall himself. Over the several centuries he has lived on the surface, he has seen many fine dwarven warriors and adventurers go towards Dammerhall, trying to find the way in, but had never seen them return. He came to know all of their names before they went and had written them down in a little book he kept: The Dour Dwarves of Dammerhall. It’s a history and list of all the dwarves that have tried to reach Dammerhall, alas all in vain. Boreyn is still troubled by the dreams and memories of fleeing with his mother and his older cousins and related family, also with other dwarves racing for the exit, seeing some of them fall before his eyes by shadows, some with wings some just falling down on them. Boreyn was grabbed by one of the shadows by his leg, it was just fortune tht his mother had been able to wrestle him free, the cut and wound had left him with a nasty infection or perhaps even a curse as his wounds seemed to heal very slowly. Though he keeps having nightmares about the flight from Dammerhall, his conviction to search for any hidden secret entrances and lore about Dammerhall and a possible return to the city is unrelenting. His initial training at Dammerhall as one of the fabled ‘Ore Chanters’, a group of dwarven singers with powerful voices, capable of using the echoes of the cavern systems to its fullest effect, was very beneficial for his knowledge of dwarven heritage and history. Mostly this group of singers used their voices and hymns to remind their fellow brethren of their ancient heritage, telling stories, legends and tales of war through their songs. Most likely he is the last of the ‘Ore Chanters’. He has kept this tradition of singing alive, mostly by singing in a clearing with young dwarves around him, though he keeps telling them: ”For these songs to be truly heard, we’d need the Stone Halls of yore. The castles of humans are fine, but nothing beats the acoustics of the great halls beneath the mountains.” To be still able to provide the children with a fantasy-filled epic story-telling he has taken up the music of small bassdrums, combined with his singing it brings about a similar feeling as it used to be. Now, after many years, centuries even, Boreyn has done extensive research and thinks he may have found another possible way to enter and reach Dammerhall. A svirfneblin village, called Fasturvalt, is lying at the start of a darker road, through uncharted territory, which may lead back to Dammerhall. Boreyn feels that this is the best chance he has heard of since a long time, the other companies of dwarves and their allies travelled all via the same route and all failed. It was the time to move, which is why he has called upon the finest dwarves he knew, and their friends, to undertake the expedition he was born to do: The Reclamation of Dammerhall. |
