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Anticipation intensifies!
I hope you enjoy both! My prediction is the surprise entails the runners-up to the selection getting cake of the delicious and moist variety.
Howdy! Felix again from the other thread with a submission to toss in the mix. If possible, I'd not like to create another alias unless chosen, so I'll be leaving the data below for the character. I did take one liberty: I selected the Watersinger archetype for the bard (link below) although I couldn't select the undine race. It's basically an archetype focused on waterbending. If this is a problem, I can rework him as a Zenebe as a mage of some sort! Party role to be utility, skill salamander, and face. Spells and inventory to be fine-tuned if selected unless you'd like me to take my best guess now; I'm not sure of the exact circumstances preceding the explosion. Critiques are welcome from GM and applicants alike! Background:
I will miss you, Ajani. The older brother found his feet, the explosion having dislodged both his balance and his state of mind. But it wasn’t quite like this, was it? His thick shoulder-length hair curtained his field of vision as he let his memories inundate himself. Two years ago, Zenebe witnessed the death of his older brother after an accident in his alchemy lab. The community had rallied to he and his mother’s side in their time of grief, but they did not know the dynamics within the family. His parents, Shango and Amara, had been wealthy traders of various high-end goods – jewelry, cloth, and wine to name a few – but held little emotion for each other. A falling-out before the brothers could recall left their home a cold one with the elders, yet public appearances were perfectly rosy. They’d pushed both boys to learn the ledgers, though their children would do even more. Like many of his kind, they displayed potency with magic – yet in different ways. Ajani took after Amara, using book and study to manifest his energies. Though this productivity pleased her, his ambitions soon outpaced his proficiency, and his hubris would be his doom. Experimenting with various explosives at all hours of the night saw a massive explosion blow the shop to smithereens one fateful evening. So intense were the resulting flames, the remains of the few workers could not be identified and separated into different graves. That night was the deepest despair Zenebe had known. Zenebe, on the other hand, understood fundamentals of the alchemical arts, yet was much more of a free spirit. He had yearned to explore culture, the world – life – more than make a few more coins. Overbearing Amara chastised him frequently, complaining about his water-art being unfit for the family’s role in society. Zenebe had a rather unique talent, a connection with water that made him able to bend it, shape it as he saw fit. This talent, combined with his handsome visage and silver tongue, made him a formidable salesman for the family business. Amara was greatly disappointed as she saw her son as an empty-headed clerk instead of a shrewd baron of industry, but it was enough to keep her off his back- doubly-so after Ajani’s death. ”Can anyone hear me?!” shouted the magician, trying to take stock of where he was. The arrival of the divines happened in their teenage years, and the siblings responded in very different ways to the peril of the world. Ajani sought to profit by switching from elixirs to explosives and selling them to those willing to wield the dangerous things. Zenebe instead felt a call, a sense of belonging in life. He enlisted with a regiment of denizens to be trained for combat and found his role better suited to that of a medic, the healing powers of water mending wounds with ease. He quickly became popular with the trainees and forged friendships with many. Though he did not know it, he was being groomed by his superiors for a leadership position due to his ability to inspire morale. A sense of dread overtook him. What if the world had been destroyed? Am I … dead? While he was passionate, Zenebe was much better at exuding a veneer of confidence and calm than feeling that way himself in tough spots. Training with swords would have been embarrassing if he wasn’t apt at making light of his failures, and his occasional tumbles with acrobatics would have made a fool out of himself if he didn’t excel at ukemi – physical and verbal. Yet he was always harder on himself for these failures, and this consternation often extended to shortcomings for which he wasn’t directly responsible. His brother’s death fell into that category. Maybe I should be. But if anything, the good-hearted water-wielder’s concern for others kept him going – even in times of loss. He would not let the pain of his brother’s demise fester into the void that came from losing others – not if he could help it. ”Come to my voice if you can hear me!” Statistics:
CG Medium Humanoid (Human, Kiranae) Initiative +1; Senses Perception +5; LLV. ------------------------------ DEFENSE ------------------------------ AC 16, touch 11, flat-footed 15 (+1 dex, +1 shield) HP: 21/21 (1d8+1/lvl = 9 + 6 + 6) Fort +2, Ref +4, Will +6 (2 from Race) ------------------------------ OFFENSE Masterwork Longsword: +4, 1d8 + 1 @ 19-20x2 Dagger: +3, 1d4 @ 19-20x2 Shortbow: +3, 1d6 @ x3 ------------------------------
Racial Modifiers: +2 to any ability (Charisma)
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Skills (10 points; 6 Bard, 1 INT, 2 background, 1 favored class)
Non-Standard Skill Bonuses
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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. List of Bardic Performances: 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'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 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. Waterstrike (Su):T he watersinger can spend 1 round of bardic performance to command any water he is currently manipulating with his watersong performance to lash out and strike an opponent with a slam attack. The watersinger uses his base attack bonus and Charisma bonus to make this attack, and deals 1d6 points of bludgeoning damage plus his Charisma bonus. The attack can originate from any square of water the bard is manipulating, and the water can get a flanking bonus or help a combatant get one, but cannot make attacks of opportunity. The water can make multiple attacks per round if your base attack bonus allows you to do so. At 10th level, the water's slam damage increases to 1d8 points and the water gains a reach of 10 feet. At 15th level, the water's slam damage increases to 2d6 points. At 20th level, the water's slam damage increases to 2d8 points. 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. Watersong (Su): At 1st level, a watersinger can use bardic performance to manipulate and control the shape of water within 30 feet. A successful Perform check allows the bard to animate and control a 5-foot-cube of water. The watersinger can command the water to take various forms, bend, rise, fall, or sustain a shape, and can make it support weight as if it were solid ice. For example, the watersinger could create a pillar of water (to provide cover), ladder, channel, bridge, stairs, slide, and so on. The manipulated water is as slippery as normal ice. This ability cannot create forms more fragile or complex than what could be carved in normal ice. While under the bard's control, the water has hardness 0 and 3 hit points per inch of thickness. At level 3, the manipulated water gains hardness 1, and this increases by +1 for every 3 bard levels beyond that. At 5th, 10th, 15th, and 20th level, the volume affected increases by an additional 5-foot cube (these cubes must be adjacent to each other). The manipulated water retains its shape for 1 round after the bard stops spending bardic performance rounds to maintain it. Lifewater (Sp): Lifewater (Su): At 5th level, the watersinger can spend 1 round of bardic performance as a standard action to manipulate the water, blood, and other fluids within a creature's body, causing the target to become sickened for 1d4 rounds. Alternatively, he may use this ability to attempt a reposition combat maneuver, using his base attack bonus and his Charisma modifier as his CMB. This ability has a range of 30 feet, only works on creatures whose bodies contain fluid, and does not affect creatures that are immune to critical hits. Dirge of Doom (Su): A bard of 8th level or higher can use his performance to foster a sense of growing dread in his enemies, causing them to take become shaken. To be affected, an enemy must be within 30 feet and able to see and hear the bard's performance. The effect persists for as long as the enemy is within 30 feet and the bard continues the performance. The performance cannot cause a creature to become frightened or panicked, even if the targets are already shaken from another effect. Dirge of doom is a mind-affecting fear effect, and it relies on audible and visual components. Inspire Greatness (Su): A bard of 9th level or higher can use his performance to inspire greatness in himself or a single willing ally within 30 feet, granting extra fighting capability. For every three levels a bard attains beyond 9th, he can target one additional ally while using this performance (up to a maximum of four at 18th level). To inspire greatness, all of the targets must be able to see and hear the bard. A creature inspired with greatness gains 2 bonus Hit Dice (d10s), the commensurate number of temporary hit points (apply the target’s Constitution modifier, if any, to these bonus Hit Dice), a +2 competence bonus on attack rolls, and a +1 competence bonus on Fortitude saves. The bonus Hit Dice count as regular Hit Dice for determining the effect of spells that are Hit Dice dependent. Inspire greatness is a mind-affecting ability and it relies on audible and visual components. Soothing Performance (Su): A bard of 12th level or higher can use his performance to create an effect equivalent to the mass cure serious wounds, using the bard's level as the caster level. In addition, this performance removes the fatigued, sickened, and shaken condition from all those affected. Using this ability requires 4 continuous performance, and the targets must be able to see and hear the bard throughout the performance. Soothing performance relies on audible and visual components. Frightening Tune (Sp): A bard of 14th level or higher can use his performance to cause fear in his enemies. To be affected, an enemy must be able to hear the bard perform and be within 30 feet. Each enemy within range receives a Will save (DC 10 + 1/2 the bard’s level + the bard’s Cha modifier) to negate the effect. If the save succeeds, the creature is immune to this ability for 24 hours. If the save fails, the target becomes frightened and flees for as long as the target can hear the bard's performance. Frightening tune relies on audible components. Inspire Heroics (Su): A bard of 15th level or higher can inspire tremendous heroism in himself or a single ally within 30 feet. For every three bard levels the character attains beyond 15th, he can inspire heroics in one additional creature. To inspire heroics, all of the targets must be able to see and hear the bard. Inspired creatures gain a +4 morale bonus on saving throws and a +4 dodge bonus to AC. The effect lasts for as long as the targets are able to witness the performance. Inspire heroics is a mind-affecting ability that relies on audible and visual components. Deadly Performance (Su): A bard of 20th level or higher can use his performance to cause one enemy to die from joy or sorrow. To be affected, the target must be able to see and hear the bard perform for 1 full round and be within 30 feet. The target 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 target is staggered for 1d4 rounds, and the bard cannot use deadly performance on that creature again for 24 hours. If a creature's saving throw fails, it dies. Deadly performance is a mind-effecting death effect that relies on audible and visual components. 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. I am taking the favored class bonus from Catfolk Bards each level to make it a +1 bonus/level total instead. Versatile Performance (Ex):
At 2nd level, a bard can choose one type of Perform skill. He can use his bonus in that skill in place of his bonus in associated skills. When substituting in this way, the bard uses his total Perform skill bonus, including class skill bonus, in place of its associated skill's bonus, whether or not he has ranks in that skill or if it is a class skill. At 6th level, and every 4 levels thereafter, the bard can select an additional type of Perform to substitute. The types of Perform and their associated skills are: Act (Bluff, Disguise), Comedy (Bluff, Intimidate), Dance (Acrobatics, Fly), Keyboard Instruments (Diplomacy, Intimidate), Oratory (Diplomacy, Sense Motive), Percussion (Handle Animal, Intimidate), Sing (Bluff, Sense Motive), String (Bluff, Diplomacy), and Wind (Diplomacy, Handle Animal). Well-Versed (Ex):
At 2nd level, the bard becomes resistant to the bardic performance of others, and to sonic effects in general. The bard gains a +4 bonus on saving throws made against bardic performance, sonic, and language-dependent effects. Lore Master (Ex): ------------------------------
At 5th level, the bard becomes a master of lore and can take 10 on any Knowledge skill check that he has ranks in. A bard can choose not to take 10 and can instead roll normally. In addition, once per day, the bard can take 20 on any Knowledge skill check as a standard action. He can use this ability one additional time per day for every six levels he possesses beyond 5th, to a maximum of three times per day at 17th level. GEAR/POSSESSIONS ------------------------------ Carrying Capacity Light 0-43 lb. Medium 44-86 lb. Heavy 87-130 lb. Current Load Carried Money 0 PP 0 GP 0 SP 0 CP (~3 pounds)
Color me intrigued! Curiosity naturally follows interest, so if you'd be so kind as to reply to a few of my questions, I'd have a better go of tailoring a submission for the world you've created: 1. As everything is magic, has the progress of technology been different than what we might expect in Golarion and/or on a different path than what we've experienced on earth? For example, the prevalence of teleportation may make training of sailors to navigate oceans a moot point, and watercraft may be coastal transports only. 2. Is every person capable of magical manipulation? Are those who cannot seen as an underclass of sorts? 3. Similar to havoc, how significant is the reflavoring? For non-core races, especially the non-magically-inclined, I'm assuming this is moreso? Lizardfolk would be a good case, particularly in conjunction with (2). 4. Given the nature of "Existence" being assumed as all there is, how do summoners or those invoking positive/negative energy justify where their abilities originate? 5. Are there platypi in your world? 6. How halcyon were world societies preceding the defilers? 7. What sorts of themes are you looking to explore? Depending on the DM, some like to delve into individual vs. society, love & loss, dynamic characters, etc. Are there any themes which you would be looking to avoid? I'm also a vote for 1.0. Thanks for giving this a read!
I wouldn't mind tossing my hat in the ring either!
Similar to William though, the wiki seems to be lacking things - or I'm lacking understanding how to navigate it!
This is Dalton again under the prospective alias of Felix Shadowshifter! I'll compose his backstory in the coming days, but in short, Felix desires to be the driving force in the new world order to come in the aftermath of the war. To achieve this end, he elicits hope and dedication from those around him - sometimes to a level of obsequiousness. Felix is an Eliciter with the mind and warp spheres. Links are in his profile if you'd like details about the abilities, but he's primarily a support in the mechanical sense.
Both. I've heard in mentioned, but it must be quite old, for it seems my memory stems from the early 2000's. Never played it, though the combination of worlds is a very flexible concept.
What sorcery is this?
The feat as fixed. As far as gold/gear goes, Felix's living situation doesn't make for much wealth - what he does make is shared with his cohabitant. He will start with less given his background..
Quite interested I am. Felix would add much flavor to such a campaign, I feel. His information is in his profile. Please let me know what you think! |