LadyThorne's page

at level 4 you gain trained in a skill associated with your branch. But for example, Uzanjati only has one skill, and unless you are a terrible member of that branch, you are already trained in that skill by fourth level. So, what happens if you are already trained in all the branch's associated skill? Are you now expert?

ok, so I killed an NPC with a Brykolakas, someone the PCs DO care about, and so will still be in possession of his body for a few days until they can get him back to his family. They managed to kill the Brykolakas, no real problem, HOWEVER, the question I have is... since those killed by the Brykolakas rise as lacedons under the Brykolaka's control in 1d4 days... do they still rise, only as an uncontrolled undead? Or does it circumvent the zombification?

barring the mechanics, how, in game, is the versatile performance supposed to be used? My GM and I have an ongoing disagreement that you have to be playing/performing that style to use the skill bonus at the time you apply it, which makes very little sense in some of the cases. Are you really going to sing a diplomacy check (especially when dealing with royalty) or drumming when you handle animal? I mean acting, comedy, dance and oratory make sense, but how the hell are you going to sweet talk someone while playing a flute?

Alright, my husband and I are having a 'discussion' about this one.
I know the technical numbers crunch of how it works, you sub your performance roll for the appropriate skill roll. The question is, from the perspective of the bard, HOW does the bard make the substitution? Oratory, Acting, yeah, those are easy. It's the intimidate from percussion that we're fighting over, likewise diplomacy from singing. He says I'd have to actually be drumming to use the switch (which how the hell are you going to use it for handle animal? That'd scare most animals.) or sing my argument if I want to sub singing for my diplomacy. Most of them are easily done, like dance for acrobatics and fly, but... string? Wind? How can you make a diplomacy check while blowing into a reed?
My argument (for the percussion, at least) is that I'm using the rhythm of my words, sort of a verbal drumming like rap.