Michael the Warsong's page

(6 Class + 1 Int) x 11 = 77
[11]Acrobatics (Dex) 17
[]Bluff (Cha)
[1]Climb (Str)
[11]Diplomacy (Cha)
[5]Disguise (Cha)
[5]Escape Artist (Dex)
[11]Intimidate (Cha) 25
[5]Knowledge (Arcana) (Int)
[5]Knowledge (Dungeoneering) (Int)
[5]Knowledge (Local) (Int)
[5]Knowledge (Nature) (Int)
[5]Knowledge (Planes) (Int)
[5]Knowledge (Religion) (Int)
[11]Perception (Wis) 16
[2]Sense Motive (Wis)
[]Spellcraft (Int)
[]Stealth (Dex)
[]Use Magic Device (Cha)

--Background Skills--22
[]Appraise (Int)
[11]Craft (Int) 16
[]Knowledge (Engineering) (Int)
[]Knowledge (Geography) (Int)
[]Knowledge (Nobility) (Int)
[]Knowledge (History) (Int)
[]Linguistics (Int)
[11]Perform (Cha) 20
[]Profession (Wis)
[]Sleight of Hand (Dex)

--Modifiers--
+1 trait bonus on Diplomacy
+1 trait bonus on Knowledge (Local)
+1 trait bonus on Perform (string)
+1 trait bonus on Perform (dance)
+2 racial bonus on Perception checks
+6 to Perform

--Equiped--

Ability Score Modifiers: Half-elf characters gain a +2 bonus to one ability score of their choice at creation to represent their varied nature.

Type: Half-elves are humanoid creatures with both the human and the elf subtypes.

Size: Half-elves are Medium creatures and have no bonuses or penalties due to their size.

Base Speed: Half-elves have a base speed of 30 feet.

Languages: Half-elves begin play speaking Common and Elven. Half-elves with high Intelligence scores can choose any languages they want (except secret languages, such as Druidic). See the Linguistics skill page for more information about these languages.

Elven Immunities: Half-elves are immune to magic sleep effects and gain a +2 racial saving throw bonus against enchantment spells and effects.

Adaptability: Half-elves receive Skill Focus as a bonus feat at 1st level.

Keen Senses: Half-elves receive a +2 racial bonus on Perception checks.

Low-Light Vision: Half-elves can see twice as far as humans in conditions of dim light.

Friend in Every Town (Diplomacy): You gain a +1 trait bonus on all Knowledge (local) checks and Diplomacy checks. One of these skills (your choice) is always a class skill for you.

Intense Artist (Dance, String): Choose two Perform skills; you gain a +1 trait bonus on Perform checks of the selected types, and Perform is a class skill for you.

-Feats-

Lingering Performance: Benefit: The bonuses and penalties from your bardic performance continue for 2 rounds after you cease performing. Any other requirement, such as range or specific conditions, must still be met for the effect to continue. If you begin a new bardic performance during this time, the effects of the previous performance immediately cease.

Spellsong: You can combine your bardic performance and your spellcasting in two ways. First, you can conceal the activity of casting a bard spell by masking it in a performance. As a swift action, you may combine your casting time of a spell with a Perform check. Observers must make a Perception or Sense Motive check opposed by your Perform check to realize you are also casting a spell. This uses 1 round of your bardic performance ability, regardless of the spell’s casting time.

Second, as a move action, you can use 1 round of bardic performance to maintain a bard spell with a duration of concentration. You can cast another spell in the same round you are using bardic magic to maintain concentration; if you do this, your concentration on the maintained spell ends when you end the bardic performance the spell is part of.

Arcane Strike:

Dodge:

Improved init:

:

Discordant Voice: Benefit: Whenever you are using bardic performance to create a spell-like or supernatural effect, allies within 30 feet of you deal an extra 1d6 points of sonic damage with successful weapon attacks. This damage stacks with other energy damage a weapon might deal. Projectile weapons bestow this extra damage on their ammunition, but the extra damage is dealt only if the projectile hits a target within 30 feet of you.

Spells: A bard casts arcane spells drawn from the bard spell list. He can cast any spell he knows without preparing it ahead of time. Every bard spell has a verbal component (singing, reciting, or music). To learn or cast a spell, a bard must have a Charisma score equal to at least 10 + the spell level. The Difficulty Class (DC) for a saving throw against a bard’s spell is 10 + the spell level + the bard’s Charisma modifier.

Like other spellcasters, a bard can cast only a certain number of spells of each spell level per day. His base daily spell allotment is given on Table: bard. In addition, he receives bonus spells per day if he has a high Charisma score.

The bard’s selection of spells is extremely limited. A bard begins play knowing four 0-level spells and two 1st-level spells of the bard’s choice. At each new bard level, he gains one or more new spells, as indicated on Table: Bard Spells Known. (Unlike spells per day, the number of spells a bard knows is not affected by his Charisma score (See Table: Ability Modifiers and Bonus Spells).

Upon reaching 5th level, and at every third bard level after that (8th, 11th, and so on), a bard can choose to learn a new spell in place of one he already knows. In effect, the bard “loses” the old spell in exchange for the new one. The new spell’s level must be the same as that of the spell being exchanged, and it must be at least one level lower than the highest-level bard spell the bard can cast. A bard may swap only a single spell at any given level, and must choose whether or not to swap the spell at the same time that he gains new spells known for the level.

A bard need not prepare his spells in advance. He can cast any spell he knows at any time, assuming he has not yet used up his allotment of spells per day for the spell’s level.

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% 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.

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.

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.

Inspire Competence (Su): A bard of 3rd level or higher can use his performance to help an ally succeed at a task. The ally must be within 30 feet and able to see and hear the bard. The ally gets a +2 competence bonus on skill checks with a particular skill as long as she continues to hear the bard’s performance. This bonus increases by +1 for every four levels the bard has attained beyond 3rd (+3 at 7th, +4 at 11th, +5 at 15th, and +6 at 19th).

Certain uses of this ability are infeasible, such as Stealth, and may be disallowed at the GM’s discretion. A bard can’t inspire competence in himself. inspire competence relies on audible components.

Suggestion (Sp): A bard of 6th level or higher can use his performance to make a suggestion (as per the spell) to a creature that he has already fascinated (see above). Using this ability does not disrupt the fascinate effect, but it does require a standard action to activate (in addition to the free action to continue the fascinate effect). A bard can use this ability more than once against an individual creature during an individual performance.

A Will saving throw (DC 10 + 1/2 bard’s level + bard’s Cha modifier) negates the effect. This ability affects only a single creature (but see mass suggestion, below). Suggestion is an enchantment (compulsion), mind-affecting, language-dependent ability and relies on audible components.

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.

Dance of the Dead (Su): At 10th level, a dirge bard can use his bardic performance to cause dead bones or bodies to rise up and move or fight at his command. This ability functions like animate dead, but the created skeletons or zombies remain fully animate only as long as the dirge bard continues the performance. Once it stops, any created undead collapse into carrion. Bodies or bones cannot be animated more than once using this ability. Unlike animate dead, dance of the dead requires no components and does not have the evil descriptor.

Cantrips (Sp)
Bard’s learn a number of cantrips, or 0-level spells, as noted on Table: Bard Spells Known under “Spells Known.” These spells are cast like any other spell, but they do not consume any slots and may be used again.

[b]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).

[b]Haunted Eyes (Ex):
At 2nd level, a dirge bard gains a +4 bonus on saves against fear, energy drain, death effects, and necromantic effects.

Haunting Refrain (Su):
At 5th level, a dirge bard is able to stir primal terrors in the hearts of listeners. He can use a Perform (keyboard) or Perform (percussion) check in place of an Intimidate check to demoralize an opponent, with a bonus equal to half his bard level. In addition, saving throws against any fear effect he creates are made with a –2 penalty, and this penalty increases by –1 every 5 levels beyond 5th.

0th 6 known DC
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1st 6 known
-Ear-piercing Scream
-Grease
-Sleep
-Summon Monster 1
-Cure Light
-Expeditious Retreat
2nd 5 known
-Blistering Invective
-Invisibility
-Mirror Image
-Silence
-Cat’s Grace
3rd 4 known
-Major image
-Haste
-Dispel Magic
-Slow
4th 3 known
-DD
-Dominate Person
-Greater Invisibility
Necromancy
-Ray of Enfeeblement 1
-Ghoul Touch 2
-Blindness/Deafness 2
-Unliving Rage 3
-Boneshatter 4

Michael was born without a voice and, for the longest time, he thought it a curse. Even his friends and family referred to him as the mute or silent one from time to time. It wasn't out of spite or with any malice. It was the first thing they thought of when they heard the name Michael and it was what they remembered long after they had forgotten his name and face. It was how they identified and him and, for a while, how he identified himself. At the time there were books and manuals on finger spelling and signing but they were rare and expensive. His family were just tailors from a very poor area. There was no way they could afford them.

Michael feared he would have to live in silence for the rest of his life, until the day he attended a musical performance near the famous Kintargo Opera House. The Opera House itself was for the wealthy and affluent. It was also artistically above most of the common people. But they also hosted and funded a traveling troupe that brought much more lighter tones and entertainment to the masses in Chelaix. And the when the troupe was in their home base of Kintargo, the stars of the Opera House joined the show. So it drew a massive audience to say the least. But Michael didn't know any of that though and neither did it matter at the time. He was too caught up in the performance. There was one who especially stood out. Shensen, a beautiful and graceful half elf with a stunning voice, impressive range, and could dance like the fey under the full moon. She was the most beautiful thing he had ever seen. But more than that, without even using words, the music was able to stir the emotions and feelings of the crowd. It spoke to him. It conjured images in his mind of flying high like a dragon, dancing in a palace, or heroes in an epic battle. In that moment he had an idea. Maybe music could allow him to speak too.

After the show he snuck into the backstage area to talk with the performers in the hopes that one might teach him. Or he tried to at least. He was so excited he forgot he couldn't speak for moment and gesticulated wildly while opening and closing his mouth. Only one in the group seemed to understand what he was trying to say. A young girl he hadn't seen on stage appeared from around his new idol. Her name was Serena. She was Shensen's protege and understudy. And he didn't think it possible, but she also seemed more beautiful then even Shensen. Plus she was his age. After a good laugh at the boys antics, it became obvious to her what the mute child hoped to learn. He wanted to play music. The troupe of performers were only there for a few weeks to finalize their acts but they agreed to teach him what they could in that time. Michael met the performers everyday they were there and absorbed every medium of expression they could teach. Silent comedy, wind instruments, percussion, keyboard. He tried them all but the ones he excelled at were dance and string and he picked them up at astounding speed. His drive to learn was impressive. But what was more impressive was how well he could put himself into the music. All musicians were able to illicit emotions in their audience just by playing the music on the sheet. This child didn't just play it though. He owned it. He played it in such a way it seemed completely different. There was magic behind it. What they had before them was a bard in the making, and they couldn't let an opportunity like this slip away. On their last day they offered to bring him along. He couldn't physically say yes but the way he danced after they asked made it perfectly clear.

From then on life couldn't have been better. He had finally found his voice through music. He found people that actually heard him. He also found he had another incredible ability. The traveling troupe usually found open fields near smaller towns that did't have enough space for their performance. This time they were in a forest clearing, near a small town, with a river not too far away. Lights and decorations were hung up on a path to the clearing to guide people from the town to the show. Michael and Serena decided to take lunch by the the river to enjoy the sun, the sounds, and each other's company. As usual, Serena stood to sing what came to mind and Michael joined, adding harmony with his guitar. It was how they communicated and created new songs. They thought they were far enough away to not be bothered but their song attracted some unwanted visitors. Three men, obviously drunk from booze sold at the troupe's performance, staggered into their private moment. Serena tried to politely divert them back to the clearing but they seemed more interested in her than more booze. That did not sit well with Michael, especially when they proceed to make lewd and inappropriate comments. Michael tried to intervene but things turned violent faster than he could have predicted. The largest of the men batted him aside with he back of his hand while the other two grabbed Serena, making sure to cover her mouth to prevent her from crying for help. Yet again, Michael's inability to speak was back to haunt him. Serena was in trouble and he couldn't cry for help or talk down the men holding her.

Panic drove Michael to do something no sane person would consider an option. He played. At first he did it as a distraction, pouring emotion and magic into the song. He also hoped someone from the troupe would recognize the tense tone as trouble. And it seemed to work...for a little while. He had no idea what he was doing but the men seemed to have been entranced by the song and were moving sluggishly to the beat. Serena saw an opportunity and broke their grasp, fleeing to Michael's side. The movement seemed to knock the bigger man out of his stupor though. He charged, lost to a drunken anger. Now that she was free and capable of speech, Serena let loose a magic-amplified scream that hit the man like a wall of force. It caused him to halt temporarily and would likely alert anyone nearby. Somehow the drunk fool still remained on his feet and very angry. He continued forward. Just as he was right on the duo, fear released Michael's full potential. The musician let loose a chord of sound charged with enough magic to make it a solid blast of force sending the brute tumbling and finally knocking him unconscious.

Michael and Serena both were more than a little surprised at what he did. He looked down at his instrument with mixed emotions. Fear and awe being primary. He would have stayed starring at it until help arrived had Serena not touched his arm. The look he gave her however, was full of one emotion. He learned two things about himself that day. He found out he could manipulate aether using music...and that he was in love. While he could express his emotions and basic ideas to others, Serena seemed to be the only one who knew exactly what he was saying. Just by playing a few notes she could translate to others what he could never say himself, like they had their own language. Like they knew the other on a level deeper than anyone else. He vowed in his heart to always protect her from that day forward.[/s]

While their lives seemed to be going quite well, dark clouds were brewing on the horizon. And it all started with the arrival of Barzillai Thrune. With House Thrune came a number of changes, including martial law. Many were not happy, and those that weren't were gathering at Aria Park to protest. And sense Barzillai had taken over the opera house as his home, Shensen and the other performers were unusually conspicuous. Neither Serena or Michael had seen her in a long time since traveling Chelaix and this seemed the best opportunity.