ADAPTABILITY:
Humans start with a free Edge (they must meet the requirements, as usual). They also gain a d6 in any one Attribute instead of a d4. This does not increase the attribute limit.
Languages: Taldane, Varisian, Elven, Azlanti
--------HINDERANCES--------:
Curious (Major):
It killed the cat, and it might kill your hero as well. Curious characters stick their nose in others' business and always want to know what’s behind a potential mystery or secret.
Enemy (Minor):
Someone out there hates the character and wants him ruined, locked away, or dead. The value of the Hindrance depends on how powerful the enemy is and how often they might show up. A Minor Enemy might be a lone warrior out for vengeance or a betrayed brotherhood that’s deadly but appears rarely. If the enemy is one day defeated, the GM should gradually work in a replacement, or the hero may buy off the Hindrance by sacrificing an Advance.
Suspicious (Minor):
Your character is suspicious of everyone. As a Minor Hindrance, this paranoia causes frequent trust issues. Suspicious characters might demand full payment before doing a task, want every agreement in writing, or believe even friends are out to get them.
----------SKILLS----------:
Athletics (Agility): 1d8
Athletics combines an individual’s coordination with learned skills such as climbing, jumping, balancing, wrestling, swimming, throwing, or catching.
Common Knowledge (Smarts): 1d6
Characters roll Common Knowledge to know people, places, and things of their locale, including etiquette, geography, culture, current events, contacts, and customs.
Notice (Smarts): 1d6
Notice is a hero’s general awareness and alertness. It’s used to sense sights, sounds, tastes, and smells, spot clues, detect ambushes, spot hidden weapons on a foe, or tell if a rival is lying, frightened, happy, etc. Success conveys basic information—the character hears movement in the forest, smells distant smoke, or senses someone isn’t being completely truthful. A raise grants more detail, such as the direction of a sound or odor or what topic a person is avoiding or lying about.
Persuasion (Spirit): 1d6
Persuasion is the ability to convince others to do what you want through reason, cajoling, deception, rewards, or other friendly means. Persuasion isn’t mind control. It can change someone’s attitude but not their goals. A bandit may let you keep a sentimental piece of jewelry with a good Persuasion roll but still takes all your other goods.
When used to Support allies (page 138) it’s an unopposed roll. If the target is resistant, it’s an opposed roll vs. the target’s Spirit. The GM should modify the roll as appropriate based on roleplaying, any pertinent Edges or Hindrances that affect the conversation, and the circumstances.
Reaction Level: How much a person is willing to cooperate depends largely on their attitude toward whoever’s talking to them. The Game Master can decide how nonplayer characters feel based on the setting, or roll on the Reaction Table when having no preconceived notions. Success improves the target’s attitude one level and a raise improves it two. Further increases aren’t generally possible in the same encounter—it takes individuals a little time to adjust their biases. Failure means the target won’t change his mind this encounter or until the situation changes in some important way. A Critical Failure also reduces the target’s attitude two levels. Only one roll should generally be allowed per interaction unless new information is revealed, a substantial reward is offered, etc.
Networking: Characters can also use Persuasion as a “macro skill,” simulating a few hours or an evening’s time hobnobbing and socializing to gain favors or information. See Networking on page 160.
Stealth (Agility): 1d6
Stealth is the ability to hide and move quietly. A simple success on a Stealth roll means the character avoids detection if enemies aren’t particularly alert. If the character fails the roll, the enemy realizes something is amiss and begins actively searching for whatever roused them.
Once foes are alerted and active, Stealth is opposed by Notice. The GM should apply any circumstantial penalties to Notice rolls for darkness, cover, noise, distractions, and any difference in the target’s Scale. Sneaking through dry leaves might subtract 2 from the Stealth roll, for example, while spotting someone in the dark uses the Illumination penalty listed on page 134 (−4). Don’t apply the same modifier to both rolls, however. If Stealth is at −2 for the leaves, don’t give Notice a +2 for them as well.
Attacking from Stealth: Sneaking up close enough to make a melee attack always requires an opposed Stealth roll versus the target’s Notice, whether the guard is actively looking for trouble or not. If successful, the attacker is considered on Hold (page 134) and the victim is Vulnerable
(page 132) to him (but not others) until the attacker’s turn ends (not the defender’s in this case). With a raise, the attacker has The Drop (page 132) instead. Before the attacker strikes, the defender and any other beings on his side must check for Surprise (see page 139). The attacker may come off Hold and resolve his strike; then the rest of the round progresses normally.
Movement: In combat, characters roll Stealth each turn as a free action at the end of their move or any action the GM thinks might draw attention. Out of combat, the distance moved depends entirely on the situation. The GM might want a roll every minute if the group is sneaking around the perimeter of a defensive position, or every few miles if they’re trying to quietly walk through a dark forest without alerting the creatures that live there.
Performance (Spirit): 1d8
A good entertainer can lift spirits, rally a crowd to action, or simply earn a few coins from the locals. Specifics depend on the situation, setting, and how well the character is known in the area. Performance covers singing, acting, playing an instrument, or similar tasks that require an audience to appreciate. It is also the arcane skill used by bards.
Raising Funds: The amount of money a character can raise by performing is extremely subjective, but as a general rule a successful performance earns 50 gp × the character's Rank (Novice 1, Seasoned 2, 3 for Veteran, 4 for Heroic, and 5 for Legendary). A raise doubles the amount earned. If the performer has built up a solid reputation in the area or the venue is particularly large, the GM should increase the base gp value appropriately.
Deception: Performance can be used instead of Persuasion if the character is attempting to deceive, bluff, or disguise herself and the GM agrees it makes sense in the context of the situation.
Fighting (Agility): 1d6
Fighting covers all hand-to-hand (melee) attacks, whether it’s with fists, axes, swords, or martial arts. It reflects skill as well as raw power, savagery, and fearlessness
Thievery (Agility): 1d4
Lockpicking, safecracking, picking pockets, sleight of hand, setting and disabling traps, and similar acts of misdirection, sabotage, subterfuge, and manipulation are called Thievery. If used to pick a lock, crack a safe, disable a trap, or perform a simple unopposed action, success opens or disables the device, and a raise does it in less time, without tripping alarms, or whatever else the GM feels is appropriate. Sleight of hand, hiding or planting an item, or picking a pocket require a simple success.
If foes are actively watching the character, Thievery is opposed by Notice. The Game Master should assign penalties for particularly difficult circumstances. Picking a heavy padlock might have a −4 penalty, while hiding a dagger in bulky winter clothing might grant a +2 bonus. Failure typically means the character is spotted or it takes too much time (after which the character can try again). A Critical Failure typically sets off the trap, alerts the victim, or jams the device so that it must be opened or interacted with in a different way.
---------EDGES-----------:
Class Edge: Bard
ARCANE BACKGROUND (Bard):
Bards use Performance as their arcane skill. They have 3 starting powers and 10 Power Points.
Cantrips:
Feather Fall. Single target. Range Smarts, Duration 5. No damage from falling while spell is active.
Prestidigitation. Range Smarts. Duration one hour. Pretty much like Pathfinder version. For details see the Guide.
Powers:
Boost/Lower Trait
Rank: Novice, Power Points: 3, Range: Smarts, Duration: 5 (boost); Instant (lower) School: Transmutation (boost); Necromancy Trappings: Physical change, glowing aura, potions.
This power allows a character to increase or decrease a target’s Trait (attribute or skill). Boosting an ally’s Trait increases the selected Trait one die type, or two with a raise. Lowering an enemy’s Trait has a Duration of Instant and lowers the selected attribute or skill a die type with success, or two with a raise (to a minimum of d4). A victim automatically tries to shake off the effect with a Spirit roll as a free action at the end of his following turns. Success improves the effect one die type, and a raise removes the effect entirely. Additional castings don’t stack on a single Trait (take the highest), but may affect different Traits.
MODIFIERS
ADDITIONAL RECIPIENTS (+2): The power may affect more than one target for 2 additional Power Point each. GREATER BOOST/LOWER TRAIT (+2): With success, the selected Trait gains a free reroll once per round, or once per action with a raise. For lower Trait the target applies a −2 penalty to the affected Trait’s rolls. STRONG (+1): Lower Trait only. The Spirit
roll to shake off the effect is made at −2.
Confusion
Rank: Novice, Power Points: 2, Range: Smarts, Duration: Instant, School: Enchantment, Trappings: Hypnotic lights, brief illusions, loud noises.
Confusion confounds all targets in a Medium Blast Template, making them either Distracted or Vulnerable, or both with a raise. The same effect applies to all those affected. These states are removed at the end of the
victims’ next turn as usual.
MODIFIERS
AREA OF EFFECT (+0/+1): The caster can focus the confusion to a Small Blast Template for no extra cost, or a Large Blast Template for +1.
GREAT ER CONFUSION (+2): On a success, targets are Shaken in addition to being Distracted or Vulnerable (or both with a raise). Confusion is a non-damaging effect and cannot cause a Wound on an already Shaken target.
Healing
Rank: Novice, Power Points: 3, Range: Touch, Duration: Instant,School: Conjuration, Trappings: Laying on hands, touching the victim with a holy symbol, prayer. Healing removes Wounds less than an hour old. A success removes one Wound, and a raise removes two. The power may be cast additional times to remove additional Wounds within that hour and as long as the healer has enough Power Points. For Extras, the GM must first determine if the ally is still alive (see Aftermath, page 159). If so, a successful arcane skill roll returns the ally to action (Shaken if it matters.)
MODIFIERS
GREATER HEALIN G (+10): Greater healing can restore any Wound, including those more than an hour old. CRIPPLING INJURIES (+15): The power can heal a permanent Crippling Injury (see Incapacitation, page 126). This requires an hour of preparation and only one casting is permitted per injury. If it fails, this caster cannot heal that particular injury (but someone else may try). If successful, the subject is Exhausted for 24 hours. MASS HEALING (+2/+3): For +2 Power Points, healing affects all allies within a Medium Blast Template centered on the caster (or a Large Blast Template for +3). NEUTRALIZE POISON OR DISEASE (+1): A successful healing roll negates any poison or disease. If the poison or disease has a bonus or penalty associated with it, the modifier applies to the arcane skill roll as well.
ARMOR INTERFERENCE (Light):
Bulky armor interferes with a bard’s grace and dexterity. They subtract 4 from their Performance rolls and from their Agility and Agility based skill rolls if using medium or heavy armor or shields.
SHARP TONGUED:
Bards may use Performance as Taunt to Test a foe. They may also ignore the Repetition advice givenunder Tests (see page 140), as long as they recite different verses, stanzas, lyrics, etc. Bards may also substitute Performance for Taunt to meet Edge Requirements.
Human Edge: Charismatic
REQUIREMENTS: Novice, Spirit d8+
Your hero is likable for some reason. She may be trustworthy or kind, or might just exude confidence and goodwill. You get one free reroll on Persuasion rolls.
Purchased Edge: Streetwise
REQUIREMENTS: Novice, Smarts d6+
Streetwise characters know how to find the local black market, fence stolen goods, avoid the local law (or criminal element!), lay low when the heat’s on, obtain illegal weapons, find out which “boss” is hiring muscle, or similar shady activities. Streetwise characters add +2 to Intimidation or Persuasion rolls made to Network with shady or criminal elements. They also add +2 to Common Knowledge rolls pertaining to the types of disreputable activities listed above.
Rhodel was born Karola Vasas in Kovosa. Her family owned a bakery and lived fairly comfortably. Both her parents were upstanding and Abadar-fearing citizens, proud to be Korvosan. Unlike her older sister, Karola never really fit the family mold. She was always outgoing, frivolous, and a little precocious. From a young age she loved entertainment, whether it was street jugglers, or buskers, or a trip to the theater. She decided she must be an actor before she reached her teens. Her parents figured it was a phase she would outgrow, but Karola never did.
As she progressed through her teens, Karola’s ambitious, and their mismatch with her parents expectations, became a cause of increasing tension. Karola’s parents didn’t consider acting to be a feasible or reputable aspiration. They were in favor of a nice, stable marriage for her. After all, Karola had shown no talent as a student, nor did she have the temperament for dedicated application of hard work in an apprenticeship. Karola ironically met them halfway by impetuously marrying a young actor she had met. Partially this was to get out of her parents’ home, and partially it was because he claimed to have “connections” that could help her get started in acting.
The marriage lasted only a few months. The actor turned out to be a bum who couldn’t even get work for himself. Karola made a go at it alone, auditioning for parts and trying to network with people already in the business. Whether or not Karola could have made it is impossible to say because she needed some means of supporting herself as she tried. The strategy she settled on was the same one used by a friend of hers who was also trying to break into show business.
It was all very simple really, something straddling a scam and burglary. First, get a job as a domestic servant with a prosperous family. Second, use the first two or three days of work to case the house for valuables. Third come to work and collect the pre-identified items during work, slipping them in pockets on the inside of her clothes, and walk out the back door. Fourth, sell or pawn the items taken. When the money is gone, rinse and repeat.
Such thieves were known colloquially as “turtledoves”, and Karola was just about perfect for the role. Success depended little on tradecraft, no time for safecracking and no break-ins involved, and greatly on presentation. She was pretty, but dressed down in conservative clothes not so pretty to set off the Lady of the Houses’s alarm bells. She had good manners and was eager for work. She was smart enough to take direction, but not so smart that she wouldn’t be docile. Karola came to think of it as a form of guerrilla theater.
There was little chance of being caught if she didn’t linger too long in the house on the day of the robbery, and she never did. First item taken to exiting the back door was always no more than half an hour. Afterward she could disappear into the slum warrens of the Bridgefront District where she lived and never be found.
Molnar Kiraly’s residence probably would have been no different than any of the others before it, but Karola grabbed a small bronze statuette from an alcove where it sat in a small room at the back of the house. The statuette was larger than the things she typically stole, but she was only a few feet from exiting. It was on impulse. She thought the thing was ugly but it was bronze so likely at least worth the weight of the metal.
It turned out that Molnar liked the statuette quite a lot. Aside from sending people in his own employ to track Karola down, he also put out a private bounty for Karola, taken alive, and the statuette returned. Fortunately Karola found out before she was located. She went into hiding, but when it turned out the episode wasn’t going to blow over and the hunters were being very persistent, Karola decided it was time to get out of the city for a while.
The classic way to flee Korvoda is by ship, and the classic destination is Magnimar. Karola reasoned that anyone looking for her would know this as well. She ruled out leaving by ship completely since the docks were a bottleneck where hiring lookouts would be easy regardless of her chosen destination. Instead she paid a Varisian caravan leaving on the Dawn Shadow Path northward to Kaer Maga to take her along as a passenger. Varisian Travelers had a reputation for distrust of outsiders, so casual inquiries from hunters would be less likely to succeed, and Kaer Maga didn’t have a great reputation as a destination in Korvosa.
To give herself something to do during the journey, Karola, who had now renamed herself Rhodel as an extra precaution, set upon the task of winning over the caravaners. Her charm, as well as her natural extroversion and curiosity, won them over with some time. It also helped that she spoke Varisian, and that her ancestry is as much Varisian as anything else. She learned quite a lot about the operations and business model of caravans as well. When she arrived at Kaer Maga, Rhodel didn’t stay, but immediately went looking for another caravan traveling west.
She found a caravan about to set off on the Yondabakari Route to Magnimar and using what she had learned from the first caravan, cut a deal with them: free passage with room and board in exchange for work as an entertainer. Mostly she performed in comedy skits, sang some, and worked as the knife-thrower’s assistant. Rhodel went only as far as Sandpoint with the caravan. She’s wasn’t convinced three and a half months of travel were enough time for it to be safe yet. She could instead stay put, hopefully get some work in the local theater, and use Sandpoint’s proximity to Magnimar to keep an ear to the ground about how safe it might be for her to go there.
Background Interlude:
Page from Rhodel’s Journal: Day 53 – Nybor, Varisia: Second day of hard rain so I’m still stuck inside the wagon all day. At least we had a good day before the rain set in. Nybor is alright I suppose, but just farming as far as I can tell. Of course everyone showed up for the shows, what else would they do for entertainment or to spend a little money? It was a pretty good cash haul, which is helping, but everyone is starting to get restless and cranky now, wanting to get back on the road and moving.
If we were going to get stuck somewhere I wish it would have been in Whistledown. It has been my favorite place so far. So many gnomes there, which was odd but way more interesting and amusing than anywhere else. Also there where all the little gnome-sized houses and buildings. So cute!
The knife throwing here was the best so far. Balabar was perfect of course, no perforations anywhere in me, and I’m used to the ‘tied onto a giant spinning wheel’ part enough now that it doesn’t make me dizzy or nauseous anymore. Balabar trusts my skills enough now that we switched places at the end and I did the throwing for the last couple of tricks. Extra gasps from the crowd when it turned out I wasn’t just scenery and a target!
On the other hand I’m so bloody sick of comedy skits. I know and I completely get that ‘one must meet the audience where they are’ as Eugeni always says. But it’s so lowbrow it makes my skin crawl. But I’m starting the last leg of the journey now. Apparently there’s not such at all between here and Sandpoint.
Yes, I’ve decided to leave the caravan at Sandpoint rather than continuing on to Magnimar. From what I’ve gathered there’s a real, serious theater in Sandpoint called The Sandpoint Theater. That’s a disappointingly obvious name, but everyone who’s said anything about the place agrees they have really good production values and run current plays that aren’t always way behind what’s showing in Magnimar.
Besides, I worry that it hasn’t been long enough for Magnimar to be safe yet. I really wish I’d known Molnar Kiraly was so attached to that stupid, ugly statuette before I pawned it. I absolutely would have tried to make nice with him by returning it if I could. How could I possibly know his reaction would be so ridiculously disproportionate? He might well still have people in Magnimar looking for me.
So, Sandpoint it is, for a little while at least. Really some of the best actors ever have gotten their starts in regional theater.
---------Appearance and Personality-------------:
Height: 5'3" | Weight: 135 | Hair: Dark Brown | Eyes: Brown
