Tamaran, "Tami"'s page

Weapon and Armor Proficiency
A bard is proficient with all simple weapons, plus the longsword, rapier, sap, shortsword, shortbow, and whip. Bards are also proficient with light armor and shields (except tower shields). A bard can cast bard spells while wearing light armor and using a shield without incurring the normal arcane spell failure chance. Like any other arcane spellcaster, a bard wearing medium or heavy armor incurs a chance of arcane spell failure if the spell in question has a somatic component. A multiclass bard still incurs the normal arcane spell failure chance for arcane spells received from other classes.
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.
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.
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.
Pipes (Su)
A satyr can focus and empower his magic by playing haunting melodies on his panpipes. When he plays, all creatures within a 60-foot radius must make a DC 18 Will save or be affected by charm person, fear, sleep, or suggestion, depending on what tune the satyr chooses. A creature that successfully saves against any of the pipes’ effects cannot be affected by the same set of pipes for 24 hours, but can still be affected by the satyr’s other spell-like abilities as normal. The satyr’s use of his pipes does not count toward his uses per day of his spell-like abilities, and if separated from them he may continue to use his standard abilities. The pipes themselves are masterwork, and a satyr can craft a replacement with 1 week of labor. The save DC is Charisma-based.

Tamaran, or "Tami" to his friends, is a satyr that is tall for his race, standing at 5'5". All his body hair is blonde and soft to the touch. With liberal uses of prestidigitation, Tami keeps his appearance clean and good-smelling at all times.

The satyr wears a bit more clothes than his fellows, but not by much. The bard wears armor, for one thing; a beautiful mithril shirt with matching anklets. Over the armor, Tami wears a bandolier, where he likes to keep his various wind pipes handy along with several potions. On his back, the bard wears a normal-looking bag, but it often holds more than a bag of that size should. Around his neck, the satyr wears a silver holy symbol of Cayden Cailean, and around his waist, Tamaran wears a simple ox skin belt, which sometimes clashes with his bright and colorful bracers on his wrists and a peacock comb in his lush blonde locks. Two ioun stones, one a red star and another a pink and green ball orbit the bard's head.
Upon his belt, the bard wears a caydenite relic called The Carouser's Retort; a simple but finely crafted rapier has a hilt in the shape of a tankard, open on one end for the wielder’s hand. Tami also wields a shortbow with arrows and a dagger normally kept in his belt.

Tamaran has changed much since his arrival of Golarion those years ago. After spending a week in the bed of a beautiful caydenite cleric, she discussed The Lucky Drunk with the fey, in-between..other activities..and converted the satyr to Cayden's teachings, which honestly weren't too far off from his own beliefs. Regardless, Tami vowed to be a good being and not so selfish. Besides Cayden's Realm in Elysium sounds like The Ultimate Party, so if the satyr dies in The Mortal Realm, his soul will go there, preferably. Tamaran's sexual orientation is bisexual.

With special effort from The Guild and his bardic training, Tamaran can be as erudite as any bard in social situations, more able to 'read a room' and match it's vibe. The satyr also enjoys playing his pipes, either by himself, or along with other bards or panhandlers; eager for the applause of a pleased audience. Tami also likes to learn and collect new pieces of music he can play on one of his pipes, sometimes altering the melody of denser tunes to better fit his play style. The satyr is beginning to try different musical instruments, hoping to expand his musical scope.

Although he is as much a womanizer as any satyr you've ever met, Tami also likes to entertain children and the elderly. These two types of people were rarely encountered in The First World. Tamaran enjoys his role in The Party and The Guild, finding Golarion just as unique and enjoyable as his former home.

Tamaran's story began briefly on The Material Plane. The young satyr was told he was born to a mortal woman, but as all satyr's before him, the newborn fey was quickly snatched while the mother's attention was turned and brought to his true home, The First World. In the fabled land of the fey, young Tamaran flourished and grew quickly. Upon adulthood, the satyr was chosen by a member of The Seelie Court to become a low-level messenger, running across the realm; delivering messages, gifts, and missives between seelie nobles. Every so often, Tamaran would be chosen to help attend a seelie function or party and serve the fey nobility. The satyr didn't mind and enjoyed his role in The Grand Dance of Life.

But it was on one particular sunny day in The First World that Tamaran's life changed forever. While playing hide-and-seek with a few nymphs, the atmosphere around him changed as a dimensional portal opened near the satyr. Being so near the event horizon, Tamaran found himself, despite his best efforts, sucked through the portal to the other side. There the satyr hid something solid and fell to the ground, Looking around, Tamaran saw he had hit a black-robed mortal on his way through. Several other mortals took this opportunity to attack the black-robed man, later called a human. Eventually they killed the black-robed man and the portal back to The First World closed. Despite this, the satyr was only minor dismayed by the turn of events, finding himself in a strange new world, with strange new beings.

One of these beings thanked Tamaran for his help against the Blackfire Adept. Tamaran introduced himself to the group. One of them, a gnome named Elletha, jokingly called the satyr "Tami". The fey laughed along with the others, enjoying a good barb. The adventurers were part of an adventurer's Guild called The House of Fate and Fire, and asked Tami to come along. The satyr agreed.

The wild fey had some getting used to his new concept called 'civilization', and made many social faux pas, almost getting the adventurers run out of a couple towns. Once settled in the guild hall and made a member, Tami was offered bardic training to allow his innate musical ability to grow, since it was loved by the other members. Tamaran was found a aasimar bardic trainer, who he eventually seduced, and educated the fey on matters of mortal history, geography, musical theory, among other subjects. Tamaran's ability to play his pipes also grew, eventually attacked by mortals who would throw flat circular pieces of metal at him, which Tamaran discovered was used as 'currency' to 'buy things'.

On one of Guild's missions, Tami fell through an old, rotted bar room floor and fell into the basement. The satyr slowly got up to find part of the basement wall crumbled away to reveal and beautiful, shining rapier hidden behind the wall. Tamaran took the rapier into The Guild Library, and like a proper bard, researched the history on the mysterious blade. The satyr discovered it was called The Carouser's Retort, a famous blade owned by a elven bard several hundred of mortal years ago. Tamaran was ready to hand the recovered sword to local caydenite clerics, but the cleric decided since it 'came' to Tamaran, that Cayden meant for the satyr to have it. In a rare moment of humbleness, Tamaran accepted The Carouser's Retort as his own.

Tamaran's role in any Guild adventurer party is often as a secondary Face of the Party. The satyr's bardic knowledge has helped him navigate social interactions quite well, often helping to make introductions and help get directions. Being one of the few non-humanoid members of The House of Fate and Fire, despite himself, Tamaran often plays the role of Team Mascot. The bard will often play his pipes as they enter a town they don't know. Tamaran has found most people like his music and it often goes a long way to feeling welcome.

The satyr knows there are much smarter and knowledgeable bards out there. Like one day, Tamaran knows he's going to buckle down and learn more about Spellcraft and help assist with identifying magical items, and the like. But Tamaran is not that kind of bard.

For what reason does your character become an adventurer? What motive keeps them going?
Well, Tamaran literally 'fell' into the role of adventurer, when the satyr was pulled through a planar portal and onto Golarion. With nowhere else to go at the moment, Tami followed the adventurers into civilization, and has learned much on the Material Plane.

As for motivation, the fey thinks being an adventurer is fun. Solving problems. The Roar of Applause from an entertained audience. The Gratefulness of rescued maidens. The more Tamaran gets better at being an adventurer, the more powerful he grows!

How did your character first hear about the House of Fate and Fire?
The party of adventurers who found him told them all about their adventuring guild, The House of Fate and Fire. At first, Tamaran through this guild was something like a faerie court, but it's actually more formal. During the journey back to the guildhouse, the satyr was convinced to try to join.

Why did your character decide to join the House over other options available to them? (Feel free to come up with some liberties on this one, whether they were recruited or tried out for the guild) How does the House fit into your motives as an adventurer?
Tamaran decided to join The House of Fate & Fire, because he was convinced to do so by Elletha and the other adventurers who found him after the battle with the Blackfire Adept.

The adventuring parties live in dormitory-style apartments. The rooms are quite spacious, and the living/kitchen area is shared. What does your room look like? What kind of roommate are you?
Tamaran decided, on his first big payout from the Guild, that the fey would spring for a plush, sensual canopy bed, with bedposts for the option of sexy bondage. The satyr has found women prefer to spend time in a clean bedroom, as opposed to a dirty one; so Tami uses prestidigitation and unseen servant to keep his bedroom clean and smelling fresh.

As a roommate, Tamaran is terrible. The satyr is often rowdy, practicing his wind pipes at odd hours, and bringing women, and some men, into his room at all hours. Learning to keep a neat apartment, is one of Tamaran's only saving graces.

While Teladora insists that adventurers don't need as much rest as normal people, Layla disagrees. The lamia makes sure that all parties get at least a week of downtime between adventures unless they ask for less. What does your character do to unwind?
Tamaran often organizes any musical performances for later in the week, so excitement can brew and advertisements can do their job. Performing in public is a great way to make some coin outside of adventuring, along with seducing new fans and lovers. Once and a while, the satyr can be convinced to perform for charity, often for orphanages or 'old folk homes'. The bard doesn't mind the occasional charity work, as the work often introduces others to his music and performances.