About Tanesh SundancerFemale ifrit bard [Dawnflower dervish] 1 | AL: NG | HP: 10/10 | AC 18, T 15, FF 13 | F +1, R +7, W +2 | Init: +10 | Per: +3 (darkvision 60 ft.) Stats:
Tanesh Sundancer
Ifrit bard [Dawnflower dervish] 1 NG Medium native outsider Initiative +10; Perception +3 -------------------- Defence -------------------- AC 18, touch 15, flat-footed 13 (+5 Dex, +2 studded leather + 1 buckler) HP 10 (1d8+!+1) Fortitude +1 (+0 base + 1 Con) Reflex +7 (+2 base + 5 Dex) Will +2 (+2 base - 1 Wis + 1 trait) -------------------- Offence -------------------- Speed 30 feet (assuming dropping backpack) Initiative +10 (+5 Dex + 4 race +1 trait) Melee scimitar +5 (1d6+5, 18-20/x2), (+0 BAB + 5 Dex = +6) Melee nonlethal scimitar +5 (1d6+6, 18-20/x2), (+0 BAB + 5 Dex = +6) -------------------- Statistics -------------------- Str 11, Dex 20, Con 12, Int 8, Wis 9, Cha 14 Base Attack Bonus +0 CMB 0 (0 BAB + 0 Str + 0 size) CMD 15 (10 + 0 BAB + 0 Str + 5 Dex + 0 size) Height 5 ft. 9 in. Age 24 Languages Common, Ifrit SA darkvision 60 feet -------------------- Skills and Feats -------------------- Skills Acrobatics +7, Bluff +2, Diplomacy +2, Escape Artist +3, Intimidate +9, Knowledge (local) +3, Knowledge (religion) +3, Perception +3, Perform (dance) +8, Perform (oratory) +6, Sense Motive -1, Stealth +3 The bard’s class skills are Acrobatics (Dex), Appraise (Int), Bluff (Cha), Climb (Str), Craft (Int), Diplomacy (Cha), Disguise (Cha), Escape Artist (Dex), Intimidate (Cha), Knowledge (all) (Int), Linguistics (Int), Perception (Wis), Perform (Cha), Profession (Wis), Sense Motive (Cha), Sleight of Hand (Dex), Spellcraft (Int), Stealth (Dex), and Use Magic Device (Cha). Skill Ranks Per Level: 6 + Int modifier + 2 background = 6 - 1 + 2 = 7 Detailed skills
Feats
Traits
Blood of pharaohs (campaign: Mummy’s Mask)
Bloody-minded (combat)
Fiery glare (race: ifrit)
Maestro of the society (social)
Drawbacks
Unlearned
Abilities:
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Abilities -------------------- Weapon and armour proficiency A bard is proficient with all simple weapons, plus the longsword, sap, short sword, and shortbow. Dawnflower dervishes also gain weapon proficiency with the scimitar. Bards are also proficient with light armor and shields (except tower shields). A bard can cast bard spells while wearing light armor and use 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 performance
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. 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 noninstantaneous 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 skill check proves to be higher. If a creature within range of the distraction is already under the effect of a noninstantaneous 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 skill 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 this ability from working. For every three levels the 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 all 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. Battle dance
Starting a battle dance is a move action, but it can be maintained each round as a free action. Changing a battle dance from one effect to another requires the Dawnflower dervish to stop the previous performance and start the new one as a move action. Like a bard, a Dawnflower dervish’s performance ends immediately if he is killed, paralyzed, stunned, knocked unconscious, or otherwise prevented from taking a free action each round. A Dawnflower dervish cannot perform more than one battle dance at a time. At 10th level, a Dawnflower dervish can start a battle dance as a swift action instead of a move action. When the Dawnflower dervish uses the inspire courage, inspire greatness, or inspire heroics bardic performance types as battle dances, these performance types only provide benefit to the Dawnflower dervish himself. All other types of bardic performance work normally (affecting the bard and his allies, or the bard’s enemies, as appropriate). This ability alters the standard bardic performance ability. Dervish dance (Ex)
Appearance:
Tanesh Sundancer, daughter of the desert, stands tall and proud. A sense of command runs from her core to her slim supple limbs as she readies herself for battle. Yet equally the threat of movement is always present, ready to spring forth with the speed and devastation of wildfire. She holds her scimitar ready, the grip of a deadly warrior and presents an intimidating figure from the fearsome falcon blazon on her buckler to her uncompromising stare.
She wears a loose fitting abaya of brilliant white trimmed with gold, always kept clean to stand brilliant in Sarenrae’s light. The traditional garment allows her to remain cool under the harsh glare of the desert sun and maintain the flexibility needed for her graceful easy movements. Comfortable high quality sandals gird her dancing feet and a chunky bronze bangle on each arm is as far as Tanesh goes in terms of ornamentation. Unless there is a specific reason to cover it, she always wears her cascade of hair unbound. Pointed ears and high cheekbones frame an angular face, the defining feature of which are black pupil-less eyes that glitter like those of a scarab. Tanesh’s hair is the colour of sand and ripples slowly like the ever-shifting movement of a dune. Her skin is a smooth burnished bronze, a slightly uncanny tone that is close to - but somehow not quite - human. Closer inspection reveals darker veins beneath the surface that look like liquid metal and she radiates a dry warmth that can be felt by others in very close proximity. Her back bears scars of the lash, years old but still present, the only imperfection on her skin but one she bears as a reminder to always stand up against injustice and for those who cannot themselves fight. The scars have been largely inked over by a large tattoo of an ankh, all in black. A falcon perches on one side of the cross, a dove on the other, twin symbols of Sarenrae to represent fierce fighting on one hand and mercy and redemption on the other. Backstory:
When she stands resplendent, poised in battle stance with curved blade in hand and sandy hair rippling in the desert wind, few would dispute that Tanesh Sundancer is a true daughter of Osirion. The history of the country flows through her [blood of pharaohs], a living embodiment of the desert, her ancestry dating back millennia through the great rulers of Osirion and the genies they bound to them.
Her more recent lineage is less clear, as Tanesh has no memory of her parents or of life outside Shabek Al-Nessru’s harem. The genie-kin grew up there in the nobleman’s riad in Sothis, obviously marked as more than human. A favoured child of her master, bold and restless, she grew into a favoured adolescent he referred to as “my little sirocco”. Al-Nessru was not an unkind man, far from it, and he indulged his girls with lessons in music, dance, storytelling and the best of Osirion’s long and proud history. A graceful naturally gifted dancer, Tanesh excelled [maestro of the society], especially in the blend of movement and swordplay [dervish dance]. She thrived in these practical lessons but was too impatient, rather than stupid or incurious, to enjoy sitting in bookish study for hours [unlearned]. Marked by her distinctive heritage and her master’s favour, Tanesh used her growing influence and abilities in line with her strong moral core to shield and look after the other girls as best she could. As noble as her deeds and intentions were, sooner or later this was only ever going to lead to trouble. Trouble found her in the form of Basam Mikar, a wealthy noble, a local councillor and a black-hearted bastard. Paying Al-Nessru a visit, the man selected a shy young beauty from his harem to entertain him for the evening. Wildly overstepping her position, Tanesh stepped forward and refused on her behalf [overprotective], looking him squarely in the eye with her glittering black eyes [fiery glare] and declaring “She is not ready yet. It is wrong.” Outranked and hardly able to defend the ifrit’s actions, Al-Nessru could do nothing as Mikar’s rage boiled over in the face of such impertinence. He had Tanesh stripped to the waist and brought forth a wicked scourge. He lashed her with it, cracking her smooth bronze skin but the proud genie-kin refused to bend. Again came the stroke, and again and again but Tanesh was nothing if not stubborn [bloody minded], refusing to give him the satisfaction of screaming even as the wicked weapon drew blood and raised heavy welts. After he reached one hundred strokes, with Tanesh barely able to stand, Al-Nessru called a halt to proceedings. Having failed to quell his fury with the whip, Mikar demanded her death. Al-Nessru refused, appealing for clemency for the girl, which was grudgingly granted. Instead Tanesh was let go on the spot, the teenager thrown out bloodied but unbowed onto the streets of Sothis from the only home she had ever known. Making her way from wealth Aru-Da across the Crimson Canal, Tanesh found herself in Sphinxside. Aimless and full of fury at the injustice that men such as Basam Mikar can do as they please, the ifrit bounced around the poor district learning some further harsh life lessons and taking on whatever work she could find. Unafraid of toil, her skill with a blade and uncompromising demeanour found her regular work as a guard or a bouncer at various less than salubrious establishments [enforcer]. Tanesh found that she was quick enough to win most fights, though not smart enough to avoid getting into them in the first place, developing a reputation as a fearsome swordswoman with a temper and ego in tow. One afternoon a woman sought her out, claiming that Tanesh had caused offence to her family and that she had come to teach her a lesson. Not a hair’s breadth over five foot, her greying hair and lined face put her easily into middle age, hardly an obvious warrior but proud Tanesh was hardly going to back down, especially when the generous terms were laid out. If this woman, Gala Feqqara won, Tanesh would apologise publicly for the perceived slight; if she lost then all she asked was to buy the ifrit dinner and talk with her. Challenge accepted and challenge won, even if Tanesh conceded that Gala knew her way around a blade, she gracefully accepted the meal that would change the genie-kin’s life and set her on a new path. A priestess of Sarenrae from the Temple of the Eternal Sun, Gala Feqqara possessed a fierce charisma and despite her reservations, Tanesh soon found that she was malleable as melted wax in the older woman’s hands. The ifrit had never been particularly devout but as Gala skilfully drew forth Tanesh’s life story and opinions in a way that nobody ever had before, she began to see that her strong sense of right and wrong, her desire to fight for what she believed but to protect those in need, overlapped with the tenets of Sarenrae. As they talked late into the evening, Tanesh found herself agreeing to return with the priestess to the house of the Dawnflower. It was only later - much later - that it occurred to Tanesh that Gala may have thrown the fight. Having found herself both a goddess and a mentor in short order, Tanesh dedicated herself to Sarenrae. Keen to learn more the ifrit greedily drank in Gala’s lessons and stories. She also learned to refine her swordplay. While she may be as uncompromising and deadly as the great desert that she resembles to her foes, Tanesh learned the importance of offering mercy and salvation [blade of mercy] - an easy enough lesson to absorb given her personal path towards the Everlight’s radiance. Under the tutelage of Gala, Tanesh has drawn forth latent gifts of her genie heritage, blending magic in with story and song. Her dancing, naturally, has always been magical. Having sanded off some of her pupil’s rougher edges and seeing her standing proudly bathed in Sarenrae’s holy light, Gala decided that Tanesh was ready to walk her own path. With the fear of potential retribution from Basam Mikar still on her mind, she sent Tanesh away to Wati, the Half-City. With no temple of Sarenrae in the city, the ifrit’s role would be that of a missionary. Tanesh took her new task with relish, taking on the name Sundancer and speaking with the zeal of a convert - which, of course, she is - and has now been doing the bidding of Sarenrae and her church in Sothis for several years. While her work takes her all over the city, she regularly finds herself in Bargetown, looking to bring down-on-their-luck souls to the Dawnflower’s Light. She dwells in northern Asp with the half-elf soothsayer known as Ophiel the Seer, with whom she has forged a strong bond of friendship. With the Ruby Prince’s announcement of the opening of Wati’s tombs to worthy adventurers, Tanesh has been tasked by the church of Sarenrae to make herself available. The Temple of the Eternal Sun is keen to find out what happened to one of their number, Most Radiant Pilgrim Amma Al-Khalli. Following the discovery of an ancient text placing them in Wati during the Plague of Madness, Amma was on the hunt for several relics holy to Sarenrae. However, since acquiring a permit to explore the necropolis a few months ago, the church has had no word from her. Tanesh has been charged to find out what became of Amma and if possible track down any of the relics. Collectively they are known as the Array of the Noonday Sun and consist of the Glorious Diadem, the Chemise of the Seven Silks, the Sandals of the Desert Rose, and the Mourning Dove Bracelet. Tanesh would consider herself blessed to discover any of these items, let alone find herself worthy of wielding them. |
