About Topaz of FlintStatistics:
Female Human (low class urbanite) Bard (street performer) 3/Rogue (chameleon) 1
CG Medium Humanoid (Human) Init +2; Senses Perception +8 ------------------------------ DEFENSE ------------------------------ AC 17, touch 13, flat-footed 14 (+4 armor, +3 dex, +0 shield) (+2 dodge bonus in urban environments hp 27 Fort +2, Ref +8, Will +4 (+4 vs bardic performance/sonic/language-dependent) ------------------------------ OFFENSE ------------------------------ Speed 30 ft. Melee MWK Dagger +4 (+5 vs high-class humans) (1d4/19-20) (sneak attack +1d6) Ranged +1 Light Crossbow +6 (+7 vs high-class humans) (1d8+1/19-20)
Skills (7/level x 3 for bard + 9/level x 1 for rogue (including +1 int bonus) = 30 ranks; 2 background points/level = 8; 3 bonus for favored class levels =3 ; = total 41) (* = class)
ACP 0 Languages Taldane, Kelish Special Abilities:
------------------------------ SPECIAL ABILITIES ------------------------------ Bardic Performance (18 rounds/day): 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. Disappearing Act (Su): A street performer can use performance to divert attention from an ally. All creatures within 30 feet that fail a Will save (DC 10 + 1/2 the bard's level + the bard's Cha modifier) treat one creature chosen by the bard as if it were invisible. This performance affects one additional creature at 5th level and every 6 levels thereafter. If the targets take any action that would cause them to become visible, they become visible to everyone. The bard cannot use this ability on himself. This ability is a mind-affecting effect that requires visual components. This performance replaces inspire courage. Harmless Performer (Su): At 3rd level, a street performer can use performance to appear meek and unworthy of being attacked. While using this performance, whenever an enemy targets the street performer, the enemy must succeed at a Will save (DC 10 + 1/2 the bard's level + the bard's Cha bonus) or be unable to attack the bard this round, as per sanctuary. The enemy loses the attack that targeted the bard, but may spend additional attacks targeting other creatures. If the opponent was targeting the street performer with a spell, it must succeed at a concentration check at the same DC or lose the spell. If this check succeeds, it may target another creature with the spell instead. This mind-affecting ability requires audible or visual components. This performance replaces inspire competence. Gladhanding: A street performer earns double the normal amount of money from Perform checks. As a standard action, he may use a Bluff check in place of a Diplomacy check to improve a creature's attitude for 1 minute, after which its attitude becomes one step worse than originally. This ability replaces countersong. Streetwise (street performer): A street performer gains a bonus equal to half his level on Bluff, Disguise, Knowledge (local), and Sleight of Hand checks, Diplomacyor Intimidate checks made to influence crowds, and Diplomacy checks to gather information (minimum +1). This replaces bardic knowledge. Versatile Performance (sing) (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. Sneak Attack: If a rogue can catch an opponent when he is unable to defend himself effectively from her attack, she can strike a vital spot for extra damage. The rogue's attack deals extra damage anytime her target would be denied a Dexterity bonus to AC (whether the target actually has a Dexteritybonus or not), or when the rogue flanks her target. This extra damage is 1d6 at 1st level, and increases by 1d6 every two rogue levels thereafter. Should the rogue score a critical hit with a sneak attack, this extra damage is not multiplied. Ranged attacks can count as sneak attacks only if the target is within 30 feet. Misdirection (Ex): At 1st level, a chameleon begins her career knowing that the secret to disappearing lies in deceiving the senses of her observers. Every day she gains a pool of stealth points equal to her ranks in Bluff. These points refresh at the start of each day. Before making a Stealth check, she can choose to put stealth points into the roll, gaining a bonus on Stealth checks equal to the number of stealth points she puts into the roll. If she gains a bonus on Bluff checks because of a feat (such as Skill Focus [Bluff]), she adds a number of points to her stealth pool equal to the bonus the feat grants. This ability replaces trapfinding. Finesse Training: At 1st level, a rogue gains Weapon Finesse as a bonus feat. In addition, starting at 3rd level, she can select any one type of weapon that can be used with Weapon Finesse (such as rapiers or daggers). Once this choice is made, it cannot be changed. Whenever she makes a successful melee attack with the selected weapon, she adds her Dexterity modifier instead of her Strength modifier to the damage roll. If any effect would prevent the rogue from adding her Strength modifier to the damage roll, she does not add her Dexterity modifier. The rogue can select a second weapon at 11th level and a third at 19th level. Convincing: Once per day, members of this race can roll twice when making a Bluff or Intimidate check and take the better roll. Urbanite: Members of this race gain a +2 racial bonus on Diplomacy checks made to gather information and Sense Motive checks made to get a hunch about a social situation. Bond to the City: Members of this race gain a +2 dodge bonus to AC when in urban environments. Hatred: Members of this race gain a +1 racial bonus on attack rolls against high class humans. Spells:
------------------------------ Spells ------------------------------ 0th (at will) Detect Magic Flare Light Mage Hand Message Resistance 1st (4/day)
Gear/Possessions:
------------------------------ GEAR/POSSESSIONS ------------------------------ Studded Leather Armor +1 Light Crossbow +1 20 bolts Masterwork Dagger Rogue’s Kit: This kit includes a backpack, a bedroll, a belt pouch, caltrops, chalk (10), a flint and steel, a grappling hook, an iron pot, a mess kit, a mirror, pitons (10), rope, soap, thieves’ tools, torches (10), trail rations (5 days), and a waterskin. Muleback Cords (+8 to strength for purposes of determining carrying capacity only) Entertainer’s Outfit Burglar’s Outfit Traveler’s Outfit Disguise Kit Healer’s Kit Sleeves of Many Garments (change clothing into other nonmagical outfits) Potion of Cure Light Wounds x2 Carrying Capacity
Money 773 GP 40 SP 0 CP
Background:
Hello, I’m Topaz. Well, that’s the name I go by when I’m singing in the bars. My real name? I don’t normally share that with strangers, but I’ll let you in on the secret: I was born Mida Ranald. My parents worked in the factories in Flint. My ma still does. My da might too, for all I know. Haven’t seen him since Ma threw him out for coming home one too many times with someone else’s perfume on him. That was when I was, what, eight? Thereabouts. Ma (her name’s Rina Ranald – she stopped using Da’s name after she kicked him out) raised me and my older brother Sallo by herself after that. Sallo went into the factories too. Sallo married up– he married the foreman’s daughter! Ma’s getting awful old for factory work, but she keeps saying she doesn’t know what she’d do with herself if she stopped working. Sallo keeps trying to get her to quit and move in with him. Me? I wasn’t much good at factory work. Got bored too easily. Lucky for me, someone heard me singing around home one day and told me I should try my luck working the bars down at the docks. So I did. Found out I liked it, and I seem to have more than the usual knack for it. Music sometimes does stuff to folks, y’know? Makes ‘em feel good, or bad, or pay attention, or not pay attention, depending what you want. I ain’t getting rich, but I keep body and soul together singing and telling tales and stuff like that to keep folks entertained. I like working at the Bell and Frog best – they’re the best tippers in town and the bouncers are really good about keeping the troublemakers off you. The Ship’s Wheel is the worst. Don’t go there if you don’t have to. Beer’s weak and the clientele are mostly thugs and lowlifes. But, that’s where I first saw ‘em – the women, girls, sometimes boys too, that get shoved in by someone lookin’ to sell their services. Awful. Got a chance to talk to one of them once for a few when no one was looking, and they’re slaves, all of ‘em, being sold off to whoever wants them – for whatever they want to use ‘em for. I may not know much, but Ma taught me right from wrong and that’s wrong. I started trying to slip ‘em a little cash or help when I could. And *that’s* how I met Pella. See, one night when I was working at the Ship’s Wheel because I couldn’t get a better gig, there was this girl. Couldn’t have been more than 15. Couple of the thugs had hold of her and were keeping a real close eye. I heard them talking about how they were going to sell her that night. They had an appointment with one of the brothel keepers. Pretty high-class one too, as Flint goes, anyway. She looked so scared. Now, one thing I’ve learned is that the right song can make people seem, well, invisible. I’ve never been sure if it’s just that everyone’s paying so much attention to the music, or if the person actually does turn invisible, but I know that if I get the song just right, I can choose which person that is. So that night, I decided I was going to give that girl a chance to get out of there. Everything started fine. I started my song, and sure enough, before long that girl had vanished. I gave what I hoped was a subtle but clear head wave to get her to leave. I couldn’t see her any more than anyone else could, but I guess she did get out, because when the song ended she still wasn’t there. The two thugs got furious and ran out the door, but as far as I know they didn’t find her. When I took my next break, I stepped outside for some air. (Flint air is a mess, but it’s better than the stench of bad beer and its aftermath inside, and at least down by the docks you get a breeze.) A woman stepped out beside me. “Nice move,” she said. I stiffened. She’d noticed? What was she going to do? “I think some of my friends would like you.” She stuck out her hand. “Name’s Pella. If you want to do more than just get one girl out, come meet me in the back room of the Copper Barrel tomorrow night.” And that was where I met the Whispers. The Whispers? Haven’t heard of us? Good, that’s how we like it. We’re folks that don’t like slavers, and do what we can to drive ‘em off and help slaves get free. Sometimes that means getting into places and letting folks loose. Sometimes it means a well-timed bribe, or bonk on the head. Sometimes it means playing nice with someone while someone else unlocks a door. I’m usually on the distracting side more than the head-bonking side; the music and tale-telling helps with that. People also like to talk to you when they’ve had a bit to drink. Good way to learn what’s going on out of sight, y’know? Pella’s the one in charge of the Whispers around here. We mostly work at night, for obvious reasons, but sometimes there’s stuff that needs doing in the daytime. People to bribe, locations to scout, that kind of thing. Mostly we try to get to people before they get sold, but we can’t keep up with all of them. So once in a while we do a rescue mission. That’s where I got in the most trouble. We were trying to get into one of the really high-class brothels in the rich side of town. We’d heard that despite the elegant looks of the place, they treated people especially badly and we knew three new girls had been taken there. It turned out that our scouts didn’t get as many details on the security as they should have, and the back windows were a lot tighter than we expected them to be. And the guards were wide awake. I got caught and hauled off to jail. Figured that was the end of me. But then while I was sitting there, one of the prison guards, a big man who his buddies called Puck, came to my cell late one night. It was pitch black and I couldn’t see him, but I heard him say, “Get over here, you.” I wasn’t interested in picking a fight with a pile of muscle, so I did. He leaned down and murmured, “What’s louder than a shout?” I was shocked – that’s a Whispers passphrase! I pulled myself together and answered, “A whisper in the right ear.” I heard a clink in the lock. “Thought so. Jax is taking a piss. Go now while you can.” Didn’t know we had folks on the inside like that, but boy was I glad to learn it. I expect Jax and Puck took a beating when I wasn’t there in the morning, but I never heard more about it. Pella must’ve known – she didn’t seem at all surprised when I showed back up singing the next night. Guess the officers didn’t think it was worth chasing me down, but I must technically be a wanted fugitive. Bit of a point of pride in the Whispers if you got free after getting caught, but not so much that you got caught in the first place! I’ve been more careful since then, mostly sticking to the distraction work and less of the direct rescuing (though I do what I can). We’ve become enough of a thorn in the side of the slave dealers that a couple of smaller brothels have had to shut down. One of Pella’s friends, another woman called Ree, started up a school to help some of the kids who got rescued get some learning and eventually find jobs. The slavers can’t really go after her given that slavery is, after all, illegal – however much the officers of the law don’t care for our way of fighting against it – and they couldn’t publicly complain about someone trying to help people who escaped it! But we keep an eye on her all the same to make sure they don’t. Hear tell there are other groups of Whispers in other parts of Flint, and other places too. Maybe even in Thane – don’t like those folks but I guess even some of them are willing to do what’s right. Don’t know about Breica. They may be too uptight to do the kinds of things we do, but maybe not. Never been there. Ma keeps telling me I should come home and settle down. She says Sallo’s done so well she’s sure he could set me up with a proper life instead of “singing for my supper” all the time. I’m sure if she knew what I was doing with the Whispers she’d be even more upset. Sure, it can be dangerous, but – it means something, and I’m not quitting now. Appearance and Personality:
Topaz is a short young woman, maybe five feet tall. She's thin, just this side of scrawny - the build of someone who didn't always get enough to eat when she was young. Her hair is a slightly unruly brown mop, and her eyes are also brown. While she's not what the nobility would call beautiful, the twinkle in her eye and a lopsided smile give her face a quirky kind of appeal. Her clothes are well-worn; brightly colored when she's performing, more subdued when she's not. She carries a battered backpack (when not working) and a dagger at her hip (pretty much always). |
