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2nd Edition Player's Handbook Rules Supplement

The Complete Bard's Handbook
by Blake Mobley
Table of Contents
ptional Rules
The ther Complete Books
Ho! to "se This Handbook
Chapter ne#
Character Creation
Core &bilities
'eneratin( &bility Scores
Chapter T!o#
Bard )its
)it Subsections
*ist o% )its
True Bard
Creatin( -e! )its
&c.uirin(/ 0roppin(/ and Chan(in( )its
Chapter Three#
0emi+/ Multi+/ and 0ual+Classed Bards
0emihumans as Bards
0emihuman )its
0!ar1en Chanter
El1en Minstrel
'nome Pro%essor
Hal%lin( 2histler
Multi+Classed Bards
0ual+Classed Bards
Chapter 3our#
-e! Pro%iciencies
Compiled Pro%iciencies
Chapter 3i1e#
Bard &bilities
Pick Pockets
0etect -oise
Climb 2alls
Readin(/ 2ritin(/ and Speakin(
Chapter Si4#
Spell Books
Musical Components
-e! Spells
&lter Instrument
Sound Bubble
Silence 56' Radius
Impro1ed Ma(ic Mouth
Instant &udience
2all o% Sound
Con7ure Cabinet
Ma(ical Items
-e! Ma(ical Items
ld Ma(ical Items
-e! T!ists on ld Items
Chapter Se1en# Music
Throu(hout History
Musical Pro%iciency
Cost and 2ei(ht
'lossary o% Musical Instruments
'lossary o% Sound
3undamentals o% Music
Common Musical Terms
Musical Items
Types o% Son(s
Sample Son(s
Chapter Ei(ht#
Role+Playin( Bards
& Bard's Mind Isn't Barred
3ollo!in( a Per%ormer
*ocal Reputation
Bene%its o% a 'ood Reputation
The Per%ormer
The E%%ect on Role+Playin(
0e%inin( 8our Bard's Personality
Chapter -ine#
Bard Colle(es
Common E1ents
Initial Patrons
'ainin( and *osin( Patrons
&ppendi4# ri(inal &090: 'ame
Bard Character Record Sheet
Bard )it Record Sheet
2# C*&SS $"&*I3IC&TI-S
;# &RMR &**2E0
A# B&R0 &>ER&'E THIE3 S)I**S
B# THIE3 S)I** &0,"STME-TS
5C# I**E'&* &RMR &0,"STME-T
52# *E'E-0 *RE RES"*TS
5;# 0EMI+B&R0S
5<# --2E&P- PR3ICIE-CIES
5@# B&R0 C*IMBI-' R&TES
5A# >ERB&* CMP-E-T
5B# ER&S
2;# I-ITI&* REP"T&TI-
2<# REP"T&TI- *&00ER
2?# 3&ME &-0 I-3&M8
;C# B)E0 I-CME
;5# C&R-I>&* SH&RES
;;# -"MBER 3 P&TR-S
;<# T8PE 3 P&TR-
;6# 3**2ERS B8 )IT
0esi(n# Blake Mobley
0esi(n Resource# Tim Beach
Editin(# Mike Breault Black and 2hite
&rt# Terry 0ykstra/ >alerie >alusek
Color &rt# Carol Heyer/ ,ohn and *aura *akey/ 'len rbik/ Clyde Cald!ell
Typo(raphy# &n(elika *okotD
Production# Paul Hanchette
TSR/ IncE TSR *tdE
PB @6? 52C Church End/
*ake 'ene1a/ Cherry Hinton
2I 6;5<@ Cambrid(e CB5 ;*BB
"ESE&E "nited )in(dom
This book is protected under the copyri(ht la!s o% the "nited States o% &mericaE &ny
reproduction or unauthoriDed use o% the material contained herein is prohibited !ithout
the e4press !ritten permission o% TSR/ IncE 0istributed to the book and hobby trade in
the "nited )in(dom by TSR *tdE 0istributed to the toy and hobby trade by re(ional
&0>&-CE0 0"-'E-S 9 0R&'-S/ 0"-'E- M&STER/ and &090 are
re(istered trademarks o!ned by TSR/ IncE The TSR lo(o is a trademark o!ned by TSR/
Printed in the "ESE&E
3ourth printin(/ -o1ember 5BB<E
In e1ery area and e1ery re(ion throu(hout the !orld/ tra1elin( musicians
!andered throu(hout the landE They mo1ed %rom to!n to to!n/ makin( a li1in( by
plyin( their trade as artists o% sound and motionE In the &090: (ame/ ad1enturers !ho
do this are called bardsE
Historically/ bards !ere the poet+musicians o% the Celtic peoples li1in( in the
British Isles Fthe Irish/ 2elsh/ and ScotsGE Bards composed music/ san( son(s/ and
entertained their mastersE "sually they !orked %or noblemen and spent their time
honorin( these noblemen and their %amilies in son( and musicE Bards o%ten accompanied
their son(s on the crwth/ a type o% lyreE Since their music !asn't !ritten do!n/ most o% it
has 1anishedE
0urin( the early Middle &(es/ bards had considerable political po!er and
in%luence in the royal housesE Ho!e1er/ in 52A< &E0E/ Ed!ard I con.uered 2alesH the
resultin( turmoil reduced the importance o% bardsE -oblemen had more pressin(
concerns/ and bards !ere le%t to %end %or themsel1esE & %e! lin(ered on/ into the 5@th and
5Ath centuries in Ireland and Scotland as %olk sin(ers and musicians/ but they e1entually
1anished alon( !ith their musicE
0urin( the 5Bth century/ a determined e%%ort !as made to re1i1e the bardic
traditionE 3olk music (atherin(s took place in and near 2alesE These neo+bardic acti1ities
cau(ht on amon( the public/ and today the annual Eistedd%od %olk %esti1al is a popular
and (ro!in( e1ent in this re(ion o% the !orldE
Thus/ bards ha1e sho!n a cunnin( knack to sur1i1e throu(h the a(esE In one %orm
or another/ bards ha1e been around %or nearly 5/CCC yearsE Besides the Eistedd%od
%esti1al/ the bard has been immortaliDed in the (enre o% %antasyE -o! you ha1e a chance
to continue the bardic traditionE This book co1ers not only the traditional bard/ but
e4pands the class !ith ne! and uni.ue character kitsE &ll o% these kits in1ol1e some %orm
o% li1e entertainment/ as all bards are entertainers at heartE -early hal% o% these kits
entertain throu(h music in one %orm or another# poetry/ son(/ instruments/ etcE But some
present such di1erse ne! kits as the Blade/ !ho entertains throu(h creati1e !eapon
displays/ kni%e thro!in(/ and s!ord s!allo!in(E Read on and en7oyE

ptional Rules

2ithin this book are many ne! rules/ bard kits/ su((estions on role+playin(/
details o% instruments/ and ne! pro%icienciesE This in%ormation adds to the rules presented
in the Player's Handbook E
It is important to note that this book is a supplement to the Player's HandbookE &ll o% the
rules presented here are optionalE &s a player/ you must ha1e your Dungeon Master's
consent be%ore usin( any o% these ne! rulesE
The Complete Bard's Handbook is a book o% supplemental rules %or addin( depth/
spice/ and li%e to the bard character classE Ho!e1er/ e1en i% your 0un(eon Master should
decide that none o% the rules !ithin this book can used in his campai(n/ you can still (ain
a lot by readin( the pa(es that %ollo!E Most o% the important tables %rom the Player's
Handbook Fe.g., le1el ad1ancement/ bard abilities/ etcEG are compressed into one
con1enient section !ithin this bookE It is also possible to mimic most o% the ne! bard kits
!ithin the e4istin( bard classE This book ans!ers many .uestions about bardic abilities
and presents an e4tensi1e list o% instruments a1ailable to medie1al bards/ alon( !ith
illustrationsE &nd/ %inally/ this book has a lot o% (ood in%ormation to help (amers to better
role+play their bard charactersE
The ther Complete Books
The Complete Bard's Handbook is the se1enth book o% the PHBR seriesE I% you
%ind this book use%ul in your (amin(/ you may !ant to look into the other PHBRsE
0esi(nator Topic Stock I
PHBR5 3i(hter's 255C
PHBR2 Thie%'s 2555
PHBR; Priest's 255;
PHBR< 2iDard's 2556
PHBR6 Psionics 255@
PHBR? 0!ar1es 252<
&ll o% these books contain much in%ormation that can enhance your bardE Some o%
the more use%ul in%ormation is listed belo!E
The Complete 3i(hter's Handbook# The JCharacter CreationJ section pro1ides an
in+depth look into the armorer pro%iciencyE Those bard kits able to !ear non+standard
armor !ill %ind this topic particularly interestin(E 2eapon .uality and its e%%ects on
combat are also discussedE The JRole+Playin(J section pro1ides a list o% !arrior
personalities/ some o% !hich could be adopted by bard charactersE Since some bards are
adept !ith numerous !eapons/ the section on combat rules applies to certain bards
Fparticularly the e4panded !eapon pro%iciency rules/ !hich allo! a character to learn
multiple !eapons !hile e4pendin( only a %e! pro%iciency slotsGE 3i(htin( styles/ martial
arts/ and other odd combat rules are also presented hereE E1en 7oustin( tournaments are
co1ered Fideal %or the 'allant kitGE 2ithin the JE.uipmentJ section is a siDable collection
o% ne! !eapons/ ne! armor/ and ne! ma(ical itemsE
The Complete Thie%'s Handbook# &s you mi(ht e4pect/ this handbook has a (reat
deal o% use%ul in%ormation %or the bard classE 2ithin are more use%ul rules than can be
listed hereE Ho!e1er/ (eneral topics you may %ind help%ul include the %ollo!in(# role+
playin( thie1es/ ne! pro%iciencies/ (uilds Fconstruction/ maintenance/ and typesG/ thie%
tools/ thie% e.uipment/ ne! ma(ical items/ classic cons Fespecially (ood %or the
CharlatanG/ ne! thie% rules/ and a description o% the thie%+based campai(nE
The Complete Priest's Handbook# There is little in%ormation in this handbook that
is pertinent to the bard character classE
The Complete 2iDard's Handbook# Chapter < discusses campai(n !orlds !ith
1aryin( le1els o% ma(icE Chapter 6 co1ers !iDards and combatE Chapter ? describes spell
castin( under !ater/ spell %unctionin( on 1arious planes/ and impaired castin(E Chapter @
presents a commentary on ne! applications %or old spells/ ad7udicatin( illusions/ spell
research/ and ma(ical item researchE Chapter A (i1es all+ne! spells ran(in( %rom 5st to
Ath le1elE 3inally/ Chapter B contains a number o% use%ul !iDardly listsE
The Complete Psionics Handbook# There are t!o use%ul elements !ithin this
bookE Most important are the !ild talents in Chapter 5E It is possible %or a bard to ha1e a
%e! !ild psionic talents Fthe process %or determinin( this is (i1en in Chapter 5GE I% a !ild
talent is disco1ered/ the bard player !ill %ind the rest o% this book in1aluable/ as it
contains all the in%ormation needed to run a psionically endo!ed bardE &lso/ note that all
player character 'ypsy+bards are !ild talentsE The psionics book also contains a number
o% challen(in( psionic monstersE
Ho! to "se This Handbook
Ho! players use this handbook depends upon their skill le1el/ seriousness about
the bard character class/ and their relationship !ith their 0un(eon MasterE
Skilled players !ho are serious about role+playin( bard characters !ill !ant to
read this book closelyE Those !ho are not as serious !ill %ind the Fin the %ront o% this
bookG and the inde4 Fin the backG to be in1aluable in locatin( topics o% interestE
& ne! bard character record sheet is located at the back o% this handbookE It has
been custom+tailored to the bard character classE 8ou !ill %ind spaces to place e1ery detail
o% your bardE 3urthermore/ the sheet has been laid out !ith numerous help%ul notes/
comments/ and %ormats to pro1ide you !ith a plethora o% in%ormation !ithout re%errin( to
the rule booksE 8ou may photocopy the sheet %or your o!n personal useE
3or those o% you !ho !ish to create ne! bard kits/ a handy kit creation sheet is
also bound into the back o% this bookE This may also be photo copied %or personal useE
It is not necessary %or you to read this book %rom co1er to co1er unless you !ish
to be the ultimate bard role+playerE Instead/ locate the section you !ish to e4plore in
(reater detail and read it to your o!n satis%actionE
& ma7or e%%ort has been made to make this handbook complete/ as its title statesE
Many o% the rules speci%ic to bards in both the Player's Handbook and DU!"#
M$%T"& !u'de ha1e been complied and condensed !ithin this handbookE &lso contained
herein is the in%ormation needed to (enerate a bard and maintain him durin( le1el
ad1ancementsE The commonly asked .uestions about standard bards ha1e been attended
to/ alon( !ith rules clari%ications !here neededE The bard class has also been %ully
de%ined %or all to seeE The %ine points o% the class ha1e been e4amined/ illuminated/ and
made more accessibleE 3inally/ there are many added details concernin( role+playin(/
includin( the bard personality/ reputation/ and role as a per%ormerE
Chapter 5# Character Creation
-o! it is time to be(in creatin( your o!n bard player characterE Be%ore you
decide !hether he is %lippant and ca1alier or stately and ponderin(/ !hether he is skilled
at playin( the lyre and recitin( lyrics or spinnin( tales o% lon(+lost heroes/ %irst you must
(enerate and record his %undamental character statisticsE
This section includes the basic in%ormation needed to (enerate a bardE The
%ollo!in( in%ormation is a comprehensi1e summary o% the Ro(ue and Bard sections
%ound in the Player's HandbookE It is assumed that any player usin( this book is
intimately %amiliar !ith the Player's HandbookH thus/ space is not spent here upon
back(round and role+playin( in%ormationE 3or a (eneral discussion o% these topics/ re%er
to the Ro(ue and Bard sections %ound in Chapter ; o% the Player's HandbookE % course/
The Complete Bard's Handbook !ould hardly be complete !ithout discussin( such
sub7ectsE Re%er to the JRole+Playin( BardsJ section o% this book %or a detailed
e4amination o% these topicsE
'eneratin( ability scores hi(h enou(h to .uali%y %or the bard class is di%%icultE In
%act/ it is unlikely unless your 0M allo!s one o% the alternati1e dice+rollin( methods
described in Chapter 5 o% the Player's HandbookE & complete discussion on (eneratin(
bard player characters Falon( !ith pre+(enerated bardsG usin( all si4 dice+rollin( methods
is presented at the end o% this sectionE
To be a bard or not to be a bard/ these are the .uali%ications Fsee Table 2GE
Table 2# C*&SS $"&*I3IC&TI-S

&bility Re.uirements#
0e4terity 52
Intelli(ence 5;
Charisma 56
Prime Re.uisitesK# 0e4terity/ Charisma
Races &llo!ed# Human/ Hal%+el%
&li(nments &llo!ed# &ny -eutral
F*-/ -'/ -/ -E/ C-G
KBards !ith a 5? or better in both 0e4terity and Charisma (ain a 5CL bonus to
their a!arded e4perience pointsE
Core &bilities
Bards can !ear any armor pro1idin( &rmor Class 6 Fchain mailG or !orseE ther
%orms o% armor are simply too constrainin(/ hea1y/ and a!k!ard %or true entertainers to
!earE *ike!ise/ bards cannot employ shields/ as these (et in the !ay o% acti1ities such as
playin( instruments or per%ormin( slei(ht+o%+hand tricksE Carryin( a lute around in the
dun(eon is hard enou(h !ithout !orryin( about a lar(e metal shield ban(in( around and
(ettin( in the !ayE
Table ;# &RMR &**2E0
Cost Weight
&rmor &C F(pG FlbG
*eather &rmor A 6 56
Padded &rmor A < 5C
Studded *eather @ 2C 26
Rin( Mail @ 5CC ;C
Hide &rmor ? 56 ;C
Bri(andine &rmor ? 52C ;6
Scale Mail ? 52C <C
Chain Mail 6 @6 <C
&lthou(h bards %i(ht as ro(ues and calculate their TH&CCs accordin(ly/ they are
allo!ed to use any !eaponE Cost/ !ei(ht/ dama(e/ and other rele1ant statistics %or all
!eapons are %ound in Chapter ? o% the Player's HandbookE
&ll ro(ues Fincludin( bardsG use Table 26 o% the Player's Handbook to determine
le1el and hit dice based upon e4perience pointsE &s noted in the e4panded reprint o% this
table/ a si4+sided die is used to determine hit point increases %or bards o% le1el 5 throu(h
5C Fplus any Constitution ad7ustmentsGE
&%ter 5Cth le1el/ bards (ain 2 hit points per le1el ad1ancedE & hit die is no lon(er
rolled and Constitution ad7ustments no lon(er applyE
Table <# E=PERIE-CE *E>E*S
=P Hit
*e1el -eeded 0ice Fd?G TH&CC
5 C 5 2C
2 5/26C 2 2C
; 2/6CC ; 5B
< 6/CCC < 5B
6 5C/CCC 6 5A
? 2C/CCC ? 5A
@ <C/CCC @ 5@
A @C/CCC A 5@
B 55C/CCC B 5?
5C 5?C/CCC 5C 5?
55 22C/CCC 5CM2 56
52 <<C/CCC 5CM< 56
5; ??C/CCC 5CM? 5<
5< AAC/CCC 5CMA 5<
56 5/5CC/CCC 5CM5C 5;
5? 5/;2C/CCC 5CM52 5;
5@ 5/6<C/CCC 5CM5< 52
5A 5/@?C/CCC 5CM5? 52
5B 5/BAC/CCC 5CM5A 55
2C 2/2CC/CCC 5CM2C 55

Pro%iciency and sa1in( thro! numbers are listed in the Table 6 to complete the
in%ormation %or le1el ad1ancementE I% a bard uses a !eapon !ith !hich he isn't pro%icient/
a +; attack roll penalty is incurredE
Table 6# *E>E* IMPR>EME-TS
Pro%E Sa1in( Thro!s
*e1el 2 -N2 PP0M RS2 PP B2 S
5 2 ; 5; 5< 52 5? 56
2 2 ; 5; 5< 52 5? 56
; 2 ; 5; 5< 52 5? 56
< ; < 5; 5< 52 5? 56
6 ; < 52 52 55 56 5;
? ; < 52 52 55 56 5;
@ ; < 52 52 55 56 5;
A < 6 52 52 55 56 5;
B < 6 55 5C 5C 5< 55
5C < 6 55 5C 5C 5< 55
55 < 6 55 5C 5C 5< 55
52 6 ? 55 5C 5C 5< 55
5; 6 ? 5C A B 5; B
5< 6 ? 5C A B 5; B
56 6 ? 5C A B 5; B
5? ? @ 5C A B 5; B
5@ ? @ B ? A 52 @
5A ? @ B ? A 52 @
5B ? @ B ? A 52 @
2C @ A B ? A 52 @
25 @ A A < < 55 6
Pro%iciency &bbre1iations#
2# 2eapon Pro%iciency slots
-N2# -on!eapon Pro%iciency slots
Sa1in( Thro! &bbre1iations#
PP0M# ParalyDation/ Poison/ or 0eath Ma(ic
RS2# Rod/ Sta%%/ or 2and
PP# Petri%ication or Polymorph
B2# Breath 2eapon
S# Spell
In addition to their many special abilities/ bards dabble in !iDardryE They (ain no
spells until 2nd le1el and they pro(ress throu(h the spell le1els slo!er than true !iDardsE
Ho!e1er/ they are 1ery adept learners/ so their castin( le1el is e.ual to their e4perience
le1elE Thus/ althou(h a bard (ains his %irst spell at 2nd le1el/ he casts that spell as a 2nd+
le1el spellcasterE 3or e4ample/ i% the 2nd+le1el bard memoriDed a((ect normal ('res/ it
!ould last %or %our rounds !hen cast Ft!o roundsNle1elGE
Table ?# SPE** PR'RESSI-
Bard Spell *e1el
*e1el 5 2 ; < 6 ?
5 ++ ++ ++ ++ ++ ++
2 5 ++ ++ ++ ++ ++
; 2 ++ ++ ++ ++ ++
< 2 5 ++ ++ ++ ++
6 ; 5 ++ ++ ++ ++
? ; 2 ++ ++ ++ ++
@ ; 2 5 ++ ++ ++
A ; ; 5 ++ ++ ++
B ; ; 2 ++ ++ ++
5C ; ; 2 5 ++ ++
55 ; ; ; 5 ++ ++
52 ; ; ; 2 ++ ++
5; ; ; ; 2 5 ++
5< ; ; ; ; 5 ++
56 ; ; ; ; 2 ++
5? < ; ; ; 2 5
5@ < < ; ; ; 5
5A < < < ; ; 2
5B < < < < ; 2
2C < < < < < ;
Besides 7ust dabblin( in !iDardry/ 5Cth+le1el bards ha1e the po!er%ul ability to
use any !ritten ma(ical item/ !hether it is a scroll/ book/ map/ or other !ritten %ormE
This skill is not limited by normal class restrictionsE Thus/ bards can use clerical scrolls/
!iDard scrolls/ and e1en ma(ical books restricted to other classesE
Since all bards are dabblers and not de1otees o% the ma(ical arts/ their
understandin( o% !ritten ma(ic is imper%ectE There is a 56L chance that they use the
!ork incorrectlyE The conse.uences o% incorrect use is up to the 0M/ but they are almost
certain to be unpleasantE FIt is common %or a bard's allies to %lee in panic !hen he be(ins
to read such itemsEG
Bards are most reno!ned %or their communication and entertainment talentsE To
enhance these skills/ they pick up a number o% thie% skillsE % course/ !hen times are
lean/ many bards ply these abilities in less+than+honorable mannersE
&ll %our o% these skills are treated as the e.ui1alent thie% skillsE Skill bases are
listed belo!E
Pick Detect Clib Rea!
Pockets -oise 2alls *an(ua(es
5CL 2CL 6CL 6L
The player also (ets 2C points to distribute amon( the %our skills at 5st le1el and
56 additional points e1ery time the bard ad1ances in le1elE I% these points are distributed
so as to (radually e.ualiDe the skills/ the bard mi(ht ad1ance each le1el as indicated on
Table AE
Table A# B&R0 &>ER&'E THIE3 S)I**S
Pick Detect Clib Rea!
*e1el Pockets -oise 2alls *an(E
5 5? 26 6; 55
2 2C 2A 6? 5?
; 2< ;; 6A 2C
< 2B ;? ?C 26
6 ;; <C ?; 2B
? ;@ << ?6 ;<
@ <5 <A ?A ;A
A <? 62 @C <2
B 6C 6? @2 <@
5C 6< 6B @6 62
55 6B ?; @@ 6?
52 ?; ?@ @B ?5
5; ?@ @5 A2 ?6
5< @5 @6 A< @C
56 @? @A A@ @<
5? AC A2 AB @B
5@ A< A? B5 A<
5B B; B< B6 B;
2C B6 B6 B6 B6

&s !ith all ro(ues/ a bard's thie% abilities are ad7usted by race/ 0e4terity/ and
armor !ornE
Table B# THIE3 S)I** &0,"STME-TS
Pick 0etect Climb Read
Race Pockets -oise 2alls *an(E
Human + + + +
Hal%+el% M5CL + + +
0!ar% + + +5CL +6L
El% M6L M6L + +
'nome + M6L + +
Hal%lin( M6L M6L +56L +6L
0e4terity &d7ustments
Pick 0etect Climb Read
0e4 Pockets -oise 2alls *an(E
B +56L + + +
5C +5CL + + +
55 +6L + + +
52 + + + +
5;+56 + + + +
5? + + + +
5@ M6L + + +
5A M5CL + + +
5B M56L + + +
)it &d7ustments
Pick Detect Clib Rea!
)it Pockets -oise 2alls *an(E
True Bard + + + +
Blade + M6L M6L +6L
Charlatan M6L + + M6L
'allant +26L + +6L M6L
'ypsy M5CL M6L +5CL +6L
Herald +6L M5CL +5CL M6L
,ester M5CL +6L + +5CL
,on(leur M6L + M56L +6L
*oremaster +6L M6L +5CL M56L
Meistersin(er +5CL M5CL + +5CL
Riddlemaster + M6L M6L M6L
Skald + M6L + +26L
Thespian M6L M6L + M6L
Pick Detect Clib Rea!
0emi+Bard Pockets -oise 2alls *an(E
0!ar% Chanter +6L + M6L +
El% Minstrel + + + +
'nome Pro%E +6L + + M5CL
Hal%E 2histler + M5CL + +
Type o% Pick 0etect Climb Read
&rmor Pockets -oise 2alls *an(E
-oneK M6L + M5CL +
*eather + + + +
Padded +;CL +5CL +;CL +
Studded *eath +;CL +5CL +;CL +
Rin( Mail +26L +5CL +26L +
Bri(andine +2CL +5CL +26L +
Scale Mail +26L +56L +<CL +
Hide &rmor +;CL +6L +;CL +
Chain Mail +26L +5CL +26L +
El1en Chain +2CL +6L +2CL +
KIncludes small ma(ical items/ such as rin(s/ bracers/ and cloaks/ but not lar(e or
bulky de1icesE
I% you compare these armor ad7ustments to the JE%%ects o% &rmor on Thie% SkillsJ
table in The Complete Th'e('s Handbook/ you see that bards ha1e a special ad1anta(e
!hen usin( rin( mail/ bri(andine/ scale mail/ hide armor/ and chain mailE Since bards
o%ten !ear such armor !hile thie1es do not/ bards are more com%ortable and %amiliar !ith
the !orkin(s o% these armor typesE Thus/ bards su%%er only about hal% the skill penalties
that thie1es su%%er i% !earin( the same armorE
I% your 0M allo!s a bard to put on any %orm o% armor normally disallo!ed to the
class Fas su((ested by certain kits/ %or purposes o% dis(uise/ out o% necessity/ or %or the
sake o% entertainmentG/ the penalties are identical to those %or a thie% in similar armorE
Table 5C# I**E'&* &RMR &0,"STME-T
A$o$ Pick %ea$ Clib Rea!
Type Pockets -oise 2alls *an(E
Splint Mail +<CL +26L +6CL +
Banded &rmor +6CL +;CL +BCL +
Plate Mail +@6L +6CL +B6L +
BronDe Plate +@6L +6CL +B6L +
3ield Plate +B6L +@CL +B6L +
3ull Plate +B6L +@CL +B6L +
&t Bth le1el/ bards attract 5Cd? C+le1el %ollo!ers !ho arri1e as soon as the bard
secures a stron(holdE
The abo1e in%ormation de%ines the standard bard character classE This core is
common to all bards no matter !hat settin(/ history/ personality/ or bard kit is usedE &s
such/ it does not include the special kit abilities or personality aspects that make a
character stand outE This type o% in%ormation is %ound in the chapter on character kits later
in this bookE
The e4perienced player !ill note that many o% the bard's special abilities listed in
the Player's Handbook are missin( in the abo1e treatmentE That is because the standard
bard/ as detailed in the Player's Handbook/ is considered a complete kit unto itsel%E It is
called the True Bard kitE This kit combines the core in%ormation abo1e !ith the kit
approach o% this book to de%ine the bard as it appears in the Player's Handbook E
'eneratin( &bility Scores
Chapter 5 o% the Player's Handbook presents si4 die rollin( methods %or
(eneratin( player charactersE &bility scores ha1e been pre+(enerated belo! that .uali%y
%or the bard usin( all si4 o% these methodsE The probability o% (eneratin( a .uali%yin(
bard !ith each method is also pro1idedE -ote that it is 1ery di%%icult to (enerate a bard by
the standard method Fmethod IGE nly by usin( one o% the alternati1e methods do you
ha1e a (ood chance to roll up a bardE
I% these alternati1e methods are used/ method >I !ill practically (uarantee a
.uali%yin( characterE Methods I> and > are also likely to succeedE &lthou(h methods II
and III are less likely to result in a .uali%yin( bard/ they are still better than method IE
Ho!e1er/ i% your 0M does not allo! %or these alternati1e methods/ do not bad(er himE
&%ter all/ it is his ri(ht to select the rules used in his campai(nE This !ill make the bard
much more special !hen a .uali%yin( character is %inally rolledE
Table 55#
Method I
Bard I Str 0e4 Con Int 2is Cha
5 5C 5; 55 5; 5C 56
2 55 5; 5< 5; 5< 5?
; B 5; 56 5; A 5?
< @ 52 ? 5? 55 56
6 52 5< A 5; ? 5@
? 55 52 55 5; @ 5?
Method II Falmost 6LG
Bard I Str 0e4 Con Int 2is Cha
5 52 56 5< 5? 5; 5?
2 5C 5; 5; 56 5? 56
; B 52 5; 5; 52 56
< 56 52 5< 5; 5< 56
6 5< 52 52 5; 55 5?
? B 5? 5@ 5< 5< 56
Method III Fsli(htly o1er 2BLG
Bard I ;d? Rolls
5 5@/ 5;/ 5;/ 5C/ B/ A
2 56/ 5</ 5;/ 55/ A/ ?
; 5@/ 5?/ 52/ 55/ B/ ?
< 5?/ 5</ 5</ 5;/ 52/ 55
6 5A/ 56/ 5;/ 5;/ 55/ 55
? 5?/ 5;/ 5;/ 5C/ A/ @
Method I> Fsli(htly under ??LG
Bard I Si4 Best ;d? Rolls
5 56/ 5</ 5</ 5;/ 55/ 55
2 5A/ 5?/ 5</ 5</ 5;/ 52
; 56/ 5</ 5</ 5;/ 55/ 55
< 56/ 56/ 5;/ 5;/ 5;/ 55
6 56/ 56/ 5</ 5;/ 52/ 55
? 56/ 5</ 5;/ 5;/ 5;/ 55
Method > Fsli(htly under @6LG
Bard I <d? Rolls/ 0rop *o! d?
5 5@/ 56/ 5</ 52/ 5C/ B
2 5@/ 5?/ 5;/ 5;/ 55/ 5C
; 5A/ 56/ 5;/ 5;/ 52/ 5C
< 5?/ 56/ 5;/ 52/ 52/ 5C
6 56/ 5</ 5;/ 55/ 5C/ B
? 56/ 5</ 52/ 55/ 55/ ?
Method >I Fsli(htly under BALG
Sample A Pts Per &bility/
Bard I &dd @d? &s 0esired
5 5?/ 5</ 52/ 55/ B/ B
2 5@/ 5</ 5;/ 55/ 5C/ A
; 5A/ 5;/ 5;/ 52/ 5C/ B
< 5@/ 56/ 5;/ 5;/ 55/ 5C
6 56/ 5</ 52/ 52/ B/ A
? 5?/ 5;/ 52/ 55/ 55/ B

&ll o% the abo1e statistics .uali%y %or a bard player characterE I% it is a(reeable to
you and your 0un(eon Master/ you may simply roll 5d? and consult any o% the abo1e
tables your 0M allo!s %or a .uick !ay to (enerate your bard's ability scoresE I% your 0M
allo!s all si4 methods/ you can e1en roll a %irst d? to select the table/ then a second d? to
select the actual ability scoresE
Method I and II re.uire ability scores to be recorded in the order rolledE This has
been done %or youE Since methods III and up allo! the player to assi(n the scores as
desired/ these scores ha1e been or(aniDed %rom hi(h to lo! %or your con1enienceE Method
>I is unusualE E1ery ability starts !ith a base score o% AE The player then rolls @d? and
adds the results to the base A in any order or combinationE Ho!e1er/ the %ull count o% a
die must be added entirely to one abilityE I% this causes the ability to raise abo1e 5A/ then
the die cannot be used on that abilityE
Chapter 2# Bard )its
)its can be thou(ht o% as subclasses o% the bard character classE They all represent
bard characters/ but each is uni.ue enou(h to !arrant indi1idual treatment by those
players !ho en7oy e4aminin( the %iner points o% the bard classE
&ll o% the bard kits are set up the same !ayE There are ten possible subsections to
each kit that %lesh out the kit and delineate its uni.ue aspectsE The details o% these
subsections are described belo!E
I% the !ord JStandardJ is listed under any subsection/ it means that the
in%ormation that !ould normally (o in that section is identical to the standard in%ormation
%or the True BardE &ctually/ e1ery kit's subsections should be thou(ht o% as ha1in( the
JStandardJ de%aultE I% any .uestion e1er arises as to the limits or e4tensions o% a kit/ the
True Bard kit should be consultedE
)it Subsections
Specialty# That kit's entertainment %ormE
$uali%ications# $uali%ications !ill limit or e4tend allo!ed race/ ali(nment/ and
ability scores %or the particular kitE
Introduction# This section presents a color%ul/ %irst+person e4ample o% the kitE
*isten to the -PC as he chats !ith you about himsel% and his kindE
0escription# This section describes the kit and distin(uishes this particular type o%
bard %rom the othersE
Role# Role e4plains the role that this type o% bard plays !ithin a party and in
society as a !holeE
Secondary Skills# Secondary skills is an optional rule %ound in Chapter 6 o% the
Player's HandbookE I% this rule is used/ only skills listed in this subsection o% the kit can
be selected by characters !ho adopt this kitE
2eapon Pro%iciencies# & character can become pro%icient only in the !eapons
listed in this subsectionE
-on!eapon Pro%iciencies# &lthou(h non!eapon pro%iciencies are an optional
rule/ it is stron(ly recommended that they be used i% bard kits are allo!ed into the (ameE
They ha1e been care%ully selected to (i1e each kit a uni.ue %eelE
Bonuses) Each bard kit has %our bonus pro%icienciesE These pro%iciencies are
(ained !ithout e4pendin( any pro%iciency slotsE It is stron(ly su((ested that at least hal%
o% a bard's pro%iciency slots be spent in one o% three !ays# (ainin( pro%iciencies %rom
amon( those on the JSu((estedJ list/ (ainin( additional topics Fsee the chapter on
pro%icienciesG to pro%iciencies on the Bonus or Su((ested lists/ or in impro1in(
pro%iciencies on either listE
&rmorNE.uipment# &rmor restrictions or e4tensions are listed hereE Sometimes
special comments !ill be made about e.uipment/ such as typical dress/ identi%yin(
colors/ special tools/ and so onE
Special Bene%its# Each bard kit has %our special bene%itsE These bene%its set the kit
o%% %rom all other character classes and kitsE The character should take on a di%%erent role+
playin( %eel because o% the kit's descripti1e in%ormationE
Special Hindrances# Special hindrances or limitations are placed on certain kitsE
Hindrances are listed here only i% they do not %all into any subsection listed earlierE
-otes# n rare occasions/ this subsection is used to list special notes that don't %it
into any o% the earlier subsectionsE
*ist o% )its
&ll o% the bard kits are listed on the %ollo!in( pa(esE The %irst kit is that o% the
True Bard/ as presented in the Player's HandbookE This kit establishes a base %rom !hich
all the other kits are builtE The other kits are arran(ed in alphabetical orderE & section on
multi+classed bards %ollo!sE It contains an additional %our kits/ but these are restricted to
True Bard
Specialty# ,ack+o%+all+tradesE
$uali%ications# Standard ability scores F0e4terity o% 52/ Intelli(ence o% 5;/ and
Charisma o% 56GE
Introduction# This is a typical bard ri(ht out o% the Player's HandbookE -o
introductions are neededE
0escription# Bards are described in the Player's Handbook. They are the epitome
o% the 7ack+o%+all+trades/ able to !ield all !eapons/ don most types o% armor/ cast a (ood
number o% !iDard spells/ and employ %our o% the ei(ht thie% skillsE Bards are 1ery
1ersatile/ but they are masters o% no cra%tE
&s !ith all bards/ True Bards are entertainersE They can sin(/ play instruments/
create and recite poetry/ and spin tall talesE In %act/ a bard's skill at these art %orms is such
that he can inspire and rally allies and e1en ne(ate the e%%ects o% hostile son(s and soundsE
Bards are al!ays able to read and !rite their nati1e lan(ua(eE They kno! much
about local history/ and they can relate le(ends pertainin( to many o% the po!er%ul
ma(ical items they encounter in their tra1elsE
Bards are tremendous listeners/ readers/ and searchersE They ea(erly listen to any
ne!s and stories that %olk are !illin( to tellE I% there's anythin( a1ailable %or a bard to
learn/ he'll learn it as soon as he canE
Role# Bards are e4cellent characters to play in small (amin( (roupsE Their 1aried
skills enable them to %ill in %or many more+specialiDed charactersE 3or e4ample/ a bard
could ser1e as a small (roup's !iDard and thie%E They are (reat sur1i1alists/ as they can
almost al!ays %ind some skill to help them out o% any predicament they %all intoE
Secondary Skills# True Bards may select any secondary skillE
2eapon Pro%iciencies# Bards are unrestricted as to !eaponry/ but they rarely carry
around bulky !eapons/ e1en i% they are pro%icient !ith themE & bard seen carryin( a t!o+
handed s!ord or halberd is likely to arouse suspicions about his intentionsE & bard !ith
an ele(ant bo! across his back/ ho!e1er/ does not dra! as much attentionE & %inely
cra%ted !eapon e1en adds a touch o% class to the bard's appearanceE
-on!eapon Pro%iciencies# Bonuses) Sin(in(/ Musical Instrument/
Readin(N2ritin( Fnati1e ton(ueG/ *ocal HistoryE
ther pro%iciencies may be selected as desiredE 3or e1ery additional pro%iciency
slot spent in the musical instrument pro%iciency/ bards not only increase their ability/ but
they also (ain the use o% t!o more instrumentsE & bard initially kno!s ho! to play one
instrument Fo% the player's choosin(GE I% a second pro%iciency slot is used %or musical
instruments/ the bard can no! accompany himsel% on three instrumentsE
&rmorNE.uipment# The bard can use any !eaponE He can !ear any armor up to/
and includin(/ chain mail/ but he cannot use a shieldE True Bards (enerally !ear bri(ht/
cheer%ul colors/ sometimes !earin( plumed hats to complete the ensembleE Their
instruments/ clothin(/ and other e.uipment are all kept in top conditionE
Special Bene%its# *n(luence &eact'ons) 2hen per%ormin( %or an audience/ the
bard can attempt to alter the mood o% his listenersE Such an audience must not be
attackin( or preparin( %or an immediate attackE The bard must be sin(in(/ chantin(/
spinnin( a tale/ recitin( a po!er%ul oratory/ or playin( a tune on an instrument !ith !hich
he is pro%icientE The intended e%%ect o% the per%ormance is determined by the bard's
playerH he may !ant to make the audience %riendlier or more hostile/ %or instanceE &%ter a
len(th o% time F5d5C rounds is su((estedG/ all -PCs able to hear the per%ormance
Fre(ardless o% !hether or not they are payin( attentionG must roll a sa1in( thro! 1sE
paralyDationE 3or small (roups/ roll indi1idual sa1in( thro!sE 3or lar(e (roups/ the 0M
may split the audience into (roups o% ten or so and roll a separate sa1in( thro! %or each
(roupE There is a +5 penalty to the sa1in( thro! %or e1ery three le1els o% e4perience o% the
bardE Those %ailin( the roll ha1e their reactions ad7usted one le1el F%rom %riendly to
indi%%erent/ %or e4ampleG in the desired directionOconsult Table 6B# Encounter Reactions/
in the DM!E Those !hose sa1in( thro!s succeed ha1e their reactions ad7usted one le1el
in the direction opposite %rom that intended by the bardE
&ally $ll'es) To use this ability/ the bard must kno! the nature o% the upcomin(
combatE & bard can't rally allies i% there is no ob1ious opponentE Rallyin( allies is done is
much the same manner as in%luencin( reactionsE The bard sin(s heroic son(s or !ea1es
inspirin( tales about ho! his comrades !ill o1ercome their %oes and !in the dayE Such
heroic recitals al!ays take at least three rounds/ and the audience must be in close
pro4imity to the bard %or the e%%ects to occur F!ithin a 5C+%oot radius per le1el o% the
bardGE 2hen complete/ all the a%%ected allies automatically recei1e one o% the %ollo!in(
three bene%its Fas decided by the bard's playerG# M5 to attack rolls/ M5 to sa1in( thro!s/ or
M2 to moraleE The chosen e%%ect lasts one round per le1el o% the bardE The e%%ects can be
rene!ed by the bard/ e1en durin( the same encounter/ but combatants ha1e to return to
!ithin the bard's radius and listen to his tales %or another three roundsE It is impossible to
rally allies !ho are acti1ely battlin( opponentsE
-ote that the bene%it applies only to the speci%ic encounter that the bard sin(s
aboutE It does not apply to a ran(er !ho hears the tale/ rides o%% on his horse to !arn the
rear (uard/ and is then ambushed by !anderin( banditsE
Counter %ong) &nother po!er%ul use o% story/ son(/ or tale !hen 1oiced by a bard
is that o% counter son(E This is the intricate art o% cancelin( the e%%ects o% hostile sound/
!hether it be son(s/ chants/ !ails/ or e1en commands and su((estions %rom ma(ical
spellsE In order to sin( the proper counter son( or chant the proper counter poem/ a bard
must concentrate intenselyE He may per%orm no additional actions other than a slo! Fhal%
speedG !alkE I% he is struck by an attack or %ails a sa1in( thro!/ his attempt is ruinedE The
e4ertion is such that only one counter son( may be attempted per encounter or battleE
Success o% the counter son( is realiDed only i% the bard rolls a success%ul sa1in(
thro! 1sE spellE I% this is success%ul/ the hostile sounds ha1e no e%%ects !ithin ;C %eet o%
the bardE I% the sa1in( thro! %ails/ the bard's attempt is %ruitless and the hostile sounds
ha1e their standard e%%ects Fapplicable sa1in( thro!s and other de%enses still applyGE
Counter sin(in( does not pre1ent hostile spellcasters %rom readin( scrolls/ usin(
ma(ical item command !ords/ or castin( spells Fe1en spells !ith 1erbal componentsGE
Counter sin(in( does pre1ent all other hostile sounds %rom %unctionin(/ includin( spell
e%%ects that re.uire the caster to speak FeE(E/ command, +uest, suggest'on, tongues/ etcEGE
,egend ,ore) ne o% the most use%ul abilities o% the bard is his kno!led(e o%
%amous ma(ical items and uncanny knack %or %i(urin( out ho! they %unctionE To per%orm
le(end lore/ the bard must scrutiniDe the item closelyE This does not necessarily re.uire
actually handlin( the item/ but it must be %ully 1isible to the bardE
Scrutiny takes 5d5C rounds/ a%ter !hich a percentile roll is madeE The bard has a
6L chance per le1el o% kno!in( somethin( about the itemE The e4act in%ormation
re1ealed is up to the 0ME The bard dra!s upon history/ rumors/ and clues based on the
item's construction to (ain this in%ormationE Typical in%ormation re1ealed includes the
item's history/ maker/ name/ and other less technical aspectsE In%ormation such as the
number o% pluses/ e4act command !ords/ etcE/ are rarely learnedE This type o% speci%ic
in%ormation is le%t %or spells/ such as 'dent'(y, commune, l'm'ted w'sh/ and so onE
& (ood optional rule is to (i1e some 1ery speci%ic in%ormation to the bard player
i% the roll is e.ual to or less than the bard's le1elE 3urthermore/ i% the roll is C5/ the bard
should kno! almost e1erythin( there is to kno! about the itemE
I% the 0M allo!s it/ the %ollo!in( table may be used as a %ast optional method to
determine !hat is kno!n about an item that !as success%ully e4amined by a bardE To use
this table/ the bard must %irst succeed !ith the le(end lore percentile rollE I% this roll
succeeds/ the player should roll on the %ollo!in( table once per le1el o% the bardE Results
that come up more than once are not rerolledH the bard simply kno!s a lot about this
aspect o% the itemE &%ter rollin(/ (i1e the 0M some time to come up !ith a suitable
back(round and historyE 3e! items are detailed !ith this type o% in%ormationE &%ter all/
bards tend to be more curious about the le(ends and lore that lie behind an item's po!ers
than most othersE
Table 52# *E'E-0 *RE RES"*TS
;d? Roll In%ormation 'ained
; Ho! many char(esNuses le%t
< 2hether item is intelli(ent
6 2hether items is cursedNe1il
? >alue on the open market
@ -ame
A 3amous past o!ners
B &(e o% item
5C 2hat race created it
55 2here it !as made
52 2ho cra%ted it
5; &li(nment o% o!ners
5< 2ho can use it
56 'eneral e%%ects
5? Ho! to acti1ate it
5@ Item type Fas per DM! G
5A *et player read DM! entry

S&ecial %in!$ances' -oneE

S&ecialt(' &ssassinNSpyN2eapon MasterE
)*alifications' Blades must ha1e a 0e4terity o% 5; or more/ an Intelli(ence o% at
least 5;/ and a Charisma o% 56 or moreE
+nt$o!*ction' %o you want to know about Blades, eh- .ell, keep out o( the way
and * can show you about mysel( and those l'ke me. My name's Dark and *'m a Blade. *
take my name (rom the black garb that * wear at all t'mes. *'m actually not e/cept'onal 'n
th's, as all Blades dress 'n dark cloth'ng. But the name has stuck, and * l'ke 't.
* currently work (or a small carn'0al that tra0els around the m'd12lanaess,
enterta'n'ng the local crowds and thr'll'ng the women. My tr'cks are s'm'lar to those o(
most Blades. * per(orm sword dances, swallow sabers, put on weapon d'splays, and
per(orm (eats o( kn'(e throw'ng. Most crowds are espec'ally enthralled when * strap
Tatanna, a young1look'ng el( ma'den, to a wooden plank, bl'nd(old mysel(, step back 34
paces, then enc'rcle her body 'n a wall o( kn'0es.
"nterta'n'ng (ools 's only my sur(ace career. #n the last day o( a per(ormance, a
hal( do5en o( my (ellow per(ormers and * stage the real enterta'nment1at least (rom my
po'nt o( 0'ew. .e sl'p 'nto the upper class sect'on o( town and rel'e0e some pompous
wealthy dupe o( h's (am'ly (ortune.
$lthough these 6s'de shows6 are 0ery pro('table, they st'll don't g'0e me the old
thr'll that * used to get. Thus, *'0e turned to a more dar'ng hobby1assass'nat'on. *'m not a
6Blade (or h're,6 and * absolutely hate those m'ndless, ruthless k'llers. .hat * do 's (eel
out a town to d'sco0er who's oppress'ng the populace the most. #nce *'0e (ound the
b'ggest bully 'n town, * sl'p 'nto h's res'dence, spy on h'm, and plan h's unt'mely dem'se.
Then * per(orm my greatest solo act. * sl'p 'nto the (ellow's bedroom, po'son h'm, cast
sound bubble, wake h'm, and then share 'n h's last (ew moments o( l'(e.
Desc$i&tion' Blades are master artisans !ith bladed !eaponsE E1eryone has seen
a Blade in action at %airs and carni1alsE They are the kni%e thro!ers !ho pop balloons
!hile blind%olded and s!allo! slender sabers such as those used by la!less pirates on the
hi(h seasE
Blades also per%orm amaDin( displays o% !eapon skill and control as they %lash
1arious !eapons all about their bodies !ith deadly precisionE riental Blades are perhaps
the most skilled at this particular art %ormE "sin( !eapons such as the three+piece rod/
nunchaku/ or the katana/ riental Blades put on amaDin( displays o% rapid !eapon
mo1ement/ includin( o%%ensi1e and de%ensi1e spins/ katas/ and ritual dancesE ccidental
Blades are also impressi1e/ as they rapidly spin short s!ords/ .uartersta1es/ or sickles
about themE
Besides rapid displays o% !eapon skill/ Blades also per%orm slo!/ ele(ant dances/
in1ol1in( incredibly precise mo1ement and timin(E These dances include thrusts/ lun(es/
leaps/ (race%ul arcs/ etcE
I% there is a sho!y !ay to !ield/ thro!/ or per%orm !ith a !eapon/ a Blade kno!s
ho! to do it better than anyoneE
Role' Blades ha1e (reat reputations as the most deadly !eapon masters in the
landE This is (enerally %ar %rom the truthE &ny !arrior is more skilled than most Blades at
success%ully attackin( opponentsE Blades don't understand o%%ensi1e and de%ensi1e
!eapon maneu1ers/ nor do they kno! the locations o% 1ital body partsE Blades can be
e%%ecti1e in many combat situations/ ho!e1er/ as they use %lash and %lare to enhance their
Ima(ine !hat an orc !ould think i% it !as trapped in a ca1ern !ith only t!o e4its
and a man blockin( eachE ne man Fa !arriorG !ears plate mail and is calmly holdin( a
lon( s!ordH the other Fa BladeG is dressed in solid black studded leather armor and is
(raspin( a halberdE Both men ad1ance upon the hapless orc/ but the Blade be(ins rotatin(
his halberd in an e1er+.uickenin( o%%ensi1e spin/ demonstratin( master%ul control o% his
!eaponE 2hich opponent !ill the orc chooseP
Blades are 1aluable aids to any party/ as their amaDin( displays can ha1e
si(ni%icant e%%ects upon the resol1e and morale o% opponentsE
3or e1ery Blade !ho leads an ad1enturous li%e/ there is another !ho ser1es in the
role o% assassinE Blades make per%ect killers/ as they kno! ho! to climb !alls/ cast
!iDard spells/ and use any !eapon they chooseE 3urthermore/ Blades can use their
per%ormin( personae to (ather in%ormation and e1en (et themsel1es in1ited to per%orm
!ithin the homes o% their 1ictimsE
Secon!a$( Skills' &rmorer/ Bo!yerN3letcher/ 'ambler/ 2eaponsmithE
Wea&on P$oficiencies' &t least hal% o% a Blade's !eapon pro%iciency slots must
be selected %rom the %ollo!in(# s!ord FanyG/ da((er/ kni%eE Blades are also limited to
e4pendin( but one slot on a purely missile !eapon Fone that cannot be used in melee
combatGE This does not include such !eapons as spears or hand a4es/ !hich can be
thro!n or used in meleeE
Non,ea&on P$oficiencies' Bonuses) Readin(N2ritin( Fnati1e ton(ueG/ *ocal
History/ Blind+%i(htin(/ ,u((lin(E %uggested) Blacksmithin(/ Bo!yerN3letcher/ 0is(uise/
Poetry/ 2eaponsmithin(E
A$o$-E.*i&ent' To complement their entertainment ima(e as mysterious and
%earsome men/ Blades o%ten dress in black (arb/ e1en (oin( so %ar as to !ear masks/
%acial !raps/ or black head(earE Their !eapons are al!ays kept in per%ect condition and
hi(hly polished %or ma4imum e%%ect durin( a per%ormanceE & man dressed in solid black/
%lashin( (leamin( sil1er blades/ is truly an a!esome si(htE
S&ecial #enefits'
.eapons D'splay) 3or this ability to ha1e an e%%ect/ the Blade must !hirl a non+
missile !eapon about his bodyE The obser1er must be close enou(h to the Blade to see the
display Fe.g., a darkness spell ne(ates the e%%ectGE The display has no e%%ect upon those
already en(a(ed in close combat/ as they are too busy to pay attention to the sho!E &lso/
2eapons 0isplay !orks only on those o% *o! F6G or better Intelli(ence/ !ho can either
use !eapons or ha1e seen them usedE FIt is impossible to impress (reen slime by t!irlin(
a da((er in your %in(ersEG *ike!ise/ a hi(hly intelli(ent creature that has ne1er seen a
!eapon used !ill also be unintimidated by the Blade's displayE
By !hirlin( a melee or hurled !eapon about/ a Blade can a%%ect the morale and
coura(e o% othersE Such a display o% skill/ precision/ and deadly (race lo!ers opponents'
morale by 2 Fbut it does not re.uire an immediate morale checkG and inspires allies/
(i1in( a M5 bonus to allies' attack rollsE
The display must occur %or a %ull round !ithout interruptionE 0urin( this time/ any
success%ul attack upon the Blade/ or %ailed sa1in( thro! by the Blade/ disrupts the
2eapons 0isplay may be used only once per encounterH the display lasts %or one
round per le1el o% the BladeE
This ability re.uires a lot o% roomH it cannot be done in a narro! corridorE
Speci%ically/ the Blade must be able to stand !ith his arms e4tended !hile holdin( out the
!eapon and be able to mo1e his arms in all directions !ithout contactin( any
Handle .eapon) Blades train and per%orm !ith !eapons in both handsE &lthou(h
all thie1es are allo!ed to attack !ith t!o !eapons Fsee Chapter B o% the PHBG/ Blades
su%%er no penalty to their main !eapon and only a +2 penalty to the attack roll !ith their
secondary !eaponE
Blades are considered to be ambide4trousE They can shoot a bo! e.ually !ell
!ith either their le%t or ri(ht hand/ they can !ield a s!ord in either hand/ and they can
thro! da((ers !ith either hand+all !ith no penaltiesE
2hen a Blade tries to catch small !eapons that are thro!n at him/ the attack roll
Fsee the 7u((lin( pro%iciencyG is made usin( the Blade's le1el as a bonusE
Tr'ck Throw) &lthou(h this ability is called Jtrick thro!/J it %unctions the same %or
both missile !eapons and hurled !eaponsE Trick thro! enables a Blade to per%orm called
shots Fas per Chapter B in the DM!GE The usual +< attack roll penalty is lessened by 5 %or
e1ery %i1e e4perience le1els o% the Blade Fround %ractions upGE Thus 5st+ throu(h 6th+le1el
Blades su%%er only a +; penalty/ ?th+ throu(h 5Cth+le1el Blades su%%er only a +2 penalty/
and so onE
Because Blades thro! !eapons blind%olded/ they e4tend the blind+%i(htin(
pro%iciency to include hurled !eapons and missile !eapons Fto a ma4imum ran(e o% ;C
De(ens'0e7#((ens'0e %p'n) 0e%ensi1e and o%%ensi1e spins are elements o% a (ood
!eapon displayE They ha1e other uses as !ellE
& de%ensi1e spin is a specialiDed %orm o% parryin( Fsee Chapter B o% the PHB G in
!hich the Blade !hirls his !eapon to create a deadly shell about his bodyE & Blade may
not attack durin( any round in !hich he is per%ormin( a de%ensi1e spinE The Blade's
&rmor Class is lo!ered by hal% the Blade's le1el Fround %ractions upG durin( this
maneu1erE In addition/ any creature that makes a melee attack on the Blade must roll a
success%ul sa1in( thro! 1sE paralyDation or su%%er dama(e e.ual to hal% the Blade's le1el
Fround %ractions upH the dama(e is limited to the !eapon's ma4imum dama(e/ includin(
any bonuses o% the !eaponGE & de%ensi1e spin may be used only once per combatH it lasts
%or a ma4imum number o% rounds e.ual to the Blade's ConstitutionE & success%ul hit upon
the Blade disrupts his concentration and ends the de%ensi1e spinE
&n o%%ensi1e spin is a much more threatenin( maneu1erE The Blade creates a
%earsome+lookin( display o% skill directed at a speci%ic opponentE The spin must last %or
the entire round/ durin( !hich the Blade does not attack Fnor does he recei1e any &rmor
Class ad7ustment/ as he !ould %or a de%ensi1e spinGE n the ne4t round/ the Blade makes
a normal attack rollE I% this hits/ the 1ictim must roll a success%ul morale check or it !ill
try to stay at least ten %eet %rom the Blade F(oin( o%% to attack other members o% the
Blade's party or %leein( in terror i% the Blade is the only a1ailable opponentGE %%ensi1e
spins may be attempted only once on a particular creatureE 3urthermore/ the Blade cannot
ha1e been dama(ed by that creature prior to the o%%ensi1e spin attack Fa creature !on't
%ear someone it has already in7uredGE This is a di%%icult condition to %ul%ill/ as the creature
(ets a %ree round to attack !hile the Blade is the %irst round o% the o%%ensi1e spinE
%%ensi1e spins %unction only a(ainst creatures o% *o! F6G or better Intelli(enceE
I% the Blade's spin is interrupted Feither 1oluntarily or by a success%ul attackG/ the
Blade does not (et an attack that roundE
S&ecial %in!$ances' "nlike many other bards/ Blades do not (ain the 5Cth+le1el
ability to use all %orms o% !ritten ma(ical itemsE Blades study !eapons/ not scrolls/ maps/
and booksE
Notes' &lthou(h Blades do not recei1e a sin(le bonus to dama(e or attack rolls/
and they %i(ht as ro(ues/ they are still some o% the %lashiest combatants you'll e1er meet
or playE
S&ecialt(' TricksterNCon &rtistE
)*alifications' Standard ability scoresE Charlatans li1e o%% the %at o% the land/
bendin( all the rules and hoppin( throu(h loopholes in the la!E It is completely a(ainst
the personality o% the Charlatan to be la!%ulE Charlatans are limited to -'/ -/ -E/ or C-
ali(nmentsE 'nomes may become Charlatans and ad1ance up to ?th le1elE
+nt$o!*ction' My real name 's T'el, but most o( the (ools who (all 'nto my traps
call me Tor'. * know e/actly how to get what * want (rom others. "spec'ally those who are
o0ercon('dent, weak, or emot'onal.
People o(ten bel'e0e what they want to bel'e0e, and * take ad0antage o( th's. *
know how to sw'ndle these s'mple1m'nded (ools and make them (eel good about 't.
* ha0e many d'sgu'ses w'th wh'ch to cloak my act'0't'es. My (a0or'te 's that o( a
cler'c o( Tyr. #( course, none o( my ruses has e0er been unco0ered, and 't's a good th'ng.
There's a say'ng) 6There are two types o( Charlatans1those who are good and those who
are dead.6
* usually don't stay 'n one place (or 0ery long8 't's not sa(e. By the t'me the poor
(ool *'0e tr'cked has ('gured out what happened, *'m long gone.
#nce, * agreed to watch o0er the castle o( a good 6(r'end,6 the rapac'ous %'r 9ohn
o( Canters, wh'le he went o(( on a +uest. * sold the castle and made o(( w'th all the loot
be(ore he returned. 2or now, * am per(orm'ng sle'ght1o(1hand tr'cks (or mere pocket
co'ns unt'l * meet another 6(r'end.6 Perhaps tomorrow * w'll be a power(ul mage or a
war hero.
* thr'0e 'n c't'es and towns where 0'ct'ms are plent'(ul and easy to man'pulate.
,ately, * ha0e been cons'der'ng the poss'b'l'ty o( pos'ng as a th'e(. .hy- %o * can
accompany a party o( ad0entures 'n a +uest and collect my 6share6 o( the treasure.
Desc$i&tion' Charlatans are masters at manipulatin( peopleE "sin( their hi(h
Intelli(ence and understandin( o% human nature/ Charlatans prey upon the %oolish/
o1ercon%ident/ and (reedy people around themE
Charlatans o%ten seem bold and boisterous/ but they al!ays maintain sel%+controlE
The pro%ession o% s!indlin( others and makin( them %eel (ood about it is an a(e+old
practice and none are better at it than CharlatansE
The Charlatan's pro%ession has its do!nside/ tooE 2hen a Charlatan's %acade is
pierced/ he is in (ra1e dan(er/ %or no one likes to be connedE Then the Charlatan's .uick
%eet may ser1e him better than his .uick !itE
Role' Charlatans are !anderersE They (o %rom to!n to to!n/ s!itchin( %rom one
identity to another/ al!ays a step ahead o% the last person they s!indledE In lar(e cities/
Charlatans may be able to li1e out most o% their li1es mo1in( %rom one .uarter to the
ne4tE 2hen times are tou(h and no (reat con comes to mind/ Charlatans sometimes
per%orm slei(ht+o%+hand tricks 7ust to (et byE Charlatans also ha1e a knack %or ac.uirin(
7obs that allo! them to blu%% their !ay throu(h each dayE Charlatans can sometimes be
%ound mas.ueradin( as priests/ healers/ sa(es/ diplomats/ po!er%ul ma(es/ and retired
&s player characters/ Charlatans are most use%ul in to!n+based campai(ns or
!hen tra1elin( across inhabited countryE Their talents o%ten support the entire party !ith
%ood/ shelter/ and minor lu4uriesE "n%ortunately/ many o% their talents ha1e little use
!hen e4plorin( ruins or !ilderness areasE Ho!e1er/ they o%ten pose as !iDards/ !arriors/
thie1es/ and sometimes e1en priestsE &s -PCs/ Charlatans really come into their o!nE
Secon!a$( Skills' Charlatans can ha1e any secondary skillE Ho!e1er/ !ell o1er
hal% o% all Charlatans are (amblers/ 7e!elers/ or limnerNpainters/ %or these skills help %ill
their coin purses in lean timesE
Wea&on P$oficiencies' Charlatans must take da((er/ short s!ord/ or lon( s!ord
as one o% their initial !eapon pro%iciencies/ as these !eapons are used in so many roles
that they shouldn't be passed o1erE &t least e1ery second !eapon pro%iciency (ained must
be one o% these three until they are all selectedE
& Charlatan selects the rest o% his !eapons to %ill the needs o% 1arious rolesE 3or
e4ample/ i% Charlatan decides to mas.uerade as a po!er%ul !arrior/ he arms himsel% !ith
a hea1y combat !eapon Fa t!o+handed s!ord/ polearm/ lon( bo!/ or a battle a4eG and
spends a pro%iciency slot learnin( itE This !ay he can appear to be a skilled and tou(h
%i(hterE The Charlatan al!ays uses his pro%icient !eapon in dire situationsE I% an
encounter is less threatenin(/ the Charlatan uses one o% the other !eapons so as to appear
to be a !ell+rounded %i(hter Fthe +; non+pro%iciency penalty is easier to hide !hen
attackin( monsters !ith poor &rmor ClassesGE
Non,ea&on P$oficiencies' Bonuses) &ctin(/ 0is(uise/ 3or(ery/ 'amin(E
%uggested) &ppraisin(/ &strolo(y/ Healin(/ Herbalism/ ,u((lin(/ Readin( *ips/ Reli(ion/
Rope "se/ Sin(in(/ >entrilo.uismE
A$o$-E.*i&ent' & Charlatan is allo!ed to !ear any type o% armor i% a role
re.uires itE Thus/ a Charlatan mas.ueradin( as a paladin can !ear plate mail and carry a
shieldE But a Charlatan is a %inesse characterH hea1y/ bulky armor (oes a(ainst the (rain
o% his personalityE -o Charlatan !ill maintain a role that re.uires him to !ear non+bard
armor %or more than a %e! !eeksE
S&ecial #enefits'
Charm) Charlatans are a!are o% their uni.ue charm and %lairE They ha1e learned
to use this (i%t to s!ay the reactions o% othersE Ho!e1er/ such charm must be care%ully
tailored to a speci%ic audienceE Charlatans can a%%ect only a small (roup o% people/ no
lar(er in number than their current le1elE
To be charmed/ a (roup must be in a1era(e to hi(h spiritsE F8ou can't charm a
merchant !ho's 7ust been robbedEG The Charlatan must min(le amon( the intended (roup
and chat %or at least 5d5C roundsE &%ter this time/ those in the (roup roll a sa1in( thro!
1sE paralyDation !ith a penalty o% +5 per three le1els o% the CharlatanE Those !ho succeed
are unimpressed !ith the Charlatan and may e1en %ind him to be an irritationE I% they
succeed on a natural 2C/ they see throu(h the Charlatan's %acadeE
Those !ho %ail ha1e been cau(ht up in the Charlatan's tales and %ind him to be a
most remarkable personE The e%%ects o% the charm are identical to the !iDard spell o% the
same nameE Ho!e1er/ it is not ma(ical in any !ay/ and %uture sa1in( thro!s are not made
based on Intelli(ence and timeE Rather/ e1ery time the Charlatan stresses the relationship+
by callin( %or a %a1or/ or re.uestin( delicate in%ormation+the paralyDation sa1in( thro! is
rerolledE The 0M can (i1e bonuses or penalties dependin( on ho! much stress the
re.uest puts on the relationshipE
Mas+uerade) The ability o% mas.ueradin( re.uires much study/ time/ and e%%ort
on the part o% the CharlatanE This enables a Charlatan to appear to ha1e a speci%ic skillE
This is not a dis(uise/ as the pro%iciency o% that nameE Rather/ it is the ability to appear
pro%icient at the chosen skillE The character picks up the lan(ua(e F'buDD !ords'G/
pro%essional mannerisms/ and (eneral techni.ues to help him in his endea1orE
"nlike the True Bard/ the Charlatan only appears to be a 7ack+o%+all tradesE He
does not study skills to use them/ but %or the sake o% connin( others into belie1in( he has
The use o% this ability is resol1ed by the 0M in much the same manner as an
illusion spellE I% the per%ormance is not o1erly suspicious and the characters !atchin(
ha1e no reason to disbelie1e the bard's ability/ then the attempt appears (enuineE
ther!ise/ a sa1in( thro! 1sE paralyDation is rolled !ith a +5 penalty per three le1els o%
the CharlatanE Those !ho succeed realiDe that the Charlatan is a %raudE
& Charlatan can use his mas.uerade ability to %ake any non!eapon pro%iciency or
secondary skillE 3urthermore/ i% the Charlatan rolls a success%ul Intelli(ence check !ith a
+5C penalty/ he actually %unctions as i% he really kno!s the skill or pro%iciency F%or this
one check onlyGE Thus/ a Charlatan can actually succeed 7ust enou(h to keep skeptics
3or e4ample/ i% Tiel is mas.ueradin( as a cleric/ she can claim to kno! the
healin( pro%iciency e1en thou(h she doesn't really ha1e itE "nless those she heals are
suspicious/ they !ill belie1e that the attempts are (enuine Fi% they are suspicious/ roll as
described t!o para(raphs prior to this oneGE 3irst Tiel's player rolls an Intelli(ence check
!ith a +5C penaltyE I% that roll succeeds/ she ne4t rolls a healin( pro%iciency checkE I%
this check also succeeds/ the patient is healed o% 5d; points o% dama(eE I% the Intelli(ence
check %ails/ e1eryone !atchin( rolls a sa1in( thro! 1sE paralyDation F!ith a +5 penalty per
three le1els o% the CharlatanG to notice that the Charlatan is a %raudE I% the Intelli(ence
check succeeds but the healin( check %ails/ the patient and onlookers notice only that a
1alid attempt !as made but it 7ust didn't helpE
Each time Tiel mas.uerades as a healer/ an Intelli(ence check is rolled !ith a +5C
penaltyE I% the check succeeds/ a success%ul healin( pro%iciency check !ill actually heal
5d; points o% dama(eE
Detect 2akery) Because Charlatans are so skilled at %akin( their personalities/
lyin(/ and concealin( their %eelin(s and reactions/ they can see ri(ht throu(h %alse
personae and 1erbal trickery !hen others attempt themE &s the old sayin( (oes/ J8ou
can't con a con manEJ &ny time a Charlatan player re.uests it/ he can try to determine i%
someone is lyin(/ operatin( under %alse pretenses Fincludin( a mas.ueradeG/ or s!indlin(
himE & Charisma check is rolledE Success means the Charlatan realiDes the deceptionE
3urthermore/ a Charisma check !ith a +5C penalty enables the Charlatan to
determine a person's ali(nmentE This re.uires that the Charlatan speak !ith and obser1e
the indi1idual %or 5d5C roundsE
%w'ndl'ng) Ma7or cons/ such as dupin( a kin( into belie1in( that you are a hi(hly
respected sa(e/ dra!in( him into your inner con%idence/ and then relie1in( him o% the
cro!n 7e!els/ should be done only throu(h role+playin(E Ho!e1er/ Charlatans hone such
skills by constantly per%ormin( minor s!indles and tricksE These are %ar too numerous
and insi(ni%icant to role+play e1ery timeE S!indlin( co1ers this aspect o% a Charlatan's
skill repertoireE
By per%ormin( 1arious cons/ slei(ht+o%+hand/ and other deceptions/ a Charlatan is
o%ten able to !alk a!ay %rom a merchant !ith %ar more than a %air dealE The same is true
o% any common outlay o% coins/ such as buyin( meals at a ta1ern/ payin( %or a room at an
inn/ and purchasin( ordinary itemsE In instances like these/ the Charlatan makes a pick
pockets rollE I% success%ul/ the cost o% the item is reduced to the percenta(e rolledH this is
!hat the Charlatan paysE I% the roll %ails by more than the Charlatan's Charisma/ the con
is seen throu(hE S!indle rolls abo1e B6 are al!ays detected by the 1ictimE
3or e4ample/ Tiel tries to s!indle a barkeeper %or a 5C+(p (lass o% imported !ine
FTiel has only si4 (old coins le%tGE Tiel's pick pockets roll is a 6; and she has a Charisma
o% 5?E She rolls a 26 and s!indles her !ay into payin( only t!o (old and one electrum
%or the !ine F26L o% the ori(inal costGE I% she had rolled a 6<+?B the barkeeper !ould
ha1e noticed the error and politely re.uested the remainder o% the moneyE n a @C or
abo1e the barkeeper !ould not only ha1e noticed the error/ but he !ould ha1e realiDed
that Tiel tried to s!indle him F!ith unpleasant conse.uences %or TielGE
S!indlin( rolls should not be used %or amounts in e4cess o% 5C (p per le1el o% the
CharlatanE Such (rand s!indles re.uire %ull role+playin(E
S&ecial %in!$ances' -oneE
S&ecialt(' Romantic 2arrior Fca1alierGE
)*alifications' Standard ability scoresE 'allants cannot be neutral e1ilE Most
'allants are neutral (oodE
+nt$o!*ction' ,'(e as a !allant- .ell, take 't (rom me, %'r !lad'el, that l'(e and
lo0e are one and the same. * and my s+u're, Thorp, ha0e been tra0el'ng the Dale ,ands
s'nce we met some (our years ago. $lways * am enr'ched by the charm'ng young lad'es *
encounter. Between them and the 'nnocent ch'ldren, * don't see how any man can cla'm
that we l'0e 'n e0'l t'mes.
2or the past se0en months *'0e been (ollow'ng the :oust'ng c'rcu't establ'shed by
h's royal h'ghness, Duke Mark o( !unwar ;eep. *t's been a splend'd round o(
compet't'on. %o (ar *'0e only won three o( my 4< matches, but nearly two do5en o( the
(a'rer se/ w'll wh'sper my name (or years to come, (or * ha0e entranced them w'th my
honest charm and pure heart.
Un(ortunately, there are (ew men le(t these days who bel'e0e 'n lo0e (or lo0e's
sake, who protect the 'nnocent, and who str'0e (or moral pur'ty. "0en palad'ns are too
caught up 'n the'r own r'ghteousness to l'0e l'(e properly.
*t seems that no one real'5es that happ'ness 's the goal o( l'(e. .'nn'ng and los'ng
's un'mportant. $ll that matters 's that you are happy and that your act'ons do not
depr'0e others o( happ'ness.
Desc$i&tion' There is no character as pure and romantic as the 'allantE He tra1els
the lands on the !in(s o% romance and true lo1e/ stealin( the hearts o% the youn( and
li(htenin( the spirits o% the elderlyE & 'allant seems to be blessed !ith a (race and charm
not (i1en to others o% his raceE
'allants are o%ten mistaken %or paladins or ca1aliersE They dress and act much
like heroic !arriorsE But they are not dri1en by blood lust or the desire to slay monsters
%or the sake o% destroyin( e1ilE 'allants are romantics at heartE They de%end beauty/
innocence/ and lo1eE
8et the !ays o% lo1e and romance cause many a %amous 'allant to end his li%e in
tra(edyE Shakespeare's Romeo !ould be such a 'allantE
Role' 'allants tra1el the lands in search o% beauty and true lo1eE Their romantic
outlook is such that they can al!ays ima(ine a purer li%e 7ust o1er the ne4t rid(eE Thus/
they ne1er stay in one place %or lon(E Because o% this/ most 'allants o!n a horse to tra1el
the landsE
The pastime o% many 'allants is the medie1al tournamentE Here the skills o%
7oustin(/ duelin(/ archery/ and other combat practices are honedE Such tournaments dra!
cro!ds o% youn( men and !omen be%ore !hich the 'allants may per%ormE &lthou(h the
!arrior classes usually !in these tournaments/ 'allants o%ten !in the hearts o% the
onlookers and steal the day's (lory a!ay %rom the 1ictorious !arriorsE % course/ this
causes a lot o% %riction bet!een 'allants and 7ealous !arriorsE
2hen a 'allant (oes on an ad1enture/ it is likely the result o% some promise to a
%air maiden/ to retrie1e an item o% beauty and lo1e/ or %or some other romantic causeE In
these situations/ the 'allant adopts the role o% a heroic %i(hter and char(es %or!ard
re(ardless o% the dan(ers that lie aheadE
Secon!a$( Skills' & 'allant should pick his secondary skill %rom one o% the
%ollo!in(# &rmorer/ Bo!yerN3letcher/ 'room/ Hunter/ *eather 2orker/ 2eaponsmithE
Wea&on P$oficiencies' 'allants must select the 7oustin( lance %or use in
tournamentsE Bein( the romantic %i(hters that they are/ it is important that 'allants
al!ays keep their !eapons in per%ect order and !ell polishedE
Non,ea&on P$oficiencies' Bonuses) 0ancin(/ Eti.uette/ *an(ua(es F&ncientG/
PoetryE %uggested) &nimal Trainin(/ &rmorer/ &rtistic &bility/ Blacksmithin(/ Blind+
%i(htin(/ Bo!yerN3letcher/ *an(ua(es FModernG/ *eather!orkin(/ Musical Instrument/
Ridin( F*and+BasedG/ Readin(N2ritin(/ Sin(in(/ 2eaponsmithin(E
A$o$-E.*i&ent' 'allants are allo!ed to !ear any %orm o% armor/ e1en those
not normally allo!ed to the core bardE Ho!e1er/ 'allants are more interested in .uality
and appearance than in the armor's actual protectionE They !ill don a (leamin( suit o%
chain mail instead o% a dented suit o% plate mailE & suit o% studded leather =3 is more
appealin( to them than the (leamin( chain/ but padded leather => is e1en better FiEeE/ the
bi((er the ma(ical bonus the better/ re(ardless o% the armor typeGE Ho!e1er/ o% all %orms
o% armor/ el1en chain mail is most priDed by the 'allantE
The same lo(ic holds true %or all o% their e.uipmentE
S&ecial #enefits'
"ssence o( Pur'ty) Because 'allants are so in%used !ith lo1e/ beauty/ and the
aspirations o% a romantic/ they seem to han( onto li%e !hen others !ould allo! it to slip
a!ayE Thus/ 'allants (ain a bonus o% 5 hit point each le1el Fin addition to any
Constitution bonusesGE 3urthermore/ i% a 'allant %ails a sa1in( thro! that !ill result in his
death/ the sa1in( thro! is rerolled %or a second chanceE
E1en !hen a 'allant is slain/ he does not immediately drop o1er deadE Rather/ he
lin(ers on lon( enou(h to recite one %inal tra(ic poem %or those !ho !ill listenE I% the
'allant is slain in combat !hile de%endin( lo1e/ innocence/ or beauty Fincludin( members
o% the opposite se4G/ the 'allant han(s on and %i(hts %or another 5d< rounds or until
struck %or additional dama(e e.ual to his le1elE Then he recites his poem and diesE
The Code o( the !allant) 'allants all li1e by a code o% ethics that has slo!ly
e1ol1ed o1er the yearsE I% a 'allant is true to this code/ he (ains an inner con%idence and
peace that results in a M2 bonus that can be applied to either his attack roll/ dama(e roll/
&rmor Class/ or sa1in( thro! each roundE 0urin( the round/ the 'allant player may
decide to use the M2 bonus at any time be%ore rollin( the dice that !ill be ad7ustedE nce
the bonus is used in a round/ it is not a1ailable a(ain until ne4t roundE The bonus cannot
be split into t!o M5 modi%iersE
I% a 'allant breaks this code/ he loses the M2 bonus until the in%raction is
remediedE 3urther/ he must seek out a priest !ho !ill listen to his trans(ressions and cast
atonement upon him Fsuch priests !ill o%ten re.uire some %orm o% penanceGE
The Co!e of the Gallant
The 'allant !ill EEE
EEE de%end lo1ers/ the innocent/ and those o% the opposite se4 and aid them in
times o% need Funless they are enemies or hostileGE
EEE ne1er marry nor solemnly 1o! to lo1e only one personE
EEE ne1er retreat %rom combat until allies o% the opposite se4 ha1e done so %irst
Funless they are %ello! 'allantsGE
EEE ne1er o1erstay his !elcome at any placeE
EEE spend at least hal% o% his money on the innocent or romanceE
EEE o!n only !hat he can carry !ith himE
&omant'c $ppeal) The romantic appeal o% a 'allant is so stron( that non+hostile
encounter reactions are ad7usted one le1el in a more %riendly direction unless a success%ul
sa1in( thro! 1sE paralyDation is rolled !ith a +5 penalty per three le1els o% the 'allantE
Ho!e1er/ i% the encounter includes mi4ed (enders/ those o% the same se4 as the 'allant
!ill actually be ad7usted one le1el in the opposite direction i% they succeed on their
sa1in( thro! Fas 7ealousy rears its u(ly headGE
Poet'c Charm) & 'allant !ho directs his attention to one person o% the opposite
se4 can attempt to !in that person's heartE This re.uires the 'allant to per%orm many
subtle acts o% !it and charmE &mon( these acts must be the recital o% at least one poem
concernin( the personE The entire e%%ort takes a minimum o% 5d5C turns/ a%ter !hich the
person rolls a sa1in( thro! 1sE paralyDation !ith a +5 penalty per three le1els o% the
'allantE 3ailure means that the person is a%%ected as i% the 'allant cast a charm spell on
him or herE
The e%%ect is not ma(ical and doesn't !ear o%% o1er time/ unless the 'allant
e4ploits or treats the person badlyE Each such abuse results in another sa1in( thro! bein(
rolled to break the 'allant's charmE The 0un(eon Master may apply ad7ustments based
on the situationE 3or e4ample/ i% a 'allant asks a princess to tell him !here the kin('s
treasure is hidden/ she !ill (ain a sa1in( thro! ad7usted by the de(ree o% loyalty she has
to her %atherE Strikin( the princess Fsomethin( (reatly out o% character %or a 'allantG to
(ain this in%ormation is likely to result in at least a M6 bonus to break %ree o% the 'allant's
S&ecial %in!$ances' & 'allant is a !anderer !ho ne1er builds a stron(holdE -or
does he attract %ollo!ers at Bth le1elE &t 6th le1el/ ho!e1er/ a 'allant (ains a s.uire Fa
5st+le1el %i(hterGE This s.uire is absolutely de1oted to the 'allant/ maintains his
e.uipment in top order/ and accompanies him on all o% his .uestsE I% a 'allant's s.uire is
slain/ a ne! s.uire arri1es as soon as the 'allant ac.uires t!o more e4perience le1elsE
S&ecialt(' 0anceNInstrumentsNSin(in(E
)*alifications' Standard ability scoresE 'ypsy+bards cannot be la!%ul neutralE
El1es can become 'ypsy+bards able to ad1ance to the Bth le1elE
+nt$o!*ction' *'m known as Madra'me, and *'m a !ypsy lady. #h, *'m not what
most people would call a typ'cal !ypsy. .'th'n the soc'ety o( gyps'es, there are many
d'((erent types o( 'nd'0'duals. * am what 's known as a !ypsy1bard, per(orm'ng1!ypsy, or
* tra0el w'th my (ather's cara0an, per(orm'ng (or the locals o( a reg'on as we pass
through. .hen *'m not s'ng'ng and danc'ng (or the outs'ders, * o(ten enterta'n those o(
my cara0an 'n the e0en'ng hours. There 's noth'ng as lo0ely as spend'ng an e0en'ng
among my own k'nd, danc'ng, s'ng'ng, and en:oy'ng the company o( those who
understand the world.
,'ke all !yps'es, * real'5e that humans, el0es, dwar0es, and others were meant to
lead l'0es o( 'nner d'sco0ery, peace(ul :oy, and assoc'at'on w'th nature. * know that many
people d'strust !yps'es, call'ng us th'e0es and worse. Th's occurs because we !yps'es
are m'sunderstood. #ur bel'e(s are so pure and so natural that they are hard (or
outs'ders to understand.
2or e/ample, as a !ypsy, * understand that ownersh'p o( an 'tem e/'sts only so
long as the 'tem 's not 'gnored or (orgotten. *( * lay down my mag'cal dagger, walk away,
and one o( my brothers should ('nd 't, the dagger 's then h's. *( * want 't back * must trade
h'm someth'ng 'n e/change.
How can anyone cla'm to own someth'ng that they aren't us'ng or aren't hold'ng-
.hat g'0es a k'ng the r'ght to say that he owns the land o( a country- The land was there
be(ore he or h's (am'ly e0er l'0ed, and 't w'll be there long a(ter they are all dead.
,'kew'se, how can a (armer cla'm that he owns the sheep that (eed upon the land- These
sheep e/'st because they eat the (ru't o( the land, and the land belongs to no one. The
ways o( outs'ders are 0ery odd 'ndeed.
.e !yps'es are a peace(ul (olk who w'sh only to tra0el upon the good earth,
laugh, s'ng, and l'0e the ways o( l'(e.
Desc$i&tion' This kit de%ines the role o% the bard in 'ypsy li%eE 'ypsies can be
treated as a coherent society or as any (roup !ith a nomadic li%estyleE
'ypsies are o%ten called J%orest nomadsEJ They tra1el the lands in cara1ans
comprisin( carts/ !a(ons/ horses/ and the 'ypsy %olkE These people are !ell kno!n %or
their stran(e 'ypsy music and dancesE Some cara1ans sur1i1e by entertainin( the
communities they encounterE -ot all (ypsies are bardsH the 'ypsy+bard is only one type
o% character that %ills the ranks o% a 'ypsy bandE
'ypsy !ays are stran(e to others and poorly understood by mostE They do not
reco(niDe the e4istence o% pri1ate propertyE The %ruits o% the land belon( to allE I% there is
not enou(h to (o around/ it is easy enou(h to pack the !a(ons and mo1e alon(E *ike!ise/
'ypsies use only !hat they need and do not seek !ealth or possessions %or their o!n
sake/ or %or the in%luence or po!er that they brin(E They do not ha1e a kin( or .ueen/
althou(h sometimes they !ill lay claim to these titles to (ain ad1anta(e in barterin(
F!hen outsiders belie1e this/ the 'ypsies take it as proo% o% their (ullibility and stupidityGE
'ypsy+bards ha1e an entire collection o% uncon1entional concepts that make up
their philosophy o% li%e#
'ypsy+bards are %ree thinkersE 3or e4ample/ many do not marry/ seekin(
companionship only %or as lon( as both parties a(ree to the arran(ementE
'ypsy+bards lo1e natureE
Many 'ypsy+bards don't !orship deities Falthou(h certain deities may look o1er
themGE Instead/ they !orship the concepts o% nature/ %ree !ill/ and li%eE
'ypsy+bards dra! their ener(ies %rom their %ree !ill/ their brethren/ and %rom their
natural surroundin(sE
& 'ypsy+bard is loyal to and protects his %riends/ but %riendship must be earned/ and
it is not (ained easilyE
Possession and o!nership are the sameE
Money is useless unless it brin(s you pleasureH trade is a better %orm o% commerceE
8ou should al!ays dress and act naturally and com%ortablyE
The ri(id customs and belie%s o% non+'ypsies are %oolish and should be i(noredE
nly a %ello! 'ypsy truly understands the 'ypsy !ay o% li%eE thers !ron(ly
classi%y 'ypsies as thie1es/ be((ars/ carni1al people/ nomads/ or any number o% other
erroneous namesE I% a label must be used/ the most accurate is J%ree+menEJ
Role' 'ypsy+bards !ander the land/ e4periencin( li%e as they (oE They tra1el until
they %ind somethin( o% interest# a beauti%ul (lade/ an interestin( 1illa(e/ an audience to
sin( and dance be%ore/ or someone !ho !ants to trade !ith themE Then they establish a
temporary camp and remain until their need to see more o% the !orld o1erpo!ers their
desire to stayE
&n ad1enturin( 'ypsy+bard may be on a personal .uest to locate some special
animal or %lo!er %or the J'ypsy .ueen/J or he could simply be out to e4perience the (reat
!onders that appear alon( the ad1enturin( pathE In any e1ent/ a 'ypsy+bard al!ays has a
purpose and philosophy to his ad1enturin(/ e1en i% it is Jto !ander %or the sake o%
Secon!a$( Skills' 3orester/ 'ambler/ 'room/ Hunter/ ,e!eler/
TeamsterN3rei(hter/ TraderNBartererE
Wea&on P$oficiencies' 'ypsy+bards must take either da((er or kni%e/ and their
%irst s!ord Fi% any is e1er takenG must be either the khopesh or scimitarE 'ypsy+bards
cannot become pro%icient in the %ollo!in( !eapons# battle a4e/ lance FanyG/ polearm
FanyG/ trident/ t!o+handed s!ord/ bastard s!ord/ or !arhammerE &ll other !eapons are
a1ailable to themE
Non,ea&on P$oficiencies' Bonuses) 0ancin(/ 0irection Sense/ *an(ua(es
Fmodern+'ypsyG/ Musical Instrument Ftambourine/ 1iolin/ mandolinGE %uggested) &ncient
History/ &strolo(y/ Cookin(/ Cra%t Instrument/ 0is(uise/ 3ire+Buildin(/ 'amin(/
Herbalism/ Huntin(/ ,u((lin(/ Sin(in(/ Spellcra%t/ Sur1i1al/ Trackin(/ >entrilo.uism/
2eather SenseE
A$o$-E.*i&ent' 'ypsy+bards can !ear only leather/ padded/ studded leather/
hide/ or el1en chain mailE The other types are too noisy/ bulky/ and are considered to be
impure and unnaturalE
Both male and %emale 'ypsy+bards lo1e to !ear (audy 7e!elryE Their (arments
are typically loose+%ittin( and com%ortableE
S&ecial #enefits'
$n'mal &apport) 'ypsy+bards are nearly druidical in their ability to associate !ith
animalsE They automatically (ain the pro%iciencies o% animal handlin(/ animal lore/
animal trainin(/ and ridin( Fland+basedGE 3urthermore/ their trainin( and ridin( skills
e4tend to any animal !ith !hich they become %amiliarE
&t 6th/ 5Cth and 56th le1els/ 'ypsy+bards (ain the ability to cause certain spell+
like e%%ects/ each once per dayE &t 6th le1el/ they are able to cause the e%%ects o% an'mal
(r'endsh'p by speakin( kindly in the secret lan(ua(e o% their o!n F'ypsy dialectGE &t 5Cth
le1el/ they can concentrate and (ain the bene%its o% a locate an'mals or plants spellE
3inally/ at 56th le1el/ they (ain the speak w'th an'mals abilityE
$llure o( the !yps'es) Certain 'ypsy son(s and dances are 1ery allurin( and can
ha1e po!er%ul in%luences o1er those !ho !illin(ly listen or take partE 3or such
per%ormances to %unction/ a (roup o% at least three 'ypsy+bards must be per%ormin(
to(ether/ or the audience must be !illin(ly participatin(E
These per%ormances take at least 5d5C turnsE The e%%ect o% such per%ormances can
be identical to any one spell o% the enchantmentNcharm school Fas determined by the
danceGE Ho!e1er/ at least one o% the main per%ormers must be hi(h enou(h le1el to cast
the spellE It is not re.uired that the per%ormer ha1e the spell memoriDed/ but he must ha1e
personal kno!led(e o% it Fin his spell booksH roll a success%ul Jchance to learn spellJ
checkGE The spell ran(e/ duration/ and other e%%ects that 1ary by caster le1el are
determined by the eli(ible per%ormer's le1el/ as i% he actually cast the desired spellE
2ortune Tell'ng) By usin( any ma(ical item suited %or scryin( or di1inin( the
%uture/ such as a crystal ball or medall'on o( "%P/ a 'ypsy+bard can (ain the bene%its o%
an augury spellE Each day/ the 'ypsy+bard can ask one .uestion per %i1e le1els o%
e4perience Frounded upGE -ote that 'ypsy+bards can e1en tell %ortunes by usin( ma(ical
scryin( items that are not other!ise usable by themE 3or e4ample/ crystal balls are usable
only by !iDards/ and not e1en a 'ypsy+bard can (ain the typical bene%its o% the ballE
Ho!e1er/ by lookin( into one and concentratin(/ a 'ypsy+bard can ask one augury
++style yesNno .uestion per %i1e le1els/ durin( that dayE
Besides items suited %or scryin( and di1inin( the %uture/ 'ypsy+bards are able to
per%orm the same %eat !ith a deck o( many th'ngsE &dditionally/ !hen a deck o( many
th'ngs is used by the 'ypsy+bard %or this purpose/ the cards turned ne1er a%%ect him %or
(ood or badE 0ra!in( the 1oid or the don7on card !ill not cause the deck to 1anishE
Ho!e1er/ the deck still %unctions normally !hen used %or purposes other than the au(uryE
Ps'on'cs) &n unusually lar(e number o% 'ypsy+bards are psionicE I% the optional
psionics rules are used Fsee The Complete Ps'on'cs HandbookG/ all player character
'ypsy+bards should be !ild talent psionicsE Psionic talents are determined by !hate1er
method the 0M pre%ersE
S&ecial %in!$ances' & 'ypsy+bard's climb !alls ability !orks best !hen
climbin( treesE They are not skilled at climbin( cli%%s/ buildin( !alls/ or ca1e !allsH they
su%%er a 26L penalty !hen scalin( these sur%acesE
S&ecialt(' *in(uistNratorE
)*alifications' Standard ability scoresE 0emihumans can become Heralds o% up
to ?th le1elE
+nt$o!*ction' Hello, my name 's Bard, 9ames Bard, and *'m a Herald work'ng
(or H's Ma:esty, the k'ng.
My dut'es are o( the utmost 'mportance to the k'ng and to the cont'nued 0'tal'ty o(
the k'ngdom, (or * am secretly 'n charge o( the ;'ng's pr'0ate men1at1arms and personal
bodyguards. *( the k'ng's l'(e 's 'n danger, * am respons'ble (or ensur'ng h's sa(ety.
My publ'c 'mage 's one o( party1goer, lad'es' man, and general royal busybody. *
(re+uent all the best part'es 'n town. The k'ng o(ten ensures that * am 'n0'ted. $t these
(unct'ons, * meet 'mportant people and use my (antast'c commun'cat'on sk'lls and
'ntellect to unco0er potent'al plots aga'nst the throne.
.hen *'m not party'ng, the publ'c ('nds me at the castle gate. .hen a party comes
to the castle, * use my knowledge to 'dent'(y the'r Herald or banner and call out the'r
name, such as) 6Duke $menga and entourage (rom Castle Peledge.6 Th's 's a use(ul
ser0'ce, but my real purpose 's to 'dent'(y these 0's'tors, assess the'r potent'al threat to
the k'ng, and act accord'ngly.
"nough talk, * must be o(( to chat w'th that strange1look'ng man enter'ng the
gates o0er there.
Desc$i&tion' Heralds make their li1in( by unco1erin( hidden truthsE I% a royal
%amily has a closely (uarded secret/ a Herald !ill undoubtedly disco1er itE In the stru((le
%or land and po!er amon( kin(doms/ the Herald is a key %orceE & (ood Herald kno!s
!ho is plottin( a(ainst his kin( and !hyE
Heralds are con%ident and !ell+1ersed in matters o% social eti.uetteE They o%ten
(ather their in%ormation at royal e1ents/ such as balls and other celebrationsE They are
o%ten mistaken %or nobilityH thus/ they can easily make their !ay past (uardsE Heralds
dress in the latest and most e4pensi1e %ashions o% the dayE They pre%er silk and bri(ht
colorsE Members o% the opposite se4 are o%ten attracted to Heralds by their sel%+con%ident
manner and sli(ht arro(anceE
ne thin( is certain/ Heralds are some o% the most competent communicators
aroundE They can speak doDens o% lan(ua(es/ understand sophisticated !ords/ locate a
person's home 1illa(e by his dialect/ and can read almost e1erythin( they (et their hands
Role' There are t!o types o% HeraldsE ne tra1els %rom place to place/ relatin(
current e1ents across the landE They sell their tales o% tra1el and the ne!s they learn to
those !ho !ill listenE Most medie1al commoners cannot read or !rite/ so it is up to such
Heralds to relate local e1entsE
The other type o% Herald secretly ser1es a kin(E It is the royal Herald's duty to
unco1er plots a(ainst the kin( and royal %amilyE The royal Herald is .uick !itted and %ast
talkin(E Heralds o% this stature o%ten ha1e a reputation that precedes themE They are
reco(niDed and %eared by their %oesE Thus/ they must occasionally deal !ith assassination
attempts at incon1enient times F%or instance/ a delayed blast ('reball under the bedGE
Royal courts o%ten employ them to preside o1er 7oustin( tournaments/ announce the
arri1al o% important %orei(n en1oys/ and %or personal counselE
Heralds turn to the ad1enturin( li%e %or se1eral reasonsE Primary amon( them are
the %antastic stories that can be related %rom such 1enturesE J-e!sJ has a 1ery broad
meanin( in the campai(n !orld/ and tales o% a darin( band o% heroes bra1in( unkno!n
horrors not only .uali%ies/ but o%ten dra!s a lar(er cro!d than local (ossipE
The royal Herald mi(ht be sent by his kin( on an underco1er %act+%indin(
mission+%or instance/ to in1esti(ate a rumor that Qhentil )eep is secretly %undin( an orc
uprisin( in the southE %ten/ a Herald's communication skills !ill pro1e in1aluable on
such .uestsE
Secon!a$( Skills' 'room/ Hunter/ ,e!eler/ *imnerNPainter/ ScribeE
Wea&on P$oficiencies' Heralds are not restricted in this areaE
Non,ea&on P$oficiencies' Bonuses) Eti.uette/ Heraldry/ *ocal History/
Readin(N2ritin(E %uggested) *an(ua(es Fancient or modernG/ Musical Instrument Fhorn
%amilyGE &t least hal% o% a Herald's non!eapon pro%iciencies must be spent in learnin(
A$o$-E.*i&ent' StandardE
S&ecial #enefits'
*dent'(y &umors) Heralds are al!ays a!are o% their surroundin(s and ha1e picked
up the skills necessary to stay atop local e1entsE &ny time rumors are (enerated %or player
characters/ Heralds learn t!ice as many as a normal characterE Heralds are also able to
determine the 1alidity o% a rumorE & Charisma check is rolledH i% it succeeds/ the Herald
kno!s !hether the rumor is true or %alseE E1en i% a rumor table isn't included in a (i1en
ad1enture/ the 0un(eon Master should make up at least one rumor per three le1els o% the
Herald and in%orm him o% the rumors at the ad1enture's onsetE
,ocal ,ore) &%ter snoopin( about an inhabited area/ a Herald is able to learn !ho
the important people are/ !hat most o% the buildin(s are used %or/ the .uality o% certain
establishments/ etcE It takes a Herald one day per 5/CCC inhabitants to (ain a (ood
in%ormation baseE % course/ a Herald could concentrate on a speci%ic .uarter o% to!n or
nei(hborhood and accomplish the task much %asterE
nce a Herald is done scoutin(/ he can recall the name o% an important o%%icial i%
he rolls a success%ul Intelli(ence checkE I% the check is success%ul !ith a +2 penalty/ he
can identi%y the person on si(htE This roll can also be used i% the Herald player !ants to
kno! other local lore/ such as !here to (o %or the best %ood in to!n/ !hat nei(hborhoods
are dan(erous at ni(ht/ !hat time the city !atch rotates/ or !hich local sa(e is said to be
most reliableE I% the check is a 2C/ the Herald belie1es he kno!s the desired in%ormation/
but the 0un(eon Master actually makes up some %alse tale %or the playerE
This ability must be care%ully 7ud(ed by the 0un(eon MasterE Penalties should be
applied based upon the in%ormation's local si(ni%icanceE It is unlikely that a Herald !ill
kno! the name o% a typical citiDen in a lar(e city Fa +5C penalty mi(ht be appropriateGE
Ho!e1er/ the name o% the kin('s horse is likely a !ell+kno!n %act Fno penaltyGE
Basal Commun'cat'on) &s stated abo1e/ Heralds are master lin(uistsE In %act/ they
can o%ten communicate !ith races that are o% lo! Intelli(ence or better and ha1e a spoken
lan(ua(e/ e1en i% the Herald does not speak that lan(ua(eE The Herald incorporates bits
and pieces o% %undamental root lan(ua(es/ certain uni1ersal (estures/ and common
e4pressions to (et his meanin( acrossE 3or the Herald to per%orm such di%%icult
communication/ the JlistenerJ must be !ithin ten %eet/ clearly 1isible/ and there must be
no distractions Fincludin( combatGE
Success is determined by succeedin( !ith a read lan(ua(es roll Fe1en thou(h the
communication is rarely in !ritten %ormGE & separate roll is needed to send or recei1e
ideasE Thus/ it is possible %or a Herald to understand a bein(/ but be unable to
communicate his o!n ideas For 1ice 1ersaGE
Persuade Crowd) & Herald can a%%ect the mood o% a cro!d by tellin( them true
For sli(htly alteredG local rumors and ne!sE The Herald must be able to speak the cro!d's
lan(ua(e to use this abilityE To determine a cro!d's mood or opinion on a (i1en topic/ use
Table 6B in the DM! E
&%ter 5d5C minutes/ those listenin( to the Herald's !ords are allo!ed a sa1in(
thro! 1sE paralyDation/ !ith a +5 penalty per three le1els o% the HeraldE Those !ho %ail
ha1e their reactions ad7usted one le1el in %a1or o% the Herald's opinionE Those !ho
succeed ha1e their reactions ad7usted one le1el in the opposite directionE
& Herald could attempt to persuade a cro!d not to eat at the Skinned 0o( Ta1ern
until dra(on e((s are back on the menu/ to cast stones at the cruel teamster Tornack/ or to
(o and plunder the local (ranariesE % course/ reactions can be altered only one le1el by
this methodE 3or e4ample/ i% e1eryone is indi%%erent to the %act that Tornack !hips his
horses cruelly/ the Herald !ill at most persuade them to be cautious about usin( the
teamster's !a(ons to haul their (oodsE
S&ecial %in!$ances' -oneE
S&ecialt(' PantomimeN&ctin(N0ancin(N,okesE
)*alifications' Standard ability scores/ e4cept that 0e4terity must be at least 5<E
,esters must be o% any chaotic ali(nment/ since no mind attuned to la! and order could
possibly sustain such an odd personalityE 'nomes may ad1ance to 56th le1el as ,esters/
!hile hal%lin(s cannot rise abo1e Ath le1elE
+nt$o!*ction' My name 's Mar'gold the M'rth(ul, and * am proud to be called a
9ester, (or * am one o( the greatest (ools 'n all the k'ngdom. Be'ng a (ool 's not all bad, (or
who else can poke (un at the most power(ul people around w'thout meet'ng the gallows
or worse-
*ndeed, * lead the per(ect l'(e. The k'ng puts me up 'n a (antast'c l'ttle room at the
top o( the "ast Tower. .hen the morn'ng sun comes through my l'ttle w'ndow, * r'se and
don my charm'ng gear. Then * spr'ng and dance down the >?1(oot1long sp'ral sta'rcase to
the ma'n hall. $ll the wh'le, my costume bells are :'ngl'ng and * can hear the moans and
groans as the court wakes (rom my pass'ng. e/t, * tumble down all the castle's halls and
awaken the rest o( the royal patrons.
Unless there are (ore'gn en0oys to be enterta'ned at noon, * am o(( unt'l e0en'ng. *
wander about, keep'ng the young (olk happy and (eed'ng the ch'ckens and the castle's
two war dogs. Then * usually ('nd a com(ortable w'llow tree and l'e down (or a short nap.
Most e0en'ngs, the k'ng 'n0'tes me 'n to enterta'n h'm, h's (am'ly, and h's guests. *
dance about, act (ool'sh, :uggle a b't, per(orm some m'nor acrobat'cs, pretend to get
burnt by the ('replace, and tell :okes that * made up wh'le ly'ng under the w'llow tree.
%o you see, * l'0e 'n the k'ng's castle and actually do l'ttle or no work. .hat a
lucky l'(e@ #( course, the real (un occurs when (ore'gners arr'0e. * always make sure they
lea0e the k'ng's court w'th (ewer goods than they came 'n w'th. * would hate to see them
lug all that gold, s'l0er, and :ewelry clear back to the'r homelands.
Desc$i&tion' ,esters are kno!n by many names# %ools/ clo!ns/ 7okers/ bu%%oons/
etcE The ,ester kit co1ers them allE ,esters are comedians at heartE They lo1e to ha1e a
(ood time and en7oy sharin( their mirth and merriment !ith others Fe1en !hen they
aren't !elcomedGE Most people en7oy ha1in( a ,ester about/ as they raise morale/
entertain/ and make (reat scape(oats !hen problems ariseE
,esters are %lamboyant/ outra(eous/ and ridiculousE Many sa(es belie1e that
,esters li1e in a constant state o% borderline insanityE It is kno!n that they li1e %or
attention and %eel rela4ed only !hen they are the %ocus o% e1entsE
Role' ,esters are o%ten hired by noblemen %or entertainmentE They dance/ prance/
and 7ump about !hile the more ci1iliDed look on and lau(h at the %oolsE More o%ten than
not/ these noblemen are payin( the price %or their entertainment/ as the ,ester is liable to
make o%% !ith a piece o% (old %or e1ery lau(h he hearsE ther ,esters ser1e as clo!ns in
tra1elin( carni1als or circusesE &nd o% course e1ery community has its local %oolE
,esters rarely take up the ad1enturin( li%eE FPC ,esters are the ob1ious e4ceptionsEG
Their moti1ations %or doin( so !ill ha1e to be care%ully constructed to maintain realismE
& ,ester may be sentenced to escort a (roup o% heroes on a dan(erous .uest as
punishment %or a 7oke about the kin('s nose Fthro!in( him in 7ail !ould hardly be
appropriateGE & ,ester mi(ht be assi(ned to accompany a band on a (rim and deadly
ad1enture/ to combat the (loom and dread that !ill be encounteredE 2hate1er the reason/
ha1in( a ,ester in the party !ill certainly result in more than one (ood lau(hE
Secon!a$( Skills' &nyE
Wea&on P$oficiencies' ,esters spend most o% their li1es entertainin( others by
playin( the role o% a %ool or clo!nE *ar(e !eapons do not %it into this roleE Thus ,esters
may become pro%icient only in the blo!(un/ hand crossbo!/ da((er/ dart/ hand a4e/
7a1elin/ kni%e/ .uartersta%%/ scour(e/ slin(/ short s!ord/ and !hipE
Non,ea&on P$oficiencies' Bonuses) &ctin(/ 0ancin(/ ,u((lin(/ Tumblin(E
%uggested) Cro!d 2orkin(/ 0is(uise/ ,umpin(/ Musical Instrument/ Poetry/ Sin(in(/
A$o$-E.*i&ent' ,esters may !ear only the %ollo!in( types o% armor# leather/
padded/ studded leather/ or el1en chain mailE ther types o% armor do not %it the ima(e o%
,esters almost al!ays act and dress in the most outlandish mannerE E1en !hen
dan(er is imminent/ ,esters still hop around in their %lashy suits !ith tassels and %oppish
S&ecial #enefits'
2ool's ,uck) It is amaDin( to most that ,esters can sur1i1e in any situationE They
are careless/ %oolish/ and (i1en to !himsical decisionsE It is %ool's luck that has sa1ed
many a ,ester's li%eE
,esters recei1e a M5 bonus FM6L on percentile rollsG to most die rollsE This
includes sa1in( thro!s/ initiati1e/ surprise/ pro%iciency checks/ thie% skill checks/ ability
checks/ and ability sub+checks Fe.gE/ bend barsNli%t (ates/ resurrection sur1i1al/ and so onGE
The %ool's luck also adds a M5 bonus to the ,ester's &rmor ClassE
&bout the only die rolls that the %ool's luck ability doesn't a%%ect are attack rolls/
dama(e rolls/ initial character (eneration rolls/ and Hit 0ie rollsE
9est'ng) ,estin( is the art o% pro7ectin( meanin( and mood throu(h the use o% body
motionsE By 7estin( For (esturin(G/ a ,ester may communicate a sin(le sentence each
round to anyone !ho rolls a success%ul 2isdom check !ith a +6 penaltyE Such
communication is totally silent and does not rely upon a shared lan(ua(eE The ,ester must
use his entire body %or the communicationH thus/ he must be %ully 1isible and !ithin ;C
%eet %or communication to take placeE
,estin( may be done to taunt or teaseE Such 7estin( a%%ects only those !ho are
!ithin ;C %eet o% the ,ester and !ho are able to %ully 1ie! himE This %orm o% 7estin(
causes those bein( 7ested at to roll a sa1in( thro! 1sE paralyDation/ !ith a +5 penalty per
three le1els o% the ,esterE Those !ho %ail must immediately try to physically strike the
,ester %or as lon( as the 7estin( continuesE The e%%ect ends !hen the 7estin( endsE Combat
strate(y is i(nored by those !ho are a%%ectedE They recklessly pass by more dan(erous
tar(ets in an attempt to attack the ,esterE ,estin( is thus a !onder%ul !ay to break the
ranks o% enemy %orcesE
9ok'ng) The practice o% creatin( and tellin( 7okes has been ele1ated to an art %orm
by the ,esterH this skill can be used %or many special purposesE ,okes are told in an
attempt to alter encounter reactionsE 3or any %orm o% 7oke to %unction/ the ,ester must
speak a lan(ua(e kno!n by the recipient o% the 7okeE 3urthermore/ the ,ester must be
!ithin easy 1erbal ran(e o% the recipientE
Such 7okes re.uire 5d5C rounds to tell/ a%ter !hich the audience must roll a sa1in(
thro! 1sE paralyDation !ith a +5 penalty per three le1els o% the ,esterE Those !ho %ail ha1e
their reactions ad7usted one le1el in the direction desired by the ,esterE Ho!e1er/ those
!ho succeed take the 7oke the !ron( !ay and ha1e their reactions ad7usted one le1el in
the opposite directionE
3inally/ a 7oke told at 7ust the ri(ht moment can dispel the e%%ects o% %earE Such a
7oke re.uires a round to tell and enables all those a%%ected by %ear Fnormal or ma(icalG to
roll a second sa1in( thro! to a1oid the %ear Fnote that those a%%ected by the %ear do not
immediately run a!ay/ but remain until the 7oke is toldGE I% no %irst sa1in( thro! !as
allo!ed/ then the sa1in( thro! is rolled 1sE spellE
$ 9ester's M'nd) ,esters are immune to attacks that cause insanityE ,esters also
(ain a sa1in( thro! bonus e.ual to their le1el 1sE !iDard spells o% the enchantmentNcharm
school and priest spells o% the charm sphereE F& sa1in( thro! o% 5 al!ays %ails/ ho!e1erEG
3urthermore/ any attempt to read a ,ester's mind has a percenta(e chance e.ual to
the ,ester's le1el o% causin( con%usion in the mind reader Ftreat as i% under the e%%ect o% a
con%usion spellGE
S&ecial %in!$ances' -oneE
Notes' ,esters can be a lot o% %un i% properly played !ith the ri(ht (amin( (roupE
Ho!e1er/ this character kit can be de1astatin( to an o1erly serious campai(nE It is
stron(ly su((ested that both 0Ms and players discuss the rami%ications o% the kit and ho!
it !ill %it into the (ame i% allo!edE
S&ecialt(' ,u((lerN&crobatE
)*alifications' ,on(leurs must ha1e a 0e4terity o% 5< or more Fother ability
scores/ standardGE 'nomes can ad1ance to the Bth le1el as ,on(leursE Hal%lin(s can attain
52th le1elE
+nt$o!*ction' Aes, * am a 9ongleur. My stage name 's 9onclaur the 9ongleur, and
that w'll do (or now. * tra0el across the 2lanaess w'th a small carn'0al band. * bel'e0e
you ha0e already met one o( my compan'ons, Dark. He's good w'th kn'0es and swords,
but h's personal'ty matches h's name a l'ttle too much (or me.
.hen our troupe puts on a show, * tend to draw the largest and most cons'stent
aud'ence. *n part'cular, (am'l'es and 0'llage th'e0es en:oy watch'ng my act. 2am'l'es
watch because my :uggl'ng, pole 0ault'ng, acrobat'cs, and t'ghtrope walk'ng ama5es
them Band occas'onally ('lls them w'th concern when my act looks part'cularly
ha5ardousC. The th'e0es come to study my act'ons. Many th'e0es can pole 0ault, walk
t'ghtropes, and per(orm 0ar'ous (eats o( acrobat'cs, but none ha0e my sk'll. *n a way, 't's
a (orm o( research (or them.
$nd 't 's true, though * hate to adm't 't, that my talents are occas'onally put to
less1than1honorable uses. #n one o( the last (ew days o( our show, a large part o( our
troupe o(ten stages some comple/ burglary. My sk'lls are o(ten 'n0aluable. * can 0ault
across moats or 'nto upper story w'ndows that are protected by walls coated w'th contact
po'son. *( a mans'on 's guarded by dogs, * use a crossbow to ('re a l'ne (rom a nearby
bu'ld'ng, then walk across 't. #( course, * rarely keep my share o( th's booty. *nstead, *
usually donate 't to the local orphanage or poorhouse.
.ell, n'ce chatt'ng w'th you, but * must get back. My second act 's about to beg'n.
Desc$i&tion' ,on(leurs are loosely based upon the 3rench entertainers o% the
same nameE They are masters at manipulatin( small items !ith their handsE They can
catch and 7u((le almost anythin(E n top o% this they are skilled acrobats/ able to tra1erse
ti(htropes/ turn %lips/ pole1ault/ and per%orm any number o% acrobatic %eatsE Their a(ility
pro1ides them !ith (reat de%ensi1e resourcesE
Role' &s entertainers/ most ,on(leurs are typically %ound accompanyin( carni1als
or circusesE & troupe o% ,on(leurs can put on a remarkable sho! all by themsel1esE They
o%ten per%orm in ta1erns or clubs/ usin( their arts to dra! in the cro!d and capti1ate them
lon( enou(h %or the barkeeper Fas !ell as the ,on(leursG to drain the cro!d's pursesE %
course/ a %e! %ree+lancers !ork the streets out o% (reed or needE
,on(leurs are use%ul ad1enturin( alliesH their skills are in1aluable !hen the (oin(
(ets tou(hE They are able to s.ueeDe into places !here nobody else can (o !ithout the aid
o% ma(icE 3inally/ their skill at a1oidin( certain traps makes them e4cellent scoutsE
Secon!a$( Skills' &nyE
Wea&on P$oficiencies' ,on(leurs can use all hurled !eaponsE & hurled !eapon is
any !eapon that can be thro!n Fthis does not include bo!s/ blo!(uns/ or other missile
!eapons that are %ired or shotGE ther!ise/ ,on(leurs are restricted to the %ollo!in(
!eapons# polearms/ .uartersta%%/ slin(/ sta%% slin(/ and !hipE &ll o% these !eapons can be
used in their per%ormancesE 3or e4ample/ they can 7u((le da((ers/ pole 1ault !ith
polearms/ and balance !ith spears or .uartersta1esE
Non,ea&on P$oficiencies' Bonuses) ,u((lin(/ ,umpin(/ Ti(htrope 2alkin(/
Tumblin(E %uggested) 0irection Sense/ Endurance/ Poetry/ Rope "se/ Runnin(E
A$o$-E.*i&ent' I% a ,on(leur !ears any type o% armor other than leather/
studded leather/ padded/ or el1en chain mail/ he cannot use any o% the %ollo!in( special
bene%itsE &ll other %orms o% armor are simply too restricti1e or bulky %or the ,on(leur to
properly per%ormE
,on(leurs tend to dress in rather %lashy colorsE Ho!e1er/ they don't take this to the
e4tremes that ,esters doE They a1oid lar(e capes/ robes/ and other (arments that can catch
or tan(le durin( mo1ementE % course/ this does not mean that a ,on(leur is (oin( to
!ear a %lamin( red suit that sparkles in the dimmest o% li(hts !hen e4plorin( ancient
ruinsE They pre%er %lash and %an%are/ but they aren't stupidE
S&ecial #enefits'
"/tended Pro('c'enc'es) Because ,on(leurs are e4tremely skilled at all %orms o%
7u((lin( and acrobatics/ they (ain certain special bene%its to their bonus pro%icienciesE
The ,on(leur adds his le1el to the attack roll !hen tryin( to catch small itemsE
Missile or hurled !eapons too lar(e to catch can be de%lected by usin( the 7u((lin(
The ,on(leur doubles his le1el %or all 7umpin( calculationsE
The character can use poles up to 2C %eet lon(er than himsel%E
>aults can be made !ith a 56+%oot runE The pole need not be dropped i% a second
pro%iciency check is success%ulE
Ti(htrope 2alkin(#
&ll penalties are hal1ed/ droppin( %ractions F'.eE/ +6 %or one+inch sur%aces/ +2 %or t!o+
to si4+inch sur%aces/ and +2 attack roll penaltyGE
"se o% a balancin( rod pro1ides a M< bonusE
The M< &rmor Class bonus applies durin( any round in !hich initiati1e is !on/ e1en
i% the ,on(leur opts to attack later that roundE
-o pro%iciency check is re.uired to reduce %allin( dama(eE Ho!e1er/ a success%ul
pro%iciency check doubles the %allin( distances F'.eE/ no dama(e up to 2C %eet and
only hal% dama(e up to 52C %eetGE
Dodge) ,on(leurs are amaDin(ly a(ile and ha1e 1ery .uick re%le4esE This enables
them to 7ump %ree o% many potentially harm%ul situations i% a success%ul sa1in( thro! 1sE
paralyDation is rolledE The only bonus allo!ed to the sa1e is the de%ensi1e bonus %or hi(h
I% the attempted dod(e %ails/ the ,on(leur su%%ers the %ull e%%ects o% the dan(erE -o
other sa1in( thro! can be rolled to a1oid the threat/ as the dod(e takes the place o% all
other sa1in( thro!sE The bene%it o% dod(in( is that all harm is completely a1oided/
!hereas many success%ul sa1in( thro!s result in hal% dama(eE % course/ the ,on(leur
player can opt to skip the dod(e attempt in %a1or o% any normally allo!ed sa1in( thro!sE
0od(in( does not a%%ect missile !eapons or hurled !eapons/ personal spells
Fthose that a%%ect only one personG directed speci%ically at the ,on(leur/ or spells that ha1e
no physical e%%ect to dod(e Fsuch as hold person GE
Situations that can be a1oided include %alls Finto pits/ throu(h illusionary %loors/
do!n slidin( stair!ays traps/ etcEG/ bein( struck %rom abo1e Fby ceilin( blocks/ rocks/
piercers/ collapses/ etcEG/ area+e%%ect spells that can be dod(ed Fl'ghtn'ng bolt, web,
('reball, etcEG/ and any other situation that the 0un(eon Master %eels could be a1oided by
a sudden a(ile leap Fpossibly breath !eaponsGE % course/ i% a 7ump to sa%ety is
impossible/ the ,on(leur cannot attempt a dod(eE -ote that ,on(leurs are also able to
climb !alls and mi(ht a1oid certain situations by clin(in( to a !allE
"nterta'n Crowd) By 7u((lin(/ per%ormin( %lips/ or displayin( his acrobatic
talents/ a ,on(leur can in%luence the reactions o% an audienceE This ability is similar to the
True Bard's in%luence reactions abilityE
&s !ith that ability/ the cro!d cannot be attackin( or about to attackE The
,on(leur must per%orm %or 5d5C rounds/ a%ter !hich all non+player characters 1ie!in( the
per%ormance must roll sa1in( thro!s 1sE paralyDation Fsplit lar(e audiences into (roups o%
5C and roll one sa1in( thro! %or each (roupGE The sa1in( thro! is rolled !ith a +5 penalty
per three le1els o% the bard Fround do!nGE Those %ailin( ha1e their reactions ad7usted one
le1el in a more %riendly direction/ as per Table 6B in the DM! E
"nlike True Bards/ ,on(leurs cannot attempt to !orsen the reactions o% a cro!d
Fit is 1ery di%%icult to 7u((le or !alk a ti(htrope in an o%%ensi1e mannerGE Ho!e1er/ i% the
cro!d sa1es !ith a natural 5/ the onlookers disappro1e o% the ,on(leur and their reactions
actually !orsen by one le1elE
S&ecial %in!$ances' ,on(leurs do not (ain the 5Cth+le1el ability to use any
!ritten ma(ical itemE
S&ecialt(' ChroniclerNHistorianE
)*alifications' *ore masters must ha1e an Intelli(ence and 2isdom o% 5< or
more Fother ability scores are standardGE El1es can ad1ance up to 52th le1el as *ore
+nt$o!*ction' Aou want to know about h'story, lost c'0'l'5at'ons, and other
(asc'nat'ng top'cs- .ell, let me 'ntroduce mysel(, *'m $shlan, a gray el( and sel(1
procla'med ,ore master.
* guess *'0e been por'ng o0er old tomes, e/plor'ng anc'ent ru'ns, and search'ng
(or lost c'0'l'5at'ons (or the past 3D? years or so. $nd *'0e learned many 'mportant th'ngs.
D'd you know that, 'n ages past, the ent're 'nland pla'ns were co0ered w'th a 0ast (orest
o( p'non and p'ne trees- Humans were scarce back then and el0es ruled the land. #h,
that must ha0e been a beaut'(ul t'me@ Then there came the great gobl'n wars, when all
gobl'nk'nd rose up 'n anger a(ter be'ng pushed (ar below ground. They were lead by
Trogundak, perhaps the largest and most e0'l troll shaman who e0er l'0ed.
But * (orget mysel(. Aou want to know about me and not the past. .ell, *'m called
a recluse by most o( the 0'llagers around here. Th's 's actually (ar (rom the truth. * lo0e
people, all people. * lo0e to study about the'r past h'story 'n an attempt to understand
them better than they understand themsel0es. Then * try to teach them about the'r past
and educate them so they won't comm't the m'stakes o( the'r (ore(athers all o0er aga'n.
* guess * do seem a b't odd to the a0erage soul, see'ng as how *'m always pok'ng
around cemeter'es, old churches, ru'ns, and pr'0ate l'brar'es. Most people can't ('gure
me out. %ome th'nk *'m a cler'c, others bel'e0e me to be a s'mple herm't, and there are
those who call me sage or w'5ard. *t 's true that * can speak o0er hal( a do5en languages,
but *'m :ust a ,ore master, that's all.
&emember, study your past8 't can be the most power(ul tool you ha0e.
Desc$i&tion' *ore masters are romantically entranced by the pastE They belie1e in
the circular nature o% history and relate the lessons o% ancient times to the problems o% the
present to help (uide their people alon( the path to the %utureE &s *ore masters proceed
throu(h li%e/ they record the e1ents o% their o!n times %or posterityE
*ore masters lo1e to relate the lessons o% history to those !ho !ill listenE
Ho!e1er/ they are o%ten 1ie!ed as bein( more reclusi1e and eccentric than !iDardsE
Their preoccupation !ith old tomes/ arcane lore/ ancient lan(ua(es/ and lost ci1iliDations
dominates their li1es/ !hen they aren't puttin( on an oratorical per%ormanceE 3rom their
research/ *ore masters (ain uni.ue !isdom and insi(ht/ allo!in( them to identi%y certain
ma(ical items/ understand ancient !ritin(s and lan(ua(es/ (ain special bene%its in the
arcane lore o% ma(ic/ and incite cro!ds to actionE
Role' There is a %ine line bet!een *ore master and sa(eE So %ine that many *ore
masters call themsel1es sa(es and are rarely .uestioned about itE Ho!e1er/ true sa(es are
kno!led(e specialists !ho concentrate their e%%orts into masterin( a speci%ic %ield such as
mushrooms/ el1en s!ords/ and so onE *ore masters are %ond o% any aspect o% history that
makes a (ood storyE
Many *ore masters are tra1elers !ho !ander the lands searchin( %or (reat
historical tales and %acts to relate to cro!dsE In order to (ain the substance o% their tales/
*ore masters o%ten take up ad1enturin(E "nlike many other ad1enturers/ *ore masters are
not simply seekin( (old or ma(icE Rather/ they are searchin( %or a ne! le(end or taleE
*ore masters are the %irst to open old tomes/ read the runes on passa(e !alls/ and record
the (eneral e1ents o% an ad1entureE
Secon!a$( Skills' *imnerNPainter/ -a1i(ator/ Scribe Fbetter than a third o% all
*ore masters are scribesEG
Wea&on P$oficiencies' 0ue to their (reat interest in kno!led(e and their
concentration on the past/ *ore masters bother to learn only the li(htest and simplest o%
!eaponsE They are limited to selectin( !eapon pro%iciencies %or blo!(un/ da((er/ dart/
hand crossbo!/ kni%e/ .uartersta%%/ slin(/ and sta%% slin(E
Non,ea&on P$oficiencies' Bonuses) &ncient History/ *an(ua(es FancientG/
-a1i(ation/ Readin(N2ritin(E %uggested) &nimal *ore/ &rtistic &bility/ &strolo(y/
0irection Sense/ En(ineerin(/ Eti.uette/ Heraldry/ *an(ua(es FmodernG/ *ocal History/
Musical Instrument/ Reli(ion/ Spellcra%t/ 2eather SenseE
A$o$-E.*i&ent' *ore masters spend their time studyin( arcane tomes and
ancient ci1iliDationsE They do not bother to practice the use o% hea1y armorE Thus *ore
masters can use only leather armorE
*ore masters (enerally dress and act much like !iDardsE
S&ecial #enefits'
,egend ,ore) *ore masters (ain the same le(end lore ability as True BardsE This
ability !orks in similar %ashion/ !ith the %ollo!in( e4ception# &ll o% the optional rules
su((ested %or the True Bard's le(end lore ability are re.uired %or the *ore masterE
$rcane ,ore) Throu(h their de1oted study o% the past/ *ore masters come across
numerous te4ts on the arcane lore o% ma(icE They read all o% these/ hopin( that some
(reat tale !ill be unco1eredE *ore masters e1entually (ain a %undamental understandin(
o% many stran(e ma(ical items not normally usable by the bard classE Thus/ *ore masters
can attempt to use any ma(ical itemE & 2isdom check is rolledH i% it is success%ul/ the
*ore master success%ully uses the ma(ical item in .uestionE This does not mean that the
*ore master %ully understands the operation o% the item/ only that his attempt to use it in
this particular !ay is success%ulE
*ore masters also pore o1er scrolls and spell books !hene1er they (et the chanceE
This enhances their understandin( o% ma(ical spells so much that they memoriDe and cast
spells as i% they !ere one le1el hi(herE Thus/ a 5st+le1el *ore master casts spells the same
!ay as a 2nd+le1el True BardE
Persuas'on) "sually *ore masters recite their collections o% historical %ables and
le(ends to a cro!d simply to entertain and educateE &lthou(h these oral per%ormances are
!onder%ul to hear/ they do not necessarily ha1e any direct impact upon the cro!dE
2hen a *ore master !ishes to a%%ect the mood or actions o% an audience/ he uses
his (reat skills o% 1erbal persuasion/ oratory/ and rhetoricE He mi(ht relate the le(end o%
the horrible massacre o% Tothar )eep by liDard men in an attempt to incite the cro!d to
hate and despise liDard menE
"sin( such persuasion takes at least 5d5C roundsE &ll !ho are listenin( to and can
understand the *ore master must roll a sa1in( thro! 1sE paralyDation !ith a +5 penalty %or
e1ery three le1els o% the *ore masterE Those !ho %ail ha1e their reactions ad7usted one
le1el up or do!n Fas desired by the *ore masterGE Those !ho succeed are not inspired by
the tale/ and those %e! !ho roll a natural 2C stron(ly disa(ree !ith the tale and ha1e their
reactions ad7usted one le1el in the opposite directionE
"tymology) *ore masters can make their read lan(ua(es attempt t!ice i% the
lan(ua(e in .uestion is an ancient one Fa lan(ua(e no lon(er spokenGE They can also use
their read lan(ua(es ability to decipher runes/ (lyphs/ picto(rams/ ideo(rams/ or any
other %orm o% ancient 1isual communicationE
E1en thou(h a *ore master cannot be pro%icient in a ne!ly encountered ancient
lan(ua(e/ i% he makes his &ncient *an(ua(es pro%iciency check/ he understands the
basics o% the ancient lan(ua(eE Elementary use o% the lan(ua(e is (ained/ allo!in( %or
!ritten or e1en spoken communication at one+tenth the normal rateE
S&ecial %in!$ances' -oneE
S&ecialt(' Pied PiperN&nimal CharmerE
)*alifications' Standard ability scoresE El1es can become Meistersin(ers and
reach 56th le1elE
+nt$o!*ction' .elcome to !reat .ood. My name 's %hellana and * w'll be
gu'd'ng you through th's beaut'(ul (orest. *'0e l'0ed here (or as long as * can remember.
My (ather 's a ranger who patrols the (orest and my mother ma'nta'ns a small cottage (or
us all.
My dearest (r'ends are %'mb'om, a red barn owl, and Moshma, a :et black
panther. They accompany me where0er * go. $nd where 's that- .ell, * don't really ha0e a
:ob as most people would de('ne 't. * o(ten help the rangers who patrol the !reat .ood.
They are concerned w'th the secur'ty o( some k'ngdom or other and want to keep the
(orest (ree o( sp'es and e0'l monsters. * help them by report'ng any strange people or
creatures * encounter.
But my real goal 's to keep the (orest and 'ts an'mals sa(e (rom the encroachment
o( 6c'0'l'5at'on.6 !reedy (urr'ers and loggers and waste(ul tra0elers are my enem'es. *
ha0e (reed countless an'mals (rom l'0e traps, ha0e broken numerous logg'ng saws, and
ha0e scared o(( se0eral do5en c'ty (olk th's year.
* secretly work w'th the dru'ds. Together we ha0e kept the (orest and 'ts creatures
relat'0ely sa(e (rom harm. But our :obs grow more and more d'(('cult as new 0'llages keep
popp'ng up near the (orest's edge. $nd w'th that sa'd, * must go and plant some more
trees be(ore %'mb'om eats all o( my nuts.
Desc$i&tion' Meistersin(ers !ander the !oodlands/ mountains/ and deserts/
seekin( out those !ho !ill listen to their son(sE "nlike other bards/ Meistersin(ers rarely
per%orm %or humankindE They tailor their music to the tunes o% natureE Their audiences
are the birds/ the bees/ and the behemothsE
Meistersin(ers ha1e !andered unsettled lands since the da!n o% mankindE
*oremasters tell tales about ho! the ancient dryads and nymphs !ould %ind lost human
children and teach them the !ays o% the %orestE thers !ere taken in by druidsE 1er the
years/ these children o% nature ha1e e1ol1ed into a de%inable class o% character++the
Meistersin(erE 2hether these tales are true or not/ Meistersin(ers do e4istE
The concerns o% Meistersin(ers center around nature/ especially animalsE *a!%ul
neutral/ true neutral/ and chaotic neutral Meistersin(ers see themsel1es as one !ith nature
Falthou(h each 1ie!s the structure o% nature di%%erentlyGE They protect animals as humans
protect those o% their societyE -eutral (ood Meistersin(ers look upon animals as innocent
children !ho should be isolated and protected %rom the harsh and uncarin( realms o%
ci1iliDationE -eutral e1il Meistersin(ers see animals as sub7ects to be controlled and
e4ploitedE They use animals as some lords use sla1esE True neutral Meistersin(ers are
closest to druids in the !ay they look upon animalsE
Role' Meistersin(ers are the mortal enemies o% ruthless and pro%iteerin( hunters/
trappers/ and %ishermenE They belie1e such acti1ities should occur only !hen the (ame is
needed %or sur1i1al and no part o% the animal is !astedE
3orests/ deserts/ and mountains are the typical arena %or the ad1enturin(
Meistersin(erE Rarely does a Meistersin(er ad1enture any !here unless animals are
someho! in1ol1ed++as mounts/ as companions/ or perhaps as capti1es !ho need to be set
Secon!a$( Skills' 3armer/ 3orester/ 'room/ Hunter/ TeamsterN3rei(hter/
Wea&on P$oficiencies' The %ollo!in( !eapons are %orbidden to the
Meistersin(er# harpoon/ lances/ mancatcher/ polearms/ and tridentE
&s a hunter and !oodsman/ a Meistersin(er must maintain a 1ariety o% !eapons#
those that are purely %or melee/ those that are purely missile !eapons/ and those that can
be used in both melee and missile combat Fhurled !eaponsGE &t 5st le1el/ a Meistersin(er
must select one melee and one missile !eaponE Each additional !eapon pro%iciency slot
must be spent in the %ollo!in( repetiti1e se.uence# hurled/ melee/ missileE
Non,ea&on P$oficiencies' Bonuses) &nimal *ore/ Musical Instrument/ Sin(in(/
Sur1i1alE %uggested) &(riculture/ &nimal Trainin(/ Blacksmithin(/ Cra%t Instrument/
0ancin(/ 0irection Sense/ 3ire+Buildin(/ 3ishin(/ Herbalism/ Huntin(/ Mountaineerin(/
Ridin( FairborneG/ Ridin( Fland+basedG/ Rope "se/ Set Snares/ S!immin(/ Trackin(/
2eather SenseE
A$o$-E.*i&ent' StandardE
S&ecial #enefits'
%ong o( Compan'onsh'p) &t 5st/ 6th/ and 5Cth le1els/ a Meistersin(er can play the
Son( o% Companionship/ !hich lasts %or 2d52 hoursE
The 0M and player should select si4 naturally occurrin( !ild animals Fnot
domesticated or %antasy+basedG appropriate to the current terrainE & d? is then rolled and
the selected animal emer(es %rom the nearby !oods or o1er the ne4t hillE The animal is a
%aith%ul companion to the Meistersin(er %rom that day on!ardE
The Meistersin(er and animal can communicate simple thou(hts and desiresE
Such communication must be in the %orm o% music or son( by the Meistersin(er/ and a
(ro!l/ ca!/ hiss/ or some other appropriate sound by the animalE thers cannot
understand the communicationE The companion has hit points e.ual to those o% the
Meistersin(er at his current le1elE The companion's hit points do not increase as the
Meistersin(er rises in le1elE
The companion (ained at 5st le1el should be tiny or small Fas per the JSiDeJ entry
in the Monstrous Compend'a GE The animal trans%ers its primary sensory po!er onto the
Meistersin(erE This is much like the ('nd (am'l'ar spell/ but it is not identical and does not
take the place o% that spellE
The 6th+le1el companion should be small or medium in siDeE The Meistersin(er
(ains the ability to polymorph his arms and head into those o% this companion/ %or
purposes o% unarmed combatE &ttacks are made usin( the Meis ter sin(er's TH&CC/ but
success%ul attacks cause dama(e e.ual to that o% the animal's natural !eaponryE The Meis
ter sin(er also recei1es multiple attacks/ i% the animal is entitled to themE
The 5Cth+le1el companion should be medium or lar(eE The Meistersin(er (ains
the ability to shape change Fas the Bth+le1el !iDard spellG into this companion's %orm
once per dayE
& Meistersin(er's companions are his best %riendsE I% one is slain/ the mental strain
o% the loss %orces the Meistersin(er to roll a success%ul system shock check or dieE
F*ike!ise/ i% the Meistersin(er is slain/ the companion animals must roll system shock
checks/ at ACL M 5L per hit dieEG I% the check is success%ul/ the Meistersin(er (oes into
deep mournin( %or 5C5 days/ durin( !hich he does not ad1entureE & Meistersin(er can
call %or one replacement companion each time he ad1ances in le1el Fhe is not re.uired to
call %or a replacementGE The replacement is the same siDe as the lost companion and
con%ers the same abilities upon the Meistersin(erE
%ong o( %anct'on) This son( en1elops the Meistersin(er/ creatin( a nearly ma(ical
barrier o% (ood !ill around himE &ny attackin( animal or monster must roll a sa1in(
thro! 1sE paralyDation !ith a +5 penalty per three le1els o% the Meistersin(er or i(nore the
Meistersin(er and those !ithin one %oot per le1el o% him %or as lon( as the son( is playedE
The e%%ect o% the son( is ended i% the Meistersin(er attempts to mo1e or i% anyone in the
protected area attacks Fincludin( o%%ensi1e spell useGE
$n'mal Charm) Meistersin(ers kno! a number o% son(s that ha1e special charm+
like e%%ects upon animals Fincludin( (iant animalsGE
I% the Meistersin(er concentrates/ he can attempt to charm one animal !ithin 1ie!
by his sin(in(E nly an animal o% Hit 0ice e.ual to or less than the Meistersin(er's le1el
can be a%%ectedE 3urthermore/ the total Hit 0ice o% all such charmed animals
accompanyin( the Meistersin(er cannot e4ceed t!ice the Meistersin(er's le1elE
The son( takes 5d5C rounds/ but the animal is held temporarily spellbound durin(
the per%ormance/ as lon( as no hostile ad1ances are made upon it by the Meistersin(er or
his alliesE &%ter 5d5C rounds/ the monster rolls a sa1in( thro! 1sE paralyDation !ith a +5
penalty per three le1els o% the Meistersin(erE I% it %ails/ it is under the e%%ects o% a charm
spellE I% it succeeds/ it is una%%ected and acts normallyE I% the roll !as a natural 2C/ the
animal is enra(ed and immediately attacks the Meistersin(erE
*n(luence &eact'ons) Meistersin(ers can attempt to in%luence the reactions o%
animals that aren't attackin( and that allo! the Meistersin(er to play %or themE This
ability is handled e4actly as the True Bard's in%luence reactions ability Fe4cept that it
a%%ects only animalsGE
%pec'al H'ndrances) Meistersin(ers do not (ain %ollo!ers/ nor do they build
typical stron(holdsE Their animal companions ser1e as their %ollo!ers/ and they tend to
build se1eral small cotta(es or huts throu(hout the lands they patrolE
S&ecialt(' RiddlerNIntellectE
)*alifications' Riddlemasters must ha1e an Intelli(ence o% 56 or moreE Their
other ability scores are standardE 'nomes can rise to become Ath+le1el RiddlemastersE
Hal%lin(s can ad1ance up to Bth le1elE
+nt$o!*ction' Aes, * am &etean, the &'ddlemaster, masterm'nd o( en'gmas and
games. * can sol0e any r'ddle and complete any pu55le. Pay the pr'ce and watch me
$s a &'ddlemaster, my m'nd 's constantly 'n mot'on. *'m w'ser than most cler'cs,
and smarter than most sages. $lways th'nk'ng, always plott'ng, always alert.
.hen * encounter someone, * analy5e h'm, e0aluate h's 0alue to mysel(, and act
accord'ngly. .hen * enter a ta0ern * don't :ust grab the nearest cha'r. *nstead, * scan the
room, select the most ad0antageous seat, and then e0aluate the (are as * dec'de what to
ha0e. one o( my dec's'ons are made w'thout del'berate, consc'ous thought.
Aet, * can be enterta'n'ng as well. * lo0e to pose +uest'ons and r'ddles. 2or
I% the !orld !ere round/
&nd you stood on the (round/
Ho! many places could you stand E E E
2alk south 2C lea(ues/ east 2C lea(ues/ north 2C lea(ues
and end up hand in handE
The answer 's not the north pole, but 6#ne.6 True, the orth Pole 's the only
place where you can do th's, but * asked, 6how many places,6 not wh'ch places.
$nd now, as * ha0e summed up your worth to me, * must be o(( to a new
Desc$i&tion' Riddles/ rhymes/ and puDDles are the medium o% the RiddlemasterE
These characters look upon li%e as an intricate and challen(in( puDDle to be sol1edE Their
seemin(ly stran(e !ays cause many a commoner to label them craDy Fmuch like the
,esterGE Ho!e1er/ Riddlemasters are e4ceptionally intelli(ent/ and their minds !ork on a
le1el abo1e that o% the common manE
Riddlemasters de1ote their entire intellect to ma4imiDin( %a1orable outcomes %or
themsel1es and their %riendsE Some belie1e that Riddlemasters are 7ust e4traordinarily
lucky/ but this is not the caseE Riddlemasters are al!ays considerin( the en1ironment
around them/ bein( sure to stand in the most %a1orable places/ socialiDin( !ith the most
ad1anta(eous people/ askin( the best .uestions/ and so onE They seek to de1elop the
supreme mindE
To %launt their skills/ Riddlemasters o%ten speak in riddles or rhymes/ causin(
others to stop and think in order to understand themE Riddlemasters lo1e to pose
.uestions/ in the %orm o% riddles/ to e1eryday peopleE These riddles are care%ully
constructed and o%ten conceal lessons or obser1ations that apply to the Riddlemasters'
Role' Each Riddlemaster applies his intellect in a di%%erent !ayE E1il
Riddlemasters seek to demean and put do!n others in order to rise abo1e themE 'ood
Riddlemasters make their !ay throu(h society attemptin( to educate the Jless %ortunateEJ
thers simply tra1el around/ en7oyin( the sport o% pokin( %un at others !hile ad1ancin(
their o!n intellectual understandin(E
Tra1elin( Riddlemasters are most common/ as their uni.ue !ays o%ten irritate
others/ %orcin( them to maintain a mobile li%estyleE &d1enturin( Riddlemasters en7oy the
supreme tests o% 7ud(ment and intelli(ence that must be passed in order to sur1i1e
perilous .uestsE Besides this/ their input on decisions is nearly in1aluableE % course/
some party members may %ind their manner di%%icult to put up !ithE
Secon!a$( Skills' 3e! Riddlemasters ha1e a secondary skill/ as they ha1e spent
their time in intellectual pursuitsE Those !ho do are most likely 'amblers/ ,e!elers/ or
Wea&on P$oficiencies' Riddlemasters en7oy %inesse !eapons o1er those that
re.uire simple bra!nE They can become pro%icient in the blo!(un/ bo!/ crossbo!/
da((er/ dart/ hand a4e/ 7a1elin/ kni%e/ .uartersta%%/ slin(/ spear/ sta%% slin(/ short s!ord/ or
Non,ea&on P$oficiencies' Bonuses) &rtistic &bility FriddlesG/ *an(ua(es
FmodernG/ Poetry/ Readin(N2ritin(E %uggested) &ppraisin(/ Blind+%i(htin(/ 0irection
Sense/ 'amin(/ Heraldry/ Musical Instrument/ -a1i(ation/ Readin( *ips/ Sin(in(/
2eather Sense/ >entrilo.uismE
A$o$-E.*i&ent' StandardE
S&ecial #enefits'
Probable Path) Riddlemasters can use their (reat intellects to make analytical
decisionsE 2hen a decision must be made concernin( multiple options Fe.g., !hich
hall!ay to proceed do!n/ !hich door to open %irst/ !hich opponent to attack %irst in
order to achie1e some (oal/ etcEG/ the Riddlemaster can use his intellect to help make the
decisionE In such cases/ the 0M secretly rolls an Intelli(ence check %or the Riddlemaster/
!ith a penalty e.ual to the number o% pre1ious probable path decisions made that day
Frepresentin( mental %ati(ueGE I% the roll succeeds/ the 0M tells the player all si(ni%icant
clues that the Riddlemaster mi(ht kno! or obser1eE I% there are no clues/ no in%ormation
is (ained++ Riddlemasters aren't lucky/ they're 7ust 1ery intelli(entE
I% the roll is a natural 2C/ the in%ormation (ained is misleadin(E
"nless a (i1en situation chan(es someho!/ usin( this ability multiple times in the
same situation (i1es identical resultsE
&'ddles7Pu55les) I% any ad1enture includes an actual riddle or puDDle that the
players must sol1e/ the player o% the Riddlemaster can make t!ice as many attempts to
sol1e the riddle or puDDle as is normally allo!edE 3or e4ample/ an ad1enture mi(ht
include an encounter in !hich the party runs into a sphin4E The sphin4 may demand the
ans!er to a riddle in e4chan(e %or sa%e passa(eE In this situation/ i% the Riddlemaster
(i1es the ans!er/ the player can actually make t!o (uesses/ and i% either is correct/ the
sphin4 is satis%iedE
The same thin( applies i% the party comes across a room !ith a tiled %loor that
must be crossed in a speci%ic se.uenceE The Riddlemaster is allo!ed to make one %ree
mistakeE nly on his second mistake does the character su%%er any haDardous
I% a problem has a time limit/ the Riddlemaster has t!ice the allotted time to sol1e
& special use o% sol1in( riddles and puDDles occurs !hen a Riddlemaster attempts
to understand a ne!ly disco1ered spellE The Riddlemaster has a M5CL bonus to his roll to
learn spells Fto a ma4imum o% B6LGE
3urthermore/ the Riddlemaster (ains the ability to use any !ritten ma(ical item at
Ath le1el/ instead o% 5Cth le1elE
Common %ense) To si(ni%y the common sense a Riddlemaster has at his disposal/
Riddlemasters (ain certain bene%itsE &lthou(h these bene%its are similar to those o% the
,ester kit/ they are not luck/ but rather a result o% intellectual calculations made by the
The Riddlemaster has a M5 ad7ustment to his &rmor ClassE
& Riddlemaster recei1es a M5 For 6LG bonus to many die rolls/ includin( sa1in(
thro!s/ indi1idual initiati1e/ attacks rolls/ dama(e rolls/ pro%iciency checks/ thie%
skill checks/ ability checks/ and all ability+based rolls Fbend bards/ system shock/
etcE G/ e4cept %or resurrection sur1i1alE
The only die rolls that common sense doesn't a%%ect are surprise/ initial character
(eneration rolls/ hit die rolls/ resurrection sur1i1al/ and monster dama(e rollsE
&'ddl'ng and &hym'ng) By chantin( certain riddles and rhymes/ a Riddlemaster
can in%luence an audience's reactionsE This ability %unctions in all !ays as the True Bard's
in%luence reactions abilityE
S&ecial %in!$ances' -oneE
S&ecialt(' >ikin( PoetN2arriorE
)*alifications' Standard ability scoresE 0!ar1es can ad1ance up to the 52th le1el
as SkaldsE
I'm Herak the Skald
and I am .uite bald/
but I ha1e lots o% (old/
as I am .uite boldE
*t needs a l'ttle work, but * can get to that latter. .elcome@ Come 'n by the ('re
and *'ll tell you a b't about my clan.
Be'ng a E'k'ng, *'m a great warr'or and belong to the m'ght'est clan o( ra'ders
e0er assembled. .hen we go on our great (orays, 't 's *, Herak, who records our deeds
(or all to hear. But that 's only part o( my role as a %kald. .hen combat 's ('erce, * o(ten
chant one o( the great war songs o( my (ore(athers. These songs ha0e great power, and
more than once ha0e * turned the t'de o( battle 'n our (a0or.
.hen my clan 'sn't at war or on a ra'd, * work on ballads, poems, and chants. *t
's our trad't'on that the clan's elder %kald pass on those songs that establ'sh the clan's
worth to the upcom'ng %kalds. To these are added the greatest tales o( the current
clansmen. *n th's way, all our descendants w'll know how great they are. They can retell
these tales, s'ng the ballads, and thus establ'sh the'r place among the clans.
Be'ng a %kald 's a wonder(ul l'(e. There 's noth'ng to match row'ng a longboat
across a m'st1shrouded bay early 'n the morn'ng, 'n preparat'on (or a ra'd on some
enemy 0'llage. "0eryone 's s'lent, the only sound 's the creak'ng o( oars and so(t slap o(
the water, and you can hear the chatter o( teeth due to the cold and ner0es. .e e0entually
sl'p up onto land, enter the 0'llage, then * shout out a m'ghty chant and the (un beg'ns.
Desc$i&tion' Skalds are honored and respected members o% their clansE These
(reat poets memoriDe the %eats o% each raid and battle/ settin( them do!n in the %orm o%
E1ery !ar party lo1es to ha1e a Skald in its midstE This assures that their (reat
deeds and mi(hty skills !ill be honored in the Skald's ne4t recital/ and therea%ter
immortaliDed %or all timeE Members o% most bands treat Skalds !ith utmost respect and
courtesyE It is !ell kno!n that the %oolish !arrior !ho mali(ns a Skald !ill soon hear his
name slandered in innumerable ballads across the landE
Poems are the %orm in !hich Skalds honor others and themsel1esE Poems are also
used to relate the oral history o% the clanE Si(ni%icant ballads are passed do!n %rom one
(eneration to another 1ia the Skald's talentsE In this !ay/ the lessons and deeds o% the past
are related to those o% the present so they can be passed into the %utureE
Role' Skalds are o%ten supported and protected by clan nobles and kin(s !ho lo1e
to hear o% (reat duels and mi(hty !arsE 2hen e1ents are un%olded in the %orm o% poetry/ it
makes the tellin( all the more inspirin(E Such men !ould hear Skalds relate tales o% their
%amily's (lory to 1isitorsE
Skalds rarely per%orm to(ether unless they ha1e entered into a poetic duelE
&d1enturin( Skalds are commonE E1ery Skald is easily cau(ht up in the %er1or
and ma7esty o% ad1enture/ dan(er/ and combatE 'reat .uests also ser1e as source material
%or their ballads and poemsE
Secon!a$( Skills' &rmorer/ Bo!yerN3letcher/ Hunter/ *eather !orker/
Wea&on P$oficiencies' &n initial pro%iciency slot must be spent on either the
broad s!ord/ hand a4e/ battle a4e/ or spearE &t least hal% o% the Skald's !eapon
pro%iciencies must be spent on these !eapons Funtil they are all selectedGE
Non,ea&on P$oficiencies' Bonuses) &ncient History/ *ocal History/ Poetry/
Sin(in(E %uggested) &rmorer/ Blacksmithin(/ Blind+%i(htin(/ Bo!yerN3letcher/ Cro!d
2orkin(/ Eti.uette/ Huntin(/ *eather!orkin(/ Musical Instrument/ 2eaponsmithin(E
See JSpecial HindrancesJ concernin( the readin(N!ritin( pro%iciencyE
A$o$-E.*i&ent' Skalds lean to!ard !arrior skills more than most bardsE
Because o% this/ they can !ear any %orm o% armor up to bronDe plate/ and they can e1en
use shieldsE
S&ecial #enefits'
.ar Chant) By chantin( a !ar son(/ a Skald can inspire allies as they (o %or!ard
into combatE 3or the chant to ha1e an e%%ect/ the Skald must be(in chantin( at least three
rounds be%ore combat be(ins/ other!ise his allies are too cau(ht up in the e1ents about
them to bene%it %rom this abilityE
Such chantin( has an e%%ecti1e ran(e o% ten %eet per le1el o% the SkaldE The e%%ects
end as soon as the Skald recei1es his %irst !oundE I% the Skald does not enter the %ray Fand
a1oids bein( !oundedG/ the e%%ects end in a number o% rounds e.ual to the Skald's le1elE
&t 5st le1el/ the Skald can choose only one o% the %ollo!in( si4 e%%ects per battleH
at ;rd le1el t!o e%%ects are chosen/ three at ?th/ %our at Bth/ etcE The Skald player chooses
the e%%ects/ and can chan(e them %rom one battle to the ne4tE
Chantin( can ele1ate spirits/ remo1e concerns about dan(er/ keep men's minds
%ocused on combat/ and %ill %riendly %orces !ith a sense o% bein( lar(er than li%eE
Translated into (ame terms/ this results in the %ollo!in( si4 possible e%%ects %or the
members o% the Skald's party#
Bonus hit points e.ual to the Skald's Hit 0iceE
& morale bonus o% 5 %or e1ery si4 le1els o% the Skald Frounded upGE
& M5 bonus to all attack rollsE
& M5 bonus to all dama(e rollsE
& M5 bonus to all sa1in( thro!sE
& +5 bonus to e1eryone's &rmor ClassE
*n(luence &eact'ons) I% a Skald spends 5d5C rounds sin(in( ballads/ he can
attempt to impro1e the reactions o% an audienceE E1eryone able to clearly hear and
understand the Skald must roll a sa1in( thro! 1sE paralyDation !ith a +5 penalty per three
le1els o% the SkaldE Those !ho %ail ha1e their reactions to the Skald impro1ed by one
le1elE Those !ho succeed do not %ind the Skald's ballad to be particularly mo1in(E Those
!ho succeed on a natural 2C %ind the son( to be o%%ensi1e and their reactions !orsen one
Battle Chant) Skalds are a bit more combati1e than most bardsE This pro1ides
them !ith certain combat ad1anta(esE The Skald %i(hts !ith a M5 attack roll bonus any
time he is sin(in( or chantin( durin( combat/ e1en a so%t chant under his breathE In
addition/ the Skald (ains a M5 dama(e bonus !hen usin( a broads!ord/ a4e Fany typeG/ or
spear !hile he is chantin(/ pro1ided that he has pro%iciency !ith the !eaponE These
bonuses almost al!ays apply/ unless the bard is silenced/ under !ater/ etcE
,egend ,ore) Skalds lo1e le(ends about !ar and combatE *e(end lore !orks the
same %or Skalds as it does %or True Bards/ e4cept that Skalds can per%orm le(end lore
only upon ma(ical items ha1in( to do !ith !ar or combat Fe.g., !eapons/ armor/ strength
pot'ons, etc.GE
S&ecial %in!$ances' The Skald's society does not ha1e a !ritten lan(ua(eE
Because o% this/ Skalds cannot take the readin(N!ritin( pro%iciency !hen createdE
3urthermore/ they do not (et the read lan(ua(es ability at ;rd le1el i% they stay in their
home societyE Ho!e1er/ both o% these limits are li%ted once the Skald comes into contact
!ith a culture that reads and !ritesE He can then pick up the readin(N!ritin( pro%iciency
at t!ice the normal cost and (ains the read lan(ua(es ability at a CL base F'.e., he must
put points into the skill or he has a Dero chance %or successGE
Skalds do not (ain the use any !ritten ma(ical item ability at 5Cth le1elE
Spells are also nearly unkno!n in the Skald's society/ and they are 1ie!ed !ith
suspicion in any e1entE Thus/ Skalds cannot learn any spells until they encounter a
spellcastin( cultureE nce contact has been made/ the Skald can be(in castin( spells
!hen he (ains his ne4t le1elE &t this time he is considered a 2nd+le1el spellcaster
Fpro1idin( he is at least ;rd le1el by this timeGE His spellcastin( le1el increases by 5 e1ery
time he (ains a le1el therea%terE
I% your campai(n does not ha1e a >ikin( culture/ but a player still !ishes to play a
Skald/ assume that the character le%t his distant homeland and has 7ourneyed to the
e4istin( campai(n settin(E This character can take readin(N!ritin( pro%iciency !hen he
(ains his ne4t le1el/ pro1ided he has the pro%iciency slots a1ailableE He (ains the ability
to cast spells as outlined abo1eE
Notes' The E'k'ngs Campa'gn %ourcebook is a (ood resource to be used in
con7unction !ith Skald bardsE
S&ecialt(' &ctorNMimeE
)*alifications' Standard ability scoresE
+nt$o!*ction' * am !lateela the Thesp'an. * would l'ke to 'n0'te you to the
per(ormance o( the 6!reen Dragon and !olden ;n'ght,6 g'0en th's weeks' end 'n the #ld
;'ng's Theater. * w'll be play'ng Ma'den Fephn'a.
* ha0e played 0ar'ous roles on the #ld ;'ng's stage (or the past (our years. $ct'ng
's a wonder(ul occupat'on. *'m always busy learn'ng parts, per(orm'ng, and teach'ng the
young ch'ldren. .hen *'m not per(orm'ng, some courtly gentleman or other has me o0er
(or blackroot tea. *'m on a ('rst1name bas's w'th the c'ty mayor, all o( the rank'ng
constables, and e0en the Duke knows me.
.hat (ew people real'5e 's that *'m s'ster to the 'n(amous wanderer Hanalac'ous,
and we o(ten ad0enture together. Hanalac'ous 's actually a warr'or. Her reputat'on as a
bard 's a result o( my dress'ng up as her double and act'ng the part. *n th's way, the
legend o( Hanalac'ous grows w'th a speed that would be 'mposs'ble (or any s'ngle
Unknown e0en to Hana 's the (act that * occas'onally play other o((1stage roles.
Th's 's the real thr'll o( be'ng a Thesp'an. Aou can be anyone you want '( you are good
Hope to see you th's weekend. $nd '( you wh'sper a word o( my secret to anyone,
you'd best beware o( e0eryone you meet, (or one o( them w'll be me 'n d'sgu'se and * w'll
s'lence your loose tongue (ore0er.
Desc$i&tion' % all the 1arious types o% bards/ Thespians put the most time and
ener(y into per%ormancesE Thespians are actorsE They display their talents in plays/ skits/
and dramatic productionsE Some e1en per%orm in streets or 1illa(e s.uaresE 2hen a
Thespian isn't actin(/ he is likely !ritin( scripts or readin( %or upcomin( partsE
Thespians are some!hat like/ yet unlike/ CharlatansE 2here Charlatans act to
decei1e/ Thespians act to make others belie1eE Because o% their similar methods/
Thespians ha1e some skills in common !ith CharlatansE
Role' Thespians rarely tra1el %rom to!n to to!n unless they are on an actin( tourE
E1en i% they are on tour/ they o%ten return to their established homeE Most Thespians
belon( to the local actor's (uild and take part in re(ularly scheduled per%ormancesE
ccasionally/ Thespians are secretly hired to ser1e as spies/ or temporarily %ill in
%or a missin( personE The (reat Thespian Hanalacious once %illed in as the *ord Mayor o%
the 3ree City o% 'reyha!k %or o1er a month !hile the real mayor !as a!ay on secret
The ad1enturin( Thespian is a rare person Fplayer characters represent almost all
o% themGE Such Thespians are o%ten out %or J%ield researchEJ &%ter all/ i% you !ant to play
the part o% a mi(hty !arrior/ !hat better practice than to (o dun(eoneerin(P ther
Thespians ad1enture %or the thrill o% it allE They look upon such acti1ity as takin( a part in
the J'rand Play o% *i%eEJ Such Thespians o%ten (o to any len(th to mold the ad1enture
into a dramatic production !ith themsel1es as the stars+o%ten to the cha(rin o% their
%ello! party membersE
Secon!a$( Skills' &nyE
Wea&on P$oficiencies' Since they are actors/ Thespians spend a lot o% time
practicin( !ith all types o% !eapons/ in order to make their plays more realisticE This
produces a uni.ue situationE Thespians understand the sho!y sta(e methods %or usin(
most !eapons/ but they rarely practice !ith any one !eapon lon( enou(h to become truly
pro%icient at itE
&s a result/ 5st+le1el Thespians are pro%icient only !ith the da((erE &t 2nd le1el
they become pro%icient !ith the kni%e/ and at 6th le1el Thespians (ain their %inal !eapon
pro%iciency++the short s!ordE
This restriction is partially o%%set by the %act that a Thespian su%%ers only a +2
nonpro%iciency penalty Fe.ual to that o% !arriorsG on all other !eapons because o%
practicin( !ith these !eapons durin( rehearsalsE
Non,ea&on P$oficiencies' Bonuses) &ctin(/ 0is(uise/ *an(ua(es FmodernG/
Readin(N2ritin(E %uggested) &rtistic &bility/ Cro!d 2orkin(/ 0ancin(/ Eti.uette/
,umpin(/ *an(ua(es FancientG/ Musical Instrument/ Poetry/ Readin( *ips/
SeamstressNTailor/ Sin(in(/ Tumblin(/ >entrilo.uism/ 2ea1in(E
A$o$-E.*i&ent' &(ain/ Thespians are actors and don all %orms o% armor %or
their 1arious rolesE This sets them apart %rom the normE &s a result/ they can !ear any
%orm o% armor and e1en carry shieldsE Ho!e1er/ they incur a M5 &rmor Class penalty
!hen !earin( armor that is not standard %or the bard character class Ftheir understandin(
o% these armor types is imper%ectGE Thespians ha1e no real understandin( o% shieldsH
thou(h they can carry shields/ they (ain no &rmor Class bonus %or the e%%ortE
S&ecial #enefits'
!eneral $ct'ng) Thespians are master%ul actorsE "sin( this ability/ they can act as
i% a li(ht blo! !as %atal/ pretend to %aint/ or e4a((erate their abilitiesE These skills are
re.uired on sta(e/ but are also 1ery use%ul durin( ad1enturesE
nce/ Hanalacious's band came upon a camp o% si4 o(resE RealiDin( that they
!ere outmatched/ Hana leapt %or!ard to meet the char(in( o(resE She acted as i% the %irst
strike a(ainst her !as a %atal blo!E The o(res belie1ed this and char(ed on to attack the
rest o% the bandE 2ith the time that Hana had bou(ht hersel%/ she mana(ed to unpack her
%ireball scroll and succeeded in roastin( the o(res and sa1in( the dayE
Hana's %inest per%ormance occurred in the %amous dun(eons o% the 'reyha!k
ruinsE Here/ she came upon 3arcluun/ a (reat red dra(onE 0urin( the ne4t %our hours/
Hanalacious !as in1ol1ed in the most dan(erous role she e1er playedE 2hen she sa! the
(reat !yrm/ she .uickly dis(uised hersel% as Qa(i( 8ra(erne/ the ori(inal %ounder o%
'reyha!k CastleE Enterin( the ca1ern o% 3arcluun/ Hana played up her kno!led(e/
!isdom/ and ma(ical pro!essE In the end/ she co!ed 3arcluun and actually had the
dra(on huddled in a corner !ith threats o% turnin( its li%e's treasure tro1e into an ant hillE
&ctin( %unctions in much the same !ay as illusion spellsE I% the audience belie1es
the act/ then it !orks !ithout .uestionE I% the audience is skeptical/ they are allo!ed to
roll a sa1in( thro! 1sE spell !ith a +5 penalty %or e1ery three le1els o% the ThespianE I% the
sa1in( thro! succeeds/ they realiDe that the Thespian is actin(H other!ise/ they accept the
% course/ acts can (o only so %arE It is impossible to act as i% you are li%tin( a
@CC+pound boulder o1er your head unless you ha1e the aid o% ma(ic For a Stren(th o% 2C
or moreGE
%pell $ct'ng) &ny Thespian !ho has taken the spellcra%t pro%iciency can act as i%
he can cast po!er%ul spellsE To put on such a per%ormance/ the Thespian must be easily
1ie!ed by all !ho !ill be a%%ectedE The Thespian then stands up/ chants arcane !ords/
(estures/ and tosses Jma(icalJ po!der aboutE 0urin( the spell actin(/ the Thespian directs
his attention and (estures to!ard the intended tar(ets o% the spellE &%ter one round/ the
tar(ets must roll a success%ul morale check or %lee in terrorE
I% the Thespian actually casts a %lashy spell durin( the act Fe.g., burn'ng handsG/
the morale check is made !ith a penalty e.ual to the spell's le1elE Ima(ine !hat you
!ould think i% a !iDard's hands sprouted %lame !hile he chanted and made (estures o%
doom in your directionE
*n(luence &eact'ons) Thespians can in%luence the reactions o% those they meet by
tryin( to act in an appealin( mannerE &%ter 5d5C rounds o% such a per%ormance/ those
associatin( !ith the Thespian roll a sa1in( thro! 1sE paralyDation !ith a +5 penalty per
three le1els o% the ThespianE I% they %ail the sa1in( thro!/ their initial reactions are altered
one le1el in the direction that the Thespian desiresE I% the sa1in( thro! succeeds/ the
audience realiDes that the Thespian is actin( and their reactions are ad7usted one le1el in
the opposite directionE
#bser0e Mot'ons) &s actors/ Thespians are trained to obser1e the motions o%
othersE "sually they use this skill to see cues %rom %ello! actors durin( a per%ormanceE
This ability also enables them to predict the mo1ements o% opponents durin( combatE
In any round that a Thespian !ins initiati1e/ he (ains a M2 bonus to his &rmor
Class and sa1in( thro!s and a M5 bonus to attack rollsE
S&ecial %in!$ances' -oneE
C$eating Ne, 2its
&lthou(h the list o% kits (i1en in this handbook is lar(e/ it isn't all+inclusi1eE There are
many other bard kits that 0Ms and players can come up !ithE
Be%ore desi(nin( a ne! kit/ %irst e4amine the e4istin( kits to see i% one o% them
can be modi%ied to %ill your needsE I% not/ make a photocopy o% the Bard )it Record Sheet
located in the back o% this handbookE 3ill it out !ith the description o% your ne! kitE The
in%ormation that should be listed under each section is described in detail at the be(innin(
o% this chapterE Re%er to it %or assistanceE
&%ter you ha1e created a ne! kit/ present it to your 0un(eon Master %or appro1alE
%ten/ he !ill !ish to ad7ust certain aspects o% the ne! kit %or balanceE nce the kit is
complete and ready %or use/ the 0un(eon Master still mi(ht ad7ust it in the %uture/ based
on ho! !ell it !orks in playE
Here is a help%ul list o% additional bard kits that you may !ish to create on your
Historical Bard++0ruid historian
0er1ish++&rabian 0ancerNHealer
Muse++Sin(in( Healer
Scop++&n(lo+Sa4on Minstrel
Entrancer++Spell 0ancer
Rustic++3olk Sin(er
Rhythmist++Instrumental 0ancer
Sa1a(e++Medicine Man
Ac.*i$ing3 D$o&&ing3 an! Changing 2its
Bard kits should be taken only !hen the character is %irst createdE The one
e4ception mi(ht occur !hen this handbook is %irst introduced into a campai(nE In this
case/ the 0un(eon Master may allo! certain e4istin( bards to be con1erted to the kits that
most resemble the manner in !hich they ha1e been played in the pastE Ho!e1er/ note that
such a trans%er !ill ha1e to be ad7udicated by the 0un(eon MasterE
I% a player decides to drop a bard kit/ he should meet !ith his 0un(eon Master to
discuss the manner in !hich the transition should occurE 2hen a kit is dropped/ the
character becomes a core bard Fnot a True BardG/ and that character cannot re(ain his old
kitE This has the %ollo!in( e%%ects upon the character#
3uture !eapon pro%iciency slots can be spent on any !eapon desiredE
The bard's %our bonus pro%iciencies must either be dropped or all %uture non!eapon
pro%iciency slots must be spent payin( %or them be%ore any ne! non!eapon
pro%iciencies can be selectedE
The character no lon(er needs to pay attention to his old kit's su((ested non!eapon
The character can !ear any armor normally allo!ed to the core bard/ but cannot use
any other type o% armor Fincludin( shieldsGE
&ll special bene%its are lostE
&ll special hindrances are i(noredE
It is possible %or a bard to chan(e kits/ but only in one 1ery limited mannerE 3irst/
the bard's e4istin( kit must be droppedE Then/ i% the bard !ants/ he may (ain a ne! kit/
but it must be the True Bard kitE The process %or (ainin( the True Bard kit (oes as
nce the bard's old bonus non!eapon pro%iciencies are either dropped or paid %or/ the
ne4t a1ailable pro%iciency slots must be spent (ainin( sin(in(/ musical
instrument/ readin(N!ritin( Fnati1e ton(ueG/ and local historyE
&s the bard (ains the ne4t %our le1els/ he (ains one o% the True Bard's special bene%its
at each ne! le1elE The speci%ic bene%it (ained is determined by the playerE
Cha&te$ 4' Dei"3 1*lti" an! D*al"Classe! #a$!s

Deih*ans as #a$!s
&s per the Player's Handbook/ only humans and hal%+el1es can become bardsE
E1en this book doesn't allo! d!ar1es/ el1es/ (nomes/ and hal%lin(s to become bards in
the true sense o% the !ordE Ho!e1er/ each o% these races has a stron( tradition in the
per%ormin( artsE 0!ar1en chanters are le(endary/ as are the (reat el1en minstrelsE 'nome
pro%essors and hal%lin( !histlers are also !ell+kno!nE
"nlike humans and hal%+el1es/ those playin( demihumans must take a bard kit i%
they are to run bard player charactersE I% the kit system is not used/ d!ar1es/ el1es/
(nomes/ and hal%lin(s cannot be bardsE Since these races cannot be true bards/ they are
re%erred to as demi+bardsE nly a %e! kits are open to these races/ but each race has a kit
that is a1ailable only to members o% that race Findicated by italic type in the %ollo!in(
Table 54' DE1+"#ARDS
Race 1a6i*
)it *e1el

Chanter 56
Herald ?
Skald 52

'ypsy B
Herald ?
*oremaster 52
Meistersin(er 56
Minstrel 56

Charlatan ?
Herald ?
Pro%essor 56
,ester 56
,on(leur B
Riddlemaster A

Herald ?
,ester A
,on(leur 52
Riddlemaster B
2histler 56
K Counter %pell) 0!ar1es and hal%lin(s are e4tremely nonma(icalE These t!o
demi+bards are not allo!ed to cast spellsE They also %ail to recei1e the 5Cth+le1el bard
ability to use any !ritten ma(ical itemE
Ho!e1er/ as demi+bards/ these t!o races possess the curiosity o% all bardsE This
leads them to study the !orkin(s o% ma(ic F'.e., d!ar% and hal%lin( demi+bards must take
the spellcra%t pro%iciencyGE &lthou(h this doesn't result in the ac.uisition o% ma(ical
po!ers/ it enables them to (ain special resistances to spells they understandE
I% a hal%lin( or d!ar% is able to %ind a spell and learn it F'.e., succeed !ith their
Jchance to learn spellsJ rollG/ they become hi(hly resistant to the e%%ects o% that spellE %
course/ these t!o races can learn to resist only spells o% the same le1el as bards are
typically able to castE Thus/ a 2nd+le1el d!ar% or hal%lin( demi+bard can learn ho! to
resist the e%%ects o% all 5st+le1el spells that he has learned Fas per Table ?# Spell
Pro(ressionGE % course/ the demi+bard is still limited to the number o% spells he can learn
to counterE This limit is set by his JMa4imum I o% Spells per le1elJ Fan aspect o%
2hen a d!ar% or hal%lin( demi+bard is sub7ected to a learned spell's e%%ects/ he
can roll his Jchance to learn spellsJ in an attempt to th!art the spell's e%%ectsE This roll is
in addition to all other sa1in( thro!s normally allo!edE This does not cancel the spellH it
simply pre1ents it %rom ha1in( any e%%ect upon the d!ar% or hal%lin( demi+bardE
GG *llus'ons) 'nomes ha1e a hard time understandin( and castin( the more
practical and substantial spellsE They pre%er spells that create illusions/ %lashy colors/ and
other !ondrous e%%ectsE Because o% this/ (nome demi+bards do not (ain the %ull ran(e o%
spells normally allo!ed to bardsE Instead/ they must select and use spells as i% they !ere
illusionistsE Ho!e1er/ they still use Table ?# Spell Pro(ression/ to determine the number
o% spells they cast at a (i1en le1elE
Deih*an 2its
3ollo!in( are %our kits a1ailable only to demihumansE These kits cannot be selected by
humansE Ho!e1er/ hal%+el1es can select the Minstrel kit/ ad1ancin( up to 52th le1elE
D,a$7en Chante$
S&ecialt(' ChanterNTime *ordE
)*alifications' Chanters must ha1e a Constitution o% 5; or moreE Ho!e1er/ they
ha1e no Intelli(ence .uali%ication Funlike most bardsGE nly d!ar1es can become
Chanters and they are limited to 56th le1el in ad1ancementE
Desc$i&tion' Many times ha1e other races attempted to analyDe the phenomenal
success o% the d!ar1en raceH their uncanny ability to sur1i1e incredible hardship/ their
do((ed nature/ the immense amount o% !ork they per%orm/ and their success%ul military
campai(nsE &l!ays the analysis comes up shortE
Much o% the success o% the d!ar1en race can be attributed to their ChantersE
Throu(hout the a(es/ these special d!ar1es ha1e passed alon( the secrets o% their kindE
They ha1e learned the many minin(/ %or(in(/ marchin(/ and !ar chants o% their eldersE
ther races dismiss these chants as simple entertainment/ but it is the po!er o% the
d!ar1en Chanter that has built the steel in the d!ar1en spineE I% a skilled Chanter is
present/ d!ar1es can mine throu(h solid (ranite %or months !ithout (ro!in( bored or
Some chants are purely 1ocal/ but many re.uire the use o% a percussion instrument
to keep the rhythm steadyE Chanters o%ten employ drums/ (on(s/ (ourds/ and so onE
Role' The secret o% chantin( has been kept hidden %rom outsidersE Thus/ Chanters
are hea1ily (uarded and hi(hly re(arded !ithin the d!ar1en kin(domE % all d!ar1en
or(aniDations/ the Chanter's Colle(e is one o% the most po!er%ulE E1en kin(s ha1e been
o1erruled in the past by mi(hty Chanters threatenin( to cease their rhythmic son(sE
2ithout the Chanters/ the d!ar1en communities !ould slo! to a cra!l and their
under!orld enemies !ould push them %rom their homesE
&d1enturin( Chanters are a (reat boon to any party and are e1en more use%ul in
lar(e+scale battlesE They are the pace+setters and the 1ery heartbeat o% those around themE
Secon!a$( Skills' &rmorer/ ,e!eler/ Mason/ Miner/ 2eaponsmithE
Wea&on P$oficiencies' Chanters o%ten use their !eapons to beat upon an
instrument/ a rock/ or e1en the (roundE Because o% this/ they (enerally become pro%icient
only in blunt !eapons or stick+like !eaponsE
The %ollo!in( !eapons are a1ailable to Chanters# club/ %lails FallG/ maces FallG/
7a1elin/ mornin( star/ .uartersta%%/ slin(/ spear/ sta%% slin(/ and the !arhammerE
Non,ea&on P$oficiencies' Bonuses) Cro!d 2orkin(/ Musical Instrument/
Chantin(/ Spellcra%tE %uggested) &ncient History/ &ppraisin(/ &rmorer/ Blacksmithin(/
Cobblin(/ Cra%t Instrument/ En(ineerin(/ 'em Cuttin(/ *an(ua(es FancientG/ *an(ua(es
FmodernG/ *ocal History/ Minin(/ Mountaineerin(/ Pottery/ Stonemasonry/
A$o$-E.*i&ent' Chanters can !ear any armor e4cept %or plateH plate mail/
bronDe plate/ %ield plate/ and %ull plate are all %orbiddenE They cannot employ shieldsE
S&ecial #enefits'
Counter Chant) *ike all d!ar1en demi+bards/ d!ar1en Chanters (ain the counter
spell ability de%ined earlierE In order to counter a spell/ a Chanter must 1oice the proper
counter chantE
In addition to the typical counter spell ability/ Chanters can actually JattackJ
certain spellsE & Chanter can !alk up to a !all o% %orce Fassumin( he has pre1iously
learned the spellG/ be(in counter chantin(/ and i% he succeeds !ith his Jchance to learn
spellsJ roll/ he actually cancels the entire spell %or a number o% rounds e.ual to his le1elE
I% the roll is e.ual to or less than the d!ar%'s le1el/ the cancellation is permanentE
.ar Chant) 0!ar1en !ar chants are le(endaryE There is nothin( .uite so
po!er%ul and terri%yin( as !atchin( a mass o% hea1ily armed and (rim+lookin( d!ar1es
ad1ancin( and chantin(E Their deep 1oices/ all boomin( in unison/ o%ten destroy enemy
morale and put %ear into the heart o% many a bra1e %oeE
2hen a Chanter starts a !ar chant/ he can a%%ect up to ten d!ar1es per le1el or
one non+d!ar% per le1elE To be a%%ected/ the recipients must 7oin in the chant Fit doesn't
matter i% they ha1e e1er heard it or notGE &%ter 5d5C rounds o% chantin(/ the po!er o% the
chant be(ins to take e%%ectE & chantin( band (ains a M5 bonus to initiati1e/ a M2 bonus to
resist surprise/ and a M2 bonus to all morale checksE Those combatin( a chantin( (roup
su%%er a +5 initiati1e penalty and a +2 penalty to all morale checksE The bonuses %or a
member o% the Chanter's party last %or as lon( as both the indi1idual and the Chanter are
chantin(H the penalties %or the opponents last as lon( as the Chanter keeps up the chantE
T'm'ng Chant) The real po!er o% the Chanter is the numerous timin( chants he
kno!sE These chants %unction similarly to !ar chants in that they take 5d5C rounds to
take e%%ect/ and last !hile both the Chanter and a%%ected are chantin(E But the results are
.uite di%%erentE
There are %our common timin( chants# one each %or minin(/ %or(in(/ marchin(/
and (eneral laborE The purpose o% each chant is to increase producti1ity/ soothe the mind/
pre1ent boredom/ sta1e o%% sleep/ and support resol1eE &ll timin( chants must be
accompanied by a percussion instrumentE
Timin( chants by Chanters increase speed or production by 6L per le1el o% the
ChanterE & top+le1el F56thG Chanter can (et @6L more !ork out o% a (roup than it !ould
normally produceE
% course/ such rapid !ork does take a physical toll/ e1en i% the mind is !illin(E
Each hour that a person !orks under the e%%ects o% a timin( chant/ he must roll a
Constitution checkE & %ailed check results in the loss o% 5d< hit pointsE This dama(e is
temporary and is reco1erable at the rate o% 5 point per hour o% rest or sleepE &nyone
reduced to C hit points in this !ay %alls o1er %rom e4haustionH death results unless a
Constitution check succeedsE
Trance) b1iously/ i% a minin( cre!'s Chanter %alls o1er %rom lack o% sleep or
e4haustion/ the timin( chant !ill ceaseE 3or this reason/ Chanters ha1e learned to place
themsel1es into a sel%+induced tranceE This takes 5d5C turns o% uninterrupted meditation/
durin( !hich the Chanter (rumbles the !ords to some ancient meditati1e scriptE nce in
a trance state/ the Chanter !ill be(in some set acti1ity# chantin(/ combat/ marchin(/
!orkin(/ studyin(/ etcE
The trance state causes the Chanter to shut do!n all o% his bein( Fmind and bodyG
that is not needed %or the acti1ity at handE &n entranced Chanter can maintain this set
acti1ity until a predetermined circumstance occursE 3or e4ample/ the Chanter may ha1e
said to himsel%/ J&!ake !hen there are no more (oblins on the %ield o% battle/J J&!ake
!hen !e reach the )in(dom o% Thorbardin/J or J&!ake a%ter 5/CCC strikes o% the (reat
Trances are not li(htly entered/ as they are 1ery dan(erous to the characterE
0urin( a trance state/ the Chanter does not drink/ eat/ rest/ or sleepE E1ery time that one
o% these acti1ities should normally occur/ the entranced Chanter must roll a Constitution
checkE & %ailed check results in the loss o% hit points# 5dA %or drink/ 5d; %or %ood/ 5d< %or
rest/ and 5dA %or sleepE 3urthermore/ the only kno!n !ay to interrupt a trance be%ore the
predetermined circumstance occurs is to reduce the Chanter to C hit points F'.e., knock
him unconscious or kill himGE
0ama(e resultin( %rom %ood and !ater depri1ation must be healed as i% it !ere
combat dama(e/ but dama(e resultin( %rom lack o% rest or sleep is temporary and can be
re(ained at the rate o% 5 point per hour o% rest or sleepE I% reduced to C hit points by sleep
or rest depri1ation/ the entranced Chanter %alls unconsciousH death results unless a
Constitution check succeedsE Ho!e1er/ i% all dama(e is a result o% %ood and !ater
depri1ation/ the Chanter dies re(ardless o% the check resultE
S&ecial %in!$ances' *ike all d!ar1en demi+bards/ Chanters do not (ain the
bard's spell abilitiesE -or do they (ain the 5Cth+le1el bard ability to use any !ritten
ma(ical itemE
El7en 1inst$el
S&ecialt(' El1en Spell Sin(erE
)*alifications' nly el1es and hal%+el1es can become MinstrelsE El1es can
ad1ance up to 56th le1el as Minstrels/ !hile hal%+el1es are limited to 52th le1elE
Desc$i&tion' % all musicians in the !orld/ none can play as purely as an el%E
Minstrels spend their entire li1es seekin( musical per%ectionE % course/ the de%inition o%
per%ection di%%ers %rom one culture to the ne4tE El1es belie1e that music should be simple/
pure/ beauti%ul/ and naturalE 3urthermore/ those !ho listen should become lost in the
music/ and their spirits should transcend their bodies to ride upon the s!eet %lo! o%
(litterin( notesE
El1es are a 1ery ma(ical race/ and this is especially true o% MinstrelsE It is said
that Minstrels cast spells by the simple strummin( o% an instrumentE
Role' 2ithin el1en society/ Minstrels are re(arded as noblesE Minstrel (roups
per%orm durin( annual %esti1als %or the en7oyment o% all/ and kin(s in1ite them to dine in
e4chan(e %or an e1enin('s son(E utside their o!n culture/ el1en Minstrels are looked
upon !ith en1y/ distrust/ and some %earE
El1en Minstrels occasionally ad1enture out into the !orldE Some seek li%e+
e4perience to hei(hten the .uality o% their musicE thers simply !ander/ relishin( the
sensation o% %reedom that inspires their son(sE & %e! Minstrels seek to pur(e themsel1es
o% some impure act or e1entE
Secon!a$( Skills' Minstrels train to be (reat musicians all their li1esE They do
not spend the time necessary to learn a secondary skillE Thus/ Minstrels ha1e no
secondary skillsE
Wea&on P$oficiencies' El1en Minstrels are limited to the %ollo!in( !eapon
pro%iciencies# blo!(un/ bo! FanyG/ da((er/ dart/ hand a4e/ 7a1elin/ kni%e/ .uartersta%%/
slin(/ spear/ sta%% slin(/ lon( and short s!ords/ and the tridentE
Non,ea&on P$oficiencies' Bonuses# Musical Instrument/ Readin(N2ritin(/
Sin(in(/ Spellcra%tE Su((ested# &ncient History/ &rtistic &bility/ Cra%t Instrument/
Eti.uette/ Heraldry/ *ocal History/ PoetryE
A$o$-E.*i&ent' Minstrels can !ear only leather armor/ padded armor/ or
el1en chain mailE E1en studded leather is considered too harsh %or a Minstrel to donE
S&ecial #enefits'
%pec'al &es'stance) El1en Minstrels (ain a M2 sa1in( thro! bonus a(ainst all
ma(ical e%%ects based on musicE I% the attack does not allo! a sa1in( thro!/ they recei1e a
normal sa1in( thro!/ any!ayE
%pell %'ng'ng) Minstrels are some o% the %e! bein(s still in e4istence !ho kno!
the ancient art o% spell sin(in(E Some sa(es claim that ma(ic !as ori(inally released into
the Prime Material plane by an ancient master musicianE These sa(es maintain that music
is the true catalyst %or ultimate sorceryE 2hether this is true or not/ it is a %act that el1en
Minstrels cast spells throu(h their musicE
Minstrels cannot cast spells in the typical mannerE 2hen a spell calls %or a somatic
component/ they must play an instrumentE *ike!ise/ they must sin( !hen a spell re.uires
a 1erbal componentE
Material components must be carried on the Minstrel's person in a specially
prepared ba( Fmade %rom deer leatherGE The Minstrel need not reach into the ba( or
manipulate the material componentsE 2hen the spell is cast/ the components simply
1anish %rom !ithin the ba(E I% the ba( does not contain the re.uired components/ the spell
does not %unctionE
-ot all instruments can be used %or spell sin(in(E 3irst o% all/ i% a spell re.uires a
1erbal component Fsin(in(G/ only those instruments that lea1e the Minstrel's mouth %ree
can be usedE This eliminates most o% the !ind instrumentsE I% the spell re.uires a somatic
component/ the instrument must support numerous/ comple4 hand manipulations Fas is
true o% any strin(ed instrumentGE This eliminates (on(s/ cymbals/ drums/ and most o% the
percussion %amilyE Thus/ el1en Minstrels typically carry strin(ed instrumentsE )eyboard
instruments !ould !ork but are (enerally too bulky to carry aroundE
Spells that normally emanate %rom the caster's hands instead radiate %rom the spell
sin(er's instrumentE Thus/ burn'ng hands produces its 52C+de(ree arc o% %lame %rom the
instrument Fand not the Minstrel's handsGE
Spell sin(in( is in all other !ays 7ust like typical spell castin(E
*n(luence &eact'ons) This ability !orks 7ust like the True Bard's ability o% the
same nameE Ho!e1er/ a Minstrel can sin( or play an instrument in an attempt to in%luence
reactionsE &nd/ i% the Minstrel does both/ he can ad7ust the reactions by t!o le1els instead
o% the typical oneE This is not cumulati1e !ith the cro!d !orkin( pro%iciency or the
bard's reputationE
Counter %ong) The last special bene%it o% the Minstrel is identical to the True
Bard's counter son( ability in e1ery !ayE
S&ecial %in!$ances' 2ithout an instrument/ Minstrels cannot cast spells that
re.uire somatic componentsE
Gnoe P$ofesso$
S&ecialt(' *ecturerE
)*alifications' The standard .uali%ications %or Intelli(ence and Charisma are
s!itched %or (nome Pro%essors F'.e., they must ha1e a minimum Intelli(ence o% 56 and
Charisma o% 5;GE Prime Re.uisites also chan(e to Intelli(ence and CharismaE nly
(nomes can become Pro%essors/ and they can ad1ance up to 56th le1elE
Desc$i&tion' Pro%essors are an odd sortH other races ha1e a hard time decidin(
!hether these stran(e (nomes are (eniuses or %oolsE Hal% o% their speeches and in1entions
seem re1olutionaryE The rest o% their speeches sound like endless babblin(/ and most their
in1entions are death traps that in7ure more (nomes than they helpE
Pro%essors are eccentric (nomes !ho lo1e to tinker !ith thin(s# chemicals/ (ears/
pulleys/ ma(ic/ and so onE 3or a Pro%essor/ (ainin( kno!led(e %or its o!n sake is
!aste%ulE nly !hen it is bein( used to de1elop Jthin(s o% conse.uenceJ is kno!led(e
!orth!hileE Pro%essors o%ten say/ JI% the te4tbooks don't make sense/ thro! 'em a!ay and
approach the problem e4perimentallyEJ
&bo1e all/ Pro%essors %eel that they ha1e an obli(ation to educate the i(norant and
pro1ide them !ith mechanical !onders to help ele1ate their standard o% li1in(E
Role' Pro%essors are held in hi(h re(ard !ithin (nome societyE E1ery (nome
lo1es to sit in on one o% their %re.uent lectures or to ha1e a Pro%essor o1er %or teaE 8et/
!hen Pro%essors (et that odd (lint in their eyes and start e4perimentin(/ e1en their
brethren kno! to run %or their little li1esE
&d1enturin( Pro%essors are o%ten intense and %anatically (reedy %or kno!led(eE
Those !ho are dan(erous threats to other (nomes are acti1ely encoura(ed to (o out and
help JeducateJ the other racesE But there are certain Pro%essors !ho truly possess some
small spark o% (enius !ithin themE These Pro%essors o%ten realiDe the potential kno!led(e
and practical e4perience that ad1enturin( can pro1ide/ and they set out to e4plore the
Secon!a$( Skills' Pro%essors can ha1e any secondary skillE
Wea&on P$oficiencies' Pro%essors are 1ery eccentric and lo1e comple4 de1ices
!ith multiple mo1in( partsE This personality trait is e1ident in the type o% !eapons they
selectE Pro%essors can become pro%icient in the %ollo!in( !eapons# ar.uebus/ blo!(un/
bo!/ crossbo!/ harpoon/ mancatcher/ scour(e/ slin(/ sta%% slin(/ and !hipE
Non,ea&on P$oficiencies' Bonuses) &ncient History/ *an(ua(es FancientG/
*an(ua(es FmodernG/ Readin(N2ritin(E %uggested) &(riculture/ &nimal *ore/ &ppraisin(/
&strolo(y/ Bre!in(/ Cookin(/ 0irection Sense/ En(ineerin(/ Eti.uette/ 3ire+Buildin(/
'em Cuttin(/ Heraldry/ Herbalism/ *ocal History/ Musical Instrument/ -a1i(ation/
Reli(ion/ Rope "se/ Spellcra%t/ 2eather Sense/ 2histlin(NHummin(E
A$o$-E.*i&ent' Pro%essors are not o1erly concerned about the practicality o%
!earin( (ood armorE They tend to !ear somethin( com%ortable unless they are
e4perimentin( !ith armor %unctionalityE
Pro%essors !ear only leather/ studded leather/ or padded armor on a re(ular basisE
Ho!e1er/ each month/ a Pro%essor can e4periment !ith one type o% armor Fe1en shieldsG
%or up to 5d5C daysE 2hen e4perimentin( and !earin( other armor/ the Pro%essor su%%ers
a M5 &rmor Class penalty and loses all 0e4terity de%ense ad7ustmentsE
S&ecial #enefits'
,egend ,ore) This ability is e4actly like the True Bard's ability o% the same nameE
Pro(ess) &ll Pro%essors (i1e %re.uent speeches to anyone !ho !ill listenE
&lthou(h this can be entertainin( and occasionally educational/ such lectures ha1e little
direct impact upon playE Ho!e1er/ i% a Pro%essor is able to e4amine a situation and
e1aluate it/ he sometimes comes up !ith a (reat planE The act o% re1ealin( such a plan is
kno!n as Jpro%essin(EJ
2hen a Pro%essor e4amines a (i1en situation %or 5d5C rounds/ he is able to
determine se1eral (ood plans to deal !ith the situationE I% the Pro%essor communicates
Fpro%essesG this in%ormation to his comrades/ and they heed the in%ormation/ certain
bene%its resultE
&%ter pro%essin( a course o% action/ the Pro%essor player is able to hand out a
number o% bonuses e.ual to the Pro%essor's le1elE These bonuses can be applied to any die
roll Fprior to the rollG that the Pro%essor desi(nates/ as lon( as the a%%ected indi1idual is
%ollo!in( the Pro%essor's su((ested course o% actionE FI% the roll is bein( made on
percenta(e dice/ the bonus is 6L/ other!ise a M5 bonus resultsGE
&s an e4ample/ ima(ine that an ad1enturin( party has spied throu(h a keyhole
into a roomE The (nome Pro%essor/ -o!tal/ asks i% he can ha1e a lookE &%ter e4aminin(
the orc+in%ested room %or si4 rounds Fa ? !as rolled on the 5d5CG/ -o!tal comes up !ith
a planE The player then role+plays his character/ in%ormin( the other players o% the plan#
JTorcan/ you slip around to the side door and 7ump into the room in an attempt to startle
the orcs/ then *arcon Hea1y+Hand can char(e the main door in hopes o% breakin( it do!n
%or a surprise rear attackE 0urin( the commotion/ *e%ty !ill slip o1er to that chest and
attempt to make a!ay !ith any interestin( contentsEJ
&s the party proceeds !ith the plan/ -o!tal's player hands out a M5 bonus on
Torcan's attempt to surprise the orcsE He also boosts *arcon's bend bars attempt Fto
increase his chance to break do!n the bolted door by 6LGE Since -o!tal is only ;rd
le1el/ he has only one more bonus to hand outE He could use it to impro1e *arcon or
Torcan's attack roll/ increase dama(e/ etcE Instead he (i1es it to the thie%/ *e%tyE Ho!e1er/
*e%ty's player has decided to backstab an orc instead o% dashin( o1er to the chestE Thus/
the 0M rules that *e%ty isn't %ollo!in( the Pro%essor's plan and -o!tal's player !ill ha1e
to use his last bonus some!here elseE ,ust then/ an orc shaman casts a %ireball %rom a
necklace o% missiles and the last bonus is used to help *arcon !ith his sa1in( thro!E
-ote that these bonuses last only %or one die rollE These sin(le bonuses cannot be
combined into a M2 F5CLG or better bonusE
Mechan'cally *ncl'ned) % all kno!n de1ices/ Pro%essors lo1e those !ith multiple
mo1in( parts more than any otherE
Since Pro%essors are mechanically inclined/ they can %ind and remo1e trapsE The
chance to succeed at this pro(resses 7ust as the J%indNremo1e trapsJ skill on Table 5B#
Thie% &1era(e &bility Table/ in the DM!. Since Pro%essors approach traps %rom a purely
mechanical standpoint/ they recei1e no racial/ 0e4terity/ or armor ad7ustments to this rollE
This same percenta(e chance can be used to help sol1e other mechanical
problems+much like ha1in( a Jmechanical pro%iciencyEJ 3or e4ample/ i% the party comes
upon a %uturistic de1ice/ such as steam+dri1en bello!s/ the Pro%essor can e4amine it in an
attempt to understand ho! it !orksE I% the roll succeeds/ the 0M should in%orm the player
that his character understands the de1iceE Throu(h role+playin(/ the player can then tell
the rest o% the party ho! to operate itE
*n0ent'on) & Pro%essor's most use%ul ability/ and his most dan(erous/ is that o%
in1entionE Pro%essors lo1e to in1ent odd (ad(ets/ such as s!ord hilts !ith scre!+on
blades that can be used as short/ lon(/ broad/ bastard/ or t!o+handed s!ordsE &nother
in1ention mi(ht be a !a(on pulled by dra%t horses located in the center o% the !a(onE
This protects the animals %rom attack and allo!s the teamster to %eed them as they !alkE
& Pro%essor's chance to succeed !ith an in1ention is based upon his Jmechanical
pro%iciencyJ Fsee pre1ious para(raphsGE 3rom that base chance/ the 0M must assess the
di%%iculty o% an in1ention and apply a modi%ier Fusually in the ran(e o% +26L to M26LGE I%
the proper tools/ ra! materials/ and time are a1ailable/ a success%ul roll indicates that the
in1ention !orksE I% the roll is belo! the Pro%essor's le1el/ the in1ention is a (reat successE
Ho!e1er/ i% the roll %ails/ the in1ention either has some ma7or %la! or is a total %lopE I% the
%ailed roll is a B6L or hi(her/ the %ailure results in an in7ury/ as determined by the
0un(eon MasterE & roll o% 5CC indicates that a %atality results unless the 1ictim rolls a
success%ul sa1in( thro! 1sE paralyDationE
S&ecial %in!$ances' "nlike typical bards/ (nomes are not eli(ible to learn and
cast spells %rom any school o% ma(icE Instead/ they are restricted to the spell selection
a1ailable to illusionistsE This is %urther e4plained in the JIllusionJ note %ound earlier in the
J0emi+BardJ sectionE
%alfling Whistle$
S&ecialt(' 2andererE
)*alifications' 2histlers must ha1e a 2isdom o% 5; or betterE Ho!e1er/
.uali%yin( Intelli(ence is lo!ered to 5CE Prime re.uisites %or 2histlers are 2isdom and
Hal%lin(s are the only race able to become 2histlersE They are limited to 56th
Desc$i&tion' Much like d!ar1en Chanters/ hal%lin( 2histlers are the unheralded
heroes o% the hal%lin( raceE Hal%lin(s belon( to the (eneral cate(ory o% nature+sensiti1e
races and pro%essionsE Because hal%lin(s hate to kill %orest animals %or %ood or butcher
%arm pets/ they li1e by usin( their knack %or a(ricultureE
Their success is lar(ely due to the e4istence o% hal%lin( 2histlersE &lthou(h
almost any hal%lin( can !histle up a tune/ true 2histlers are e4tremely rareE Each hal%lin(
community has but one or t!oE
2histlers are e4tremely attuned to the natural en1ironment about themE In
particular/ they lo1e %orest animals and all types o% plant li%eE The 1ery tunes o% a skilled
2histler can help a (arden o1ercome drou(ht or bli(htE 2histlers can also communicate
!ith birds to help pre1ent insect s!arms %rom !ipin( out a 1illa(e's %ood supplyE
2hen 2histlers aren't tendin( (ardens and crops/ they can be %ound per%ormin(
%or the localsE -early e1ery day/ a com%ortable cro!d %orms in some (rassy section o% the
community %or an e1enin('s entertainmentE Some 7ust sit on the (rass and listen to the
2histlers' tunes/ !hile others dance about/ lau(h/ and make merryE
Role' 2histlers are an odd mi4 o% a %armer/ %orest !anderer/ and entertainerE
&lthou(h they are lo1ed by e1eryone in the community/ most o% them seem a bit
reclusi1e/ o%ten li1in( on the ed(e o% to!n or e1en in a small burro! 7ust !ithin the
%orest's ed(eE In truth/ they aren't reclusi1e+they are simply maintainin( their uni.ue link
!ith natureE
Secon!a$( Skills' 3armer/ 3orester/ 3isher/ *eather 2orker/ TailorN2ea1er/
TrapperN3urrier Fbut see belo!GE
Wea&on P$oficiencies' *ike all hal%lin(s/ 2histlers lo1e missile !eapons/
particularly those that can be thro!nE &t least hal% o% a 2histler's !eapons must be types
that can be hurledE
2histlers can select %rom amon( the %ollo!in( !eapons# blo!(un/ short bo!
Feither typeG/ club/ li(ht crossbo!/ da((er/ dart/ %ootman's mace/ hand a4e/ harpoon/
7a1elin/ kni%e/ .uartersta%%/ slin(/ spear/ sta%% slin(/ short s!ord/ or !ar hammerE
In addition to these/ 2histlers can take a special !eapon pro%iciency# rock
pitchin(E &ll hal%lin(s are skilled at pitchin( rocks/ but 2histlers are especially
reno!nedE & J(oodJ rock can be pitched !ith the e4act same e%%ect as a dart/ e4cept that a
2histler (ains a M5 dama(e bonus i% he hitsE
% course/ rocks cause blunt dama(e Fnot puncture dama(e as do dartsGE nly
(ood rocks that are specially selected by the 2histler (ain the abo1e ad1anta(eE I% 7ust
any old rock is bein( pitched/ dama(e is reduced to 5 Fplus any Stren(th ad7ustmentG and
lon( ran(e becomes ; Fnot <GE 'ood rocks ha1e been !orn round in s!i%t ri1ersE Most
rubble/ ca1e rocks/ and the broken rocks %ound in old dun(eons are not (ood rocksE
2histlers usually carry a supply o% 2d< (ood rocks Fthro!n rocks that hit their tar(ets can
be reco1eredH those that miss are lostGE
Non,ea&on P$oficiencies' Bonuses) &(riculture/ 0ancin(/ Spellcra%t/
2histlin(NHummin(E %uggested) &nimal *ore/ &strolo(y/ Bre!in(/ Cookin(/ Cro!d
2orkin(/ 0irection Sense/ 3ire+Buildin(/ 3ishin(/ Herbalism/ Huntin(/ *eather!orkin(/
Mountaineerin(/ Musical Instrument/ Poetry/ Rope "se/ Sin(in(/ Set Snares/ Sur1i1al/
S!immin(/ Trackin(/ 2eather SenseE
2histlers (enerally use %ishin(/ huntin(/ set snares/ and other such skills %or the
bene%it o% natureE They learn these skills so they can scare (ame a!ay %rom sport hunters/
sprin( snares and traps set by (reedy %urriers/ and so onE "sin( nature !hen necessary is
acceptable/ but it should ne1er be abusedE & 2histler !ill resort to huntin( and %ishin(
only i% there is no other !ay to a1oid star1ationE
A$o$-E.*i&ent' 2histlers !ear only padded armorE They don't like the
thou(ht o% !earin( leather armor/ as some animal had to die %or it/ and they %ind other
types o% armor too restrictin( and unnaturalE
S&ecial #enefits'
*n(luence &eact'ons) &lthou(h 2histlers use a di%%erent %orm o% music/ namely
!histlin( and hummin(/ their ability to in%luence reactions %unctions e4actly like the True
Bard's ability o% the same nameE
Counter Tune) &s noted earlier in the demihuman bard section/ hal%lin( demi+
bards don't cast spellsE Rather/ they (ain a special counter spell abilityE 2histlers
implement this ability by hummin( or !histlin( the proper counter tuneE & counter tune
must be !histled to counter a spell that has a 1erbal componentH other!ise/ the counter
tune must be hummedE
Counter tune %unctions 7ust like counter spell in all other !aysE
Chatter'ng) 2histlin( is a !onder%ul !ay to e4press one's mood/ but 2histlers
take this %orm o% basic communication a bit %urtherE By Jchatterin(/J a process o%
!histlin(/ trillin(/ and emittin( an occasional s.ueak/ 2histlers are able to communicateE
They can carry on comple4 con1ersations !ith other chatterers and are e1en able to
communicate !ith some animalsE
2histlers can communicate !ith any naturally occurrin( animal that can s.ueak/
chirp/ or !histleE Such communication is on a %undamental le1elE Basic in%ormation can
be e4chan(ed/ as !ell as mood/ %eelin(s/ etcE 3or e4ample/ a 2histler could chatter !ith
a s.uirrel and learn that it has a lot o% nuts hidden in a nearby oak treeE 2histlin( !ith a
bird mi(ht enable the 2histler to learn i% it has seen any lar(e monsters Fbut not i% it has
seen %i1e ettin or other speci%ic in%ormationGE
2histlers o%ten %ind a %orest %riend that accompanies them on some o% their less
dan(erous ad1enturesE 3errets and %o4es are particularly %ond o% ad1enturin( !ith
%tormwh'stle) The phrase J!histle up a stormJ !as coined !hen a ran(er once
!itnessed a hal%lin( Factually a 2histlerG standin( out in the middle o% a drou(ht+struck
potato %ieldE To the ran(er's amaDement/ the little %ello! stuck his hands into his pockets
and startin( !histlin(E PuDDled/ the ran(er crouched behind a lar(e birch and !atchedE &n
hour later/ the sky had clouded o1er and it started to rainE &%ter the rain !as comin( do!n
.uite hea1ily/ the ran(er (limpsed a satis%ied+lookin( hal%lin( strollin( a!ayE
It is true that hal%lin(s can't cast !iDard spellsE Ho!e1er/ 2histlers are able to cast
certain clerical spellsE They do not recei1e these spells like clericsE In %act/ the source o%
these spells is some!hat o% a mysteryE Most 2histlers a(ree that they are (ranted by
Mother -ature hersel%E
In any e1ent/ 2histlers (ain the ability to cast each o% the %ollo!in( spells once
per dayE The usual components %or these spells are i(noredH the 2histler need only
!histle to cast the spellE 2histlers (ain the %ollo!in( spells at the listed le1els#
5st le1el# pass w'thout trace
;rd le1el# obscurement
6th le1el# plant growth
@th le1el# speak w'th plants
Bth le1el# control w'nds
55th le1el# weather summon'ng
5;th le1el# control !eather
56th le1el# entangle
S&ecial %in!$ances' &s !ith all hal%lin( demi+bards/ 2histlers do not (ain the
bard ability to cast !iDard spells/ nor do they (ain the 5Cth+le1el bard ability to use any
!ritten ma(ical itemE
1*lti"Classe! #a$!s
&s noted in Chapter ; o% the Player's Handbook under the discussion o% multi+
class bene%its and restrictions/ no multi+classed bards combination !ere listedE -o! that
this book is out/ it is time to introduce bard multi+class combinationsE -ote that multi+
class options are not open to human charactersE
&ll o% the standard demihuman races and their allo!able bard multi+classes are
listed belo!E 3or added %la1or/ multi+class combinations ha1e been de%ined %or speci%ic
kitsE I% the kits are not used in your campai(n/ only those combinations that include the
True Bard can be usedE
Entries such as J3i(hterNChanter K SkaldJ are a shorthand !ay o% sayin(
J3i(hterNChanter or 3i(hterNSkaldEJ

3i(hterNChanter K Skald
Thie%NPro%essor K ,on(leur
3i(hterNTrue K Blade K 'allant K Skald
Ran(erNTrue K Meistersin(er
Ma(eN*oremaster K Riddlemaster
Thie%NTrue K 'ypsy K ,on(leur K Thespian
D*al"Classe! #a$!s
nly humans can be dual+classedE 0ual+classed humans can use any kit that the
0un(eon Master allo!s in his campai(nE
In order to s!itch %rom the bard to another character class/ the character must
ha1e a 56 or better in both 0e4terity and Charisma and a 5@ or better in the prime
re.uisite o% the ne! classE
I% the character is o% another class and !ishes to pick up the bard class/ he must
ha1e a 56 or better in the prime re.uisite o% his other class and a 5@ or better in both
0e4terity and CharismaE
Cha&te$ 9' P$oficiencies
3ollo!in( their 7ack+o%+all+trades reputation/ bards can learn pro%iciencies %rom
the (eneral/ ro(ue/ !arrior/ and !iDard pro%iciency (roupsE nly those pro%iciencies in
the priest (roup cost an additional slot to (ainE Ho!e1er/ because most pro%iciencies %all
into more than one (roup/ a lot o% pro%iciencies listed in the priest (roup are also
a1ailable to the bard under another (roupE In %act/ o% all the pro%iciencies listed in Chapter
6 o% the Player's Handbook, only one/ healin(/ is not in one o% the bard's pro%iciency
(roupsE Thus only healin( re.uires the bard to spend an additional slot to ac.uire Fthree
Co&ile! P$oficiencies
The %ollo!in( table has been compiled in order to assist bard players in selectin(
their non!eapon pro%icienciesE #ol!"face! pro%iciencies are ne! pro%iciencies %ound
only in this bookE They are e4panded upon laterE
*tal'c'5ed pro%iciencies re.uire the player to record a speci%ic topic or area that the
pro%iciency co1ersE 3or e4ample/ the sur1i1al pro%iciency must be speci%ied %or a
particular en1ironment Fe.g., arctic/ !oodland/ desert/ steppe/ mountain/ or tropicalGE I%
!oodland is chosen/ the pro%iciency is to be recorded as JSur1i1al F2oodlandGEJ Each
additional pro%iciency slot used can either impro1e the pro%iciency %or a speci%ic topic or
it can be used to (ain another topic/ such as JSur1i1al F2oodland/ SteppeGEJ

Slots Rele7ant
P$oficienc( Re.;!< Abilit( 1o!<
Acting 5 Cha +5
&(riculture 5 Int MC
$nc'ent H'story 5 Int +5
&nimal Handlin( 5 2is +5
&nimal *ore 5 Int MC
$n'mal Tra'n'ng 5 2is MC
&ppraisin( 5 Int MC
&rmorer 2 Int +2
$rt'st'c $b'l'ty 5 2is MC
&strolo(y 2 Int MC
Blacksmithin( 5 Str MC
Blind+%i(htin( 2 -& -&
Bo!yerN3letcher 5 0e4 +5
Bre!in( 5 Int MC
Carpentry 5 Str MC
Chanting 5 Cha M2
Charioteerin( 5 0e4 M2
Cobblin( 5 0e4 MC
Cookin( 5 Int MC
C$aft +nst$*ent 2 0e4 +2
C$o,! Wo$king 5 Cha MC
0ancin( 5 0e4 MC
0irection Sense 5 2is M5
0is(uise 5 Cha +5
Endurance 2 Con MC
En(ineerin( 2 Int +;
Eti.uette 5 Cha MC
3ire+Buildin( 5 2is +5
3ishin( 5 2is +5
3or(ery 5 0e4 +5
'amin( 5 Cha MC
'em Cuttin( 2 0e4 +2
Healin( ;K 2is +2
Heraldry 5 Int MC
Herbalism 2 Int +2
Huntin( 5 2is +5
,u((lin( 5 0e4 +5
,umpin( 5 Str MC
,anguages, $nc'ent 5 Int MC
,anguages, Modern 5 Int MC
*eather!orkin( 5 Int MC
,ocal H'story 5 Cha MC
Minin( 2 2is +;
Mountaineerin( 5 -& -&
Mus'cal *nstrument 5 0e4 +5
-a1i(ation 5 Int +2
Poetry 5 Int +2
Pottery 5 0e4 +2
Readin( *ips 2 Int +2
&ead'ng7.r't'ng 5 Int M5
&el'g'on 5 2is MC
&'d'ng, $'rborne 2 2is +2
&'d'ng, ,and1based 5 2is M;
Rope "se 5 0e4 MC
Runnin( 5 Con +?
Seamanship 5 0e4 M5
SeamstressNTailor 5 0e4 +5
Set Snares 5 0e4 +5
Sin(in( 5 Cha MC
Spellcra%t 5 Int +2
Stonemasonry 5 Str +2
%ur0'0al 2 Int MC
S!immin( 5 Str MC
Ti(htrope 2alkin( 5 0e4 MC
Trackin( 2 2is MC
Tumblin( 5 0e4 MC
>entrilo.uism 5 Int +2
2eaponsmithin( ; Int +;
2eather Sense 5 2is +5
2ea1in( 5 Int +5
Whistling-%*ing 5 0e4 M2
K Healin( is not !ithin a bard's pro%iciency (roup/ thus it takes three slots to learn instead
o% t!o as listed in the Player's Handbook .
Ne, P$oficiencies
&ctin( enables a character to skill%ully portray 1arious rolesE &ctin( is most o%ten
used as a %orm o% entertainmentH it can also be use%ul in aidin( a dis(uiseE I% both actin(
and dis(uise are kno!n/ the pro%iciency check %or either is made !ith a M5 bonusE
Pro%iciency checks are re.uired only i% the actor must portray a particularly
di%%icult character or is attemptin( an Jad libJ role F'.e., a nonrehearsed role or on short
The character is an accomplished chanter and can use this ability to help %ello!
!orkers or soldiers keep paceE Pro%iciency checks are used to determine the e%%ecti1eness
o% the chantin(E
n a success%ul pro%iciency check/ those !ho can hear the chanter become
sli(htly hypnotiDed by the rhythmic sound/ causin( the time spent on arduous/ repetiti1e
tasks to pass .uicklyE The 0M can/ at his option/ ad7ust results %or %orced marchin(/
ro!in(/ di((in(/ and other such tasks accordin(lyE
C$aft +nst$*ent
Those !ho take this pro%iciency must speci%y !hether they are skilled at cra%tin(
!ind/ strin(ed/ percussion/ or keyboard instrumentsE It takes an additional pro%iciency
slot to (ain one o% the other skillsE Three additional slots allo! the character to take the
title Jmaster cra%tsmanJ as he is able to cra%t instruments o% all %ormsE
& cra%tsman must buy materials e.ual to a .uarter o% the instrument's sale 1alueE It
then takes 5d? days to cra%t a !ind or percussion instrument/ 2dA days to %orm a strin(ed
instrument/ and ;d5C days to create a keyboard instrumentE These times assume that the
cra%tsman is spendin( 5C hours a day !orkin( on the instrumentE I% cra%tsman tools Fcost
26 (p/ !ei(ht 6 poundsG are not a1ailable/ all times are doubledE
The .uality o% an instrument is determined by a %inal pro%iciency checkE 3ailure
results in an instrument o% poor .uality/ !hile success indicates (ood .ualityE & natural 2C
indicates that the instrument is non%unctional/ !hile a natural 5 results in a masterpiece
!orth t!ice the normal 1alueE
Simple repairs take only 5d< hours and re.uire no pro%iciency check unless the
proper tools are not a1ailableE Ho!e1er/ repairin( se1ere dama(e re.uires 5dA hours and
a check is mandatory %or successE
C$o,! Wo$king
&lmost e1ery bard is %amiliar !ith the !ays o% a cro!dE Ho!e1er/ those !ho take
cro!d !orkin( learn all the tricks o% the tradeE Such bards are skilled at obser1in( cro!ds
and ad7ustin( their per%ormances accordin(lyE
&ny bard !ho is usin( a special ability to ad7ust the encounter reactions o% a
cro!d Fe.g., in%luence reactionsG can make a cro!d !orkin( pro%iciency checkE I% this
check is success%ul/ the bard can alter the reactions o% the cro!d by t!o le1els instead o%
the typical oneE
I% the bard or his (roup is solicitin( money %rom a cro!d/ a success%ul pro%iciency
check indicates that the bard is particularly appealin( and the cro!d !illin(ly donates
t!ice as much money as it normally !ould For conditions impro1e one cate(ory i% usin(
the per%ormance rules earlier in this handbookGE
Pro%iciency in poetry includes the skills o% recitin( poetry and 7ud(in( its .ualityE
It also indicates that the character has a repertoire o% poems memoriDed %or recital at any
timeE -o pro%iciency check is re.uired %or a normal recitalE
I% the character can read and !rite/ ori(inal poems can be !rittenE & success%ul
pro%iciency check indicates that the poem is o% abo1e a1era(e .ualityE
&lmost anyone can !histle or humE Those !ho take this pro%iciency are
e4ceptional !histlers and hummersE They can produce tunes as capti1atin( as most son(sE
& person !ith this pro%iciency is a true master !histler and hummerE
It is so easy to learn a ne! tune to !histle or hum that characters !ith this
pro%iciency can learn numerous tunesE In %act/ i% a pro%iciency check is made/ a !histler
or hummer kno!s any particular tune in .uestionE In addition/ a character !ith both this
pro%iciency and the animal lore pro%iciency can mimic any bird call he has heardE
Ho!e1er/ most ad1enturers do not take !histlin( 7ust %or the entertainment 1alueE
Instead/ they are lookin( %or its uses in communicationE This communication is possible
only amon( those !ho kno! this pro%iciencyE I% both characters succeed !ith their
pro%iciency checks/ a sin(le concept can be communicatedE Some e4amples are J'o
around to the side door/J JI hear them comin(/J JSlo!ly reach out no!/ the (uard doesn't
see youEJ
Cha&te$ =' #a$! Abilities
This section e4amines most o% the core bard's common abilitiesE These include
pick pockets/ detect noise/ climb !alls/ read lan(ua(es/ and the bard's 5Cth+le1el ability
to use any !ritten ma(ical itemE
The %irst %our o% these abilities are collecti1ely kno!n as a bard's Jthie% skills/J as
they mimic the thie% skills o% the same nameE &s stated in the Player's Handbook under
the section on the thie% class/ thie% skills cannot be raised abo1e B6L/ no matter !hat
modi%iers are appliedE
Pick Pockets
The ability to pick pockets e4tends %ar beyond reachin( into a 1ictim's coat pocket and
remo1in( its contentsE It has many other applications/ as listed belo!E Some o% these
applications can be re1ersed and are indicated belo!E 3or e4ample/ JRedoJ is the opposite
o% J"ndoEJ
"ndoNRedo# & bard can untie/ unstrin(/ unclasp/ unbuckle/ unbutton/ etcE/ an item
!ithout bein( noticedE
PalmNPlace# Palmin( enables a bard's hand to be held naturally !hile lookin( empty/
but it actually contains some item# cards/ a da((er/ a scroll/ sil1er!are/ coins Fup
to 5C M 2Nle1elG/ (ems Fup to 6 M 5Nle1elG/ etcE
*i%tN0rop# *i%tin( is the art o% remo1in( small items %rom others' pockets/ slee1es/
(irdles/ packs/ etcE/ !ithout the 1ictims noticin(E
StripN'arb# I% a bard remo1es any accessible item Fsmall or lar(eG %rom a sleepin(
person Fs!ords/ boots/ hat/ and so onG !ithout !akin( the 1ictim/ he is strippin(
items %rom the 1ictimE
Slei(ht o% Hand# This is a (eneral cate(ory that enables a bard to trans%er an item
%rom one hand to another/ make the item seem ali1e/ make it 1anish and reappear/
cause it to appear behind another's ear/ and so onE
&d7ust Items# This skill enables a bard to make subtle ad7ustments !ithout bein(
noticedE 3or e4ample/ a bard could slip a pe( %rom hole 5 o% some (ame into hole
E4chan(e# E4chan(e enables a bard to reach into a pile o% coins and remo1e more
than he places there or to drop in a (old but remo1e a platinumE
Slit# Slittin( is the art o% cuttin( throu(h straps or cuttin( holes in ba(s/ (arments/
purses/ pouches/ etcE/ !ithout bein( noticedE
Most o% these pick pockets %unctions can be re1ersedE So doin( re.uires a
success%ul pick pockets rollE &n e4ample %ollo!sE
2hile en7oyin( a %ancy dinner party/ the bard/ Rembam/ may !ish to %rame the
(ood cleric Bald!in as a thie%E To do so he mi(ht undo Madam Mor(a1a's necklace/ li%t it
%rom her/ then drop it in Bald!in's pocket Fthis process re.uires three pick pockets rollsGE
*ater Rembam could alter the topic o% discussion to that o% 7e!elry/ causin(
Madam Mor(a1a to notice her missin( necklaceE &s soon as a lar(e stir is made/ Rembam
mi(ht e4claim/ JI noticed the (ood cleric here !as dotin( o1er your person earlierE
Perhaps !e should ask him to empty his pocketsEJ
S*ccess-:ail*$e-Detection' I% a bard rolls e.ual to or belo! his pick pockets
score/ he succeeds in the attemptE I% he rolls abo1e his pick pockets score/ he %ailsE
Ho!e1er/ success and %ailure are separate %rom bein( detectedE & bard's attempt to li%t a
(em %rom a merchant's pocket mi(ht be detected re(ardless o% !hether the bard succeeds
in his attemptE
0etection is determined by subtractin( three times the 1ictim's For obser1er'sG
le1el %rom 5CCE I% the bard's roll is e.ual to or abo1e this number/ his attempt is detected
Fre(ardless o% the attempt's success or %ailureGE
Detect Noise
Bards are attenti1e to e1ery sound or noise/ no matter ho! small or seemin(ly
insi(ni%icant/ includin( %aint sounds that most others missE
The rules listed in the Player's Handbook under the thie% and bard classes Fas !ell
as in the DU!"# M$%T"& !u'de under J*istenin(J in Chapter 56G state that a
listener may attempt to pick up %aint sounds any time he !ants/ simply by standin( still
and listenin( %or one roundE &ny head (ear Fhat/ helmet/ etcEG must be remo1ed and there
cannot be any noise in the immediate 1icinity F'.e., party members must be .uietGE The
check is made secretly by the 0un(eon MasterE Success means that the listener picks up
some noiseE &dditional checks can be made in !hich the listener can attempt to discern
one o% the %ollo!in( Fper checkG#
number o% bein(s
nature o% bein(s
e4act direction
bits o% con1ersation
distance to bein(s

nce a check %ails/ no more in%ormation can be (ained unless conditions chan(e
considerably Fand %a1orablyGE
I% you !ould like to add (reater detail to your character's chance to hear noise/
consider usin( Table 56E
Table 5=' DETECT NO+SE 1OD+:+ERS
Sit*ation 1o!ifie$
D'stance B'ndoor7outdoorCG
"p to 6 %eetNyards M5CL
"p to 26 %eetNyards ++++
"p to 6C %eetNyards +5CL
"p to 5CC %eetNyards +26L
"p to 56C %eetNyards +6CL
"p to 2CC %eetNyards +@6L
"p to ;CC %eetNyards +5CCL
"ar Co0er'ng
Cap +5CL
Scar%NCloth +5CL
Hat +26L
*eather helmet +6CL
Metal helmet +@6L
%ound #bstruct'ons
Closed door +6CL
Ear pressed to door +2CL
Bend in corridor +5CL
Curtains +56L
%ound Eolume
2hisper +26L
Personal con1ersation ++++
Speakin( to an audience M5CL
Shoutin( M26L
8ellin( M6CL

K0istances are measured in %eet indoors and in yards outdoorsE
Clib Walls
There is an entire section in the Player's Handbook de1oted to this skillE It is
%ound in Chapter 5<# Time and Mo1ementE It is important to note that bards per%orm 7ust
like thie1es !hen it comes to climbin( !allsE &ny climbin( !alls comment that applies to
thie1es also applies to bardsE 3or e4ample/ in the Player's Handbook, thie1es are (i1en a
number o% special climbin( bene%its/ !hich all apply to bards as !ellE
&lthou(h most ad1enturers can climb rocky cli%%s and steep slopes/ ro(ues
Fincludin( bardsG are %ar superior to others in this abilityE They not only succeed more
o%ten than others/ but they can climb e1en the most di%%icult sur%aces !ithout the aid o%
special (ear Fcalled %ree climbin(GE Ro(ues are the only characters !ho can climb rou(h/
smooth/ and 1ery smooth sur%aces !ithout the use o% ropes or other e.uipmentE &nd they
are the only characters able to climb 1ery smooth sur%aces !hen they are sli(htly
3or your con1enience/ all climb !alls rules that apply to bards ha1e been
compiled and are listed here in an easy+to+use %ormatE
1o*ntainee$ing P$oficienc(' E1ery pro%iciency slot spent on mountaineerin(
Fincludin( the initial slotG increases a bard's climb !alls score by 5CLE The bard is not
re.uired to use climbin( (ear in order to (ain this bene%itE It is a permanent increase that
applies in all situationsE
Table 5>' C0+1#+NG 1OD+:+ERS
Sit*ation 1o!ifie$
Rope and !allK M66L
EncumbranceKK +6L
Climber belo! hal% hp +5CL
&appell'ng down a sur(ace
Bottom o% rope is held M6CL
Bottom o% rope is not held M;CL
%ur(ace cond't'on
&bundant handholds
Fbrush/ trees/ led(esG M<CL
Sloped in!ard M26L
Sli(htly slippery
F!et or crumblin(G +26L
Slippery Ficy/ slimyG +<CL
$ss'sted Cl'mbs BUs'ng Cl'mb'ng ToolsCGGG
&ssisted Total
&rmor Type Bonus Modi%ier
-o &rmorKKKK + M5CL
*eather &rmor + +
Padded &rmor M26L +6L
Studded *eather M26L +6L
Rin( Mail M5CL +56L
Bri(andine + +26L
Scale Mail M;CL +56L
Hide &rmor M26L +6L
Chain Mail M5CL +56L
El1en Chain M56L +6L
Splint Mail + +26L
Banded &rmor M?6L +26L
Plate Mail M<6L +6CL
BronDe Plate M<6L +6CL
3ield Plate M<6L +6CL
3ull Plate M<6L +6CL
KThis bonus applies !hen the character can brace his %eet a(ainst the !all and use
the rope to assist in the climbE
KKThis penalty is cumulati1e %or each encumbrance cate(ory !orse than
unencumbered Fe.g., a moderately encumbered bard !ould su%%er a +5CL penaltyGE
KKKThe armor ad7ustments to a bard's climb !alls percenta(e/ (i1en on Tables B
and 5C in the JCreationJ section/ apply to bards per%ormin( %ree climbs FiEeE/ climbs in
!hich pitons/ rope/ and so on aren't used/ !hich is the norm %or ro(uesGE 2hen a bard
uses climbin( tools/ he is per%ormin( an assisted climbE &ssisted climbers su%%er less
se1ere armor penalties/ as ropes can be coiled about and attached to their armor/ and they
are able to lean out %rom the !all more/ makin( the bulkiness o% their armor less
The J&ssisted BonusJ column can be used by players !ho !ant to record only
their %ree climbin( percenta(e F'.e., their climbin( !alls score has been ad7usted as per
Table B or 5C in the JCreationJ sectionGE The JTotal Modi%ierJ column lists the result o%
combinin( the armor penalty !ith the assisted climb bonusE
&s an e4ample/ studded leather normally causes a +;CL climbin( penaltyE I% tools
are used/ a bonus o% 26L is added/ makin( the penalty %or assisted climbin( in studded
leather only +6LE
KKKKIncludes small ma(ical items such as rin(s/ bracers/ cloaks/ but no lar(e or
bulky de1icesE
Climbin( Checks# & climbin( check must be made any time a bard tries to climb
more than 5C %eetE &ccordin( to the Player's Handbook FChapter 5<# Time and
Mo1ementG/ an initial check is made to see i% the bard is able to e1en attempt the climbE I%
this check %ails/ the !all is too di%%icult and another attempt can be made only i% the bard's
chance to succeed increases F'.e., a rope is tossed do!nG or he mo1es to a si(ni%icantly
di%%erent ne! location Fhal% a mile or more alon( a cli%%GE
&nother check is not re.uired unless the bard climbs more than 5CC %eet or takes
more than a turn Ften roundsG to climbE The reason %or this is that the %irst check assumes
that the bard is scoutin( out the !all For cli%%G/ pickin( the best routeE I% the check is
success%ul/ he has %ound such a route and can climb the sur%ace sa%elyE
#pt'onal &ule) It should take one turn to scout out a sur%aceE I% the sur%ace cannot
be seen or scouted %or some reason/ the bard must simply start climbin( and hope %or the
bestE In such cases/ a climb !alls check is madeH i% it %ails/ the bard %allsE To determine
ho! hi(h he had climbed/ roll a percentile die and that is the %raction o% the climb that
had been completed be%ore the %allE
3or e4ample/ i% &ld!in is ad1enturin( in a lar(e under(round ca1ern and decides
to climb a !all/ he spends a turn e4aminin( !hat he can see Fsay 56 %eet in torch li(htGE
He then rolls his climb !alls checkE I% success%ul/ he sees an ob1ious route and can climb
up to 56 %eet !ithout mishapE I% he decides to climb the other 6C %eet o% this ?6+%oot+hi(h
!all/ he must roll a second check Fit is impossible to scout in the middle o% a climbGE He
rolls and %ailsH no! the 0M rolls a percentile o% BAE &ld!in almost reaches the top be%ore
he %allsE The 0M decides that the dama(e should be ?d? as &ld!in essentially %alls ?C
3allin(# &s al!ays/ %allin( dama(e is 5d? per 5C %eetE & %all o% <C %eet causes <d?
I% a climber is climbin( assisted Fusin( toolsG/ he cannot %all clear to the (roundE I%
pitons or spikes are bein( dri1en into a !all and rope is attached bet!een them and a
climber/ the climber !ill %all only until the slack bet!een him and the piton is taken upE
Thus/ i% the climber attaches 2C %eet o% rope to the piton/ climbs 5C %eet up/ and
then %alls/ he !ould %all ;C %eet F5C %eet do!n to the piton plus the 2C %eet o% slackG and
su%%er ;d? points o% dama(e Fthe 0M mi(ht decide to allo! a sa1in( thro! 1sE
paralyDation %or hal% dama(e/ since the rope takes up some o% the shockGE
Pitons and spikes are not completely reliable and pull out 56L o% the timeE
Characters can also rope themsel1es to(etherE I% a roped character %alls/ any
character directly tied to him must immediately roll a climbin( checkE Success stops the
%all/ %ailure means that they are both %allin(E I% more than one person is %allin(/ a +5CL
penalty results %or e1ery %allin( character in addition to the %irst one Fe.g., i% three
characters are %allin( the penalty !ould be +2CLGE
Climbin( Rates# To determine ho! %ast a bard climbs/ look %or the type o% sur%ace and
the sur%ace condition on the %ollo!in( tableE Multiply the resultin( number by the
character's current mo1ement rateE That is the number o% %eet per round the bard can
tra1el in any direction Fup/ do!n/ side!ays/ or dia(onalGE This rate is t!ice as %ast as
nonro(ues can tra1elE
Table 5@# B&R0 C*IMBI-' R&TES
Type o% Sur%ace 0ry Slippery Slippery
>ery smooth 5N2 5N< +
Smooth/ cracked 5 2N; 5N2
Rou(h 2 2N; 5N2
Rou(h !Nled(es 2 5 2N;
Ice !all + + 5N2
Tree A ? <
Slopin( !all ? < 2
Rope and !all < 2 5
Rappellin( 5C 5C 5C
Combat 2hile Climbin(# Combat is both di%%icult and dan(erous !hile climbin(E
Spells can be cast only i% the bard is in a steady/ braced positionE I% the spell has a
material component/ the bard must ha1e one hand %reeE Somatic components re.uire the
use o% both hands F'.e., the bard must be able to steady himsel% !ith rope and le(s aloneGE
The %ollo!in( additional ad7ustments occur !hile climbin(#
0e4terity and shield &rmor Class bonuses are lostE
Most attacks a(ainst a climber are made !ith the M2 rear attack bonusE
Climbers su%%er a +2 penalty to attack/ dama(e/ and sa1in( rollsE
&ttackin( %rom abo1e results in a M2 attack roll bonus and attackin( %rom belo!
results in a +2 attack roll penaltyE These t!o ad7ustments apply to climbers and
nonclimbers alikeE
T!o+handed !eapons are rarely usable by climbersE
I% struck %or any amount o% dama(e !hile climbin(/ an immediate climbin( check
must be rolledE & %ree+climbin( character %alls i% this roll %ails/ !hile an assisted
climber loses his balance %or a round Fhe can't attack/ su%%ers an additional +2
penalty to sa1in( thro!s/ and opponents (ain an additional M2 bonus to their
attack rollsGE
&ll ad7ustments are cumulati1eE Thus/ an o(re standin( atop a cli%% (ains a M? to
attack i% &ld!in has lost his balance on his assisted climb FM2 because &ld!in is belo!
the o(re/ M2 because &ld!in's back is e4posed as he is %acin( the cli%%/ and M2 because he
is o%% balanceGE
Readin(/ 2ritin(/ and Speakin(
This section clari%ies the di%%erences and similarities bet!een the multiple !ays in
!hich a bard can attempt to read/ !rite/ and speak lan(ua(esE In particular the %ollo!in(
!ill be e4amined# the thie% ability read lan(ua(esH the pro%iciencies o% readin(N!ritin(/
ancient lan(ua(es/ and modern lan(ua(esH the spell read mag'cH and the 5Cth+le1el bard
ability to use any !ritten ma(ical itemE Each has its o!n speci%ic %unctions/ but the
1arious uses o1erlapE
The thie% ability to read lan(ua(es enables any ro(ue/ includin( the bard subclass/
to attempt to read any material Fother lan(ua(es/ maps/ ideo(rams/ etcEG that the character
isn't pro%icient in readin(E This skill does not enable a thie% to read !ritin(s that others
can read only by usin( a read mag'c spell F'.e., ma(ical !ritin(s cannot be read !ith the
read lan(ua(es abilityGE The thie%'s ability to read lan(ua(es does not impart the ability to
!rite or speak a lan(ua(eE
&ll three o% the lan(ua(e+oriented pro%iciencies re.uire the player to record a
speci%ic lan(ua(e !hen the pro%iciency is %irst learnedE &dditional pro%iciency slots can
be spent to (ain additional lan(ua(es/ !hich must also be speci%ied and recordedE
Characters automatically succeed !hen usin( these three pro%iciencies F'.e., no
pro%iciency check is rolledG under most circumstancesE nly !hen the pro%iciency is used
in e4treme cases/ such as readin( a 1ery old document or speakin( odd dialects/ is a
pro%iciency check rolledE
The pro%iciency readin(N!ritin( enables a character to both read and !rite a
speci%ic lan(ua(e+no pro%iciency check is rolled and there is no need to roll a(ainst read
lan(ua(esE nly a JmodernJ lan(ua(e can be selected as the topic o% this pro%iciency/ and
only i% the character already kno!s ho! to speak the lan(ua(eE F& modern lan(ua(e is
any lan(ua(e that is currently bein( used in the character's kno!n campai(n !orldE I% a
lan(ua(e is not modern/ it is al!ays JancientEJG
The modern lan(ua(es pro%iciency enables a character to speak a speci%ic
lan(ua(e/ but not read or !rite itE
&ncient lan(ua(es is a uni.ue pro%iciency that combines the %unctions o% the
abo1e t!o pro%iciencies !ith respect to ancient lan(ua(esE 2hen an ancient lan(ua(e is
speci%ied %or this pro%iciency/ the player must decide !hether the character is %luent in the
lan(ua(e Fkno!s ho! to speak itG or i% the character is literate in the lan(ua(e Fcan read
and !rite itG++both are not immediately (ainedE I% both skills are desired/ an additional
pro%iciency slot must be spent on the same lan(ua(eE
The spell read mag'c enables a caster to read/ but not !rite or speak/ any !ritin(
that is ma(icalE It doesn't matter !hat lan(ua(e it is !ritten in or !ho !rote it/ only that it
is ma(icalE nce read/ the caster can read it at any later time !ithout the use o% the spellE
I% the !ritin( isn't ma(ical/ this spell has absolutely no e%%ectE
The bard's 5Cth+le1el ability to use any !ritten ma(ical item F!ith a 56L chance
o% usin( it incorrectlyG is a 1ery special caseE By the 5Cth le1el/ bards ha1e %inally learned
enou(h ma(ical symbols and si(ns that they are able to puDDle throu(h them !ithout the
use o% read mag'c/ read languages/ or any other aidE Ho!e1er/ a bard does not e4actly
understand the e%%ects o% an item until he %irst uses itE "p until that time/ he has only a
1a(ue idea as to the item's (eneral use Fe.g., the bard mi(ht kno! that a (lame str'ke scroll
contains an o%%ensi1e %ire spellGE He must read the scroll and acti1ate its ma(ic to learn
the e4act nature o% the scrollE
-ote that at 5Cth le1el the bard can i(nore class restrictions %or all ma(ical items
o% a !ritten natureE
Chapter ?# Ma(ic
Spell Books
"nlike !iDards/ bards do not en(a(e in the systematic study o% ma(ic or the
pursuit o% speci%ic spellsE In spite o% this/ most bards pick up some ma(ical kno!led(e in
the course o% their tra1elsE Ho!e1er/ understandin( the meanin( o% a spell is a di%%icult
taskE Spell books are not %illed !ith lines o% neatly !ritten te4tE Instead/ they contain
arcane %ormulae/ stran(e symbols/ notes/ comments/ odd runes/ etcE "nderstandin( them
is di%%icult/ as spells aren't JreadJ like normal !ritin(H they are Jsol1edJ like comple4
mathematical e.uations/ and impressed upon the mind by an act o% !illE
nly those able to cast spells can attempt to unlock their secrets and tap the
ener(ies needed to cast themE The only !ay to do this is %or the spellcaster to success%ully
roll under his Jchance to learn spellsJ score/ !hich is a %unction o% Intelli(enceE nce
understood/ no %urther attempts to sol1e a (i1en spell need to be made as lon( as the spell
book is a1ailable %or studyE -ote that a spellcaster cannot understand a spell o% a le1el
hi(her than he can currently castE
Musical Components
Most bards are almost ma(ically skilled at some %orm o% musical e4pressionE I%
you are seekin( a !ay to more closely incorporate this talent !ith a bard's ma(ical
abilities/ you may !ant to consider the option o% usin( music as the 1erbal component to
spellsE Then/ instead o% speakin( arcane !ords to in1oke a spell/ the bard sin(s a son(/
recites poetry/ or plays a tuneE
% course/ as !ith all optional rules/ you must %irst obtain your 0un(eon Master's
appro1alE I% this option is taken/ a bard can per%orm some %orm o% music in place o% a
spell's 1erbal componentE Ho!e1er/ once this option is a(reed upon %or your bard/ he can
no lon(er speak !ords to cast spells re.uirin( 1erbal componentsE He must al!ays resort
to musicE nly one o% the three musical mediums Fsin(in(/ poetry/ or instrumentalG !orks
%or any particular bard Funtil 5Cth le1elGE 0emi+bards ha1e di%%erent options a1ailable to
themE The musical options %or bards and demi+bards are (i1en in Table 5AE
)it Musical Substitute
True Sin(in( or InstrumentalK
Blade Poetry
Charlatan Sin(in(
'allant Poetry
'ypsy Instrumental
Herald Instrumental
,ester Poetry/ Sin(in(/ or InstrumentalK
,on(leur Poetry
*oremaster Instrumental
Meistersin(er Instrumental
Riddlemaster Poetry
Skald Sin(in(
Thespian Sin(in(
Chanter Chantin(
Minstrel SpecialKK
Pro%essor 2histlin( or InstrumentalK
2histler 2histlin(
KThe bard must select only one o% these optionsE This choice is bindin( and
cannot be altered at a later timeE
KKMinstrels are a special caseE Re%er to their kit descriptionE
Ne, S&ells
Alte$ +nst$*ent
*e1el# 5
Ran(e# Touch
Components# >/ S
0uration# 5 turnNle1el
Castin( Time# 5
&rea o% E%%ect# 5 instrument
Sa1in( Thro!# -one
By usin( this spell/ the caster can trans%orm one musical instrument into another
o% similar siDe and e.ual 1alueE &ny hand+held instrument can be altered into any other
hand+held instrumentE Ho!e1er/ in order to obtain a lar(e instrument/ such as a base harp/
or(an/ or any other instrument that is too lar(e or hea1y to be easily carried/ the
spellcaster must start !ith an e.ually lar(e instrumentE
In any e1ent/ the 1alue o% the ne! instrument is identical to the ori(inalE & (olden
recorder !ill (enerate a sil1er plated lute/ a child's drum !ill (enerate a non%unctional
lyre/ etc.
Bards use this spell to sa1e both money and e.uipment carriedE It is a lot cheaper
to buy a sin(le instrument and alter it !hen another is needed than to buy e1ery
instrument that mi(ht be re.uiredE This also sa1es a lot o% space in one's backpackE
I% the instrument the bard !ishes to alter is bein( carried or played by another
character/ a success%ul attack roll a(ainst the opponent's &rmor Class must be made in
order to touch the instrumentE
So*n! #*bble
?AbA*$ation3 E7ocation@
*e1el# 5
Ran(e# C
Components# >/ S/ M
0uration# 5C rounds M 5 roundNle1el
Castin( Time# 5
&rea o% E%%ect# Special
Sa1in( Thro!# -one
2hen this spell is cast/ an in1isible bubble sprin(s into e4istenceE It can either be
centered on and mobile !ith the caster or cast on an areaE The mobile bubble has a radius
o% 5C %eet/ !hile the area bubble has a radius o% 6 %eet per caster le1elE The bubble has
only one e%%ect# sound can't pass throu(h itE Thus sound (enerated !ithin the bubble can't
be heard by those on the outside and 1ice 1ersaE
Bards o%ten use this spell to enhance the .uality and e%%ect o% their per%ormancesE
It also %unctions nicely !hen a bard !ishes to use one o% his talents in a dun(eon or other
limited settin( in !hich noise is sure to dra! un!anted attentionE
Besides its entertainment %unctions/ sound bubble is also use%ul in many o% the
same situations in !hich s'lence is usedE
The material component o% the spell is a blo!n e(( shell or a soap bubbleE
Silence 5=; Ra!i*s
*e1el# 2
Ran(e# ?C yards
Components# >/ S
0uration# 2 roundsNle1el
Castin( Time# 6
&rea o% E%%ect# 56+%oot+radius sphere
Sa1in( Thro!# -one
"pon castin( this spell/ complete silence pre1ails in the a%%ected areaE &ll sound is
stopped# con1ersation is impossible/ spells !ith 1erbal components cannot be cast/ and no
noise issues %rom or enters the areaE The spell can be cast into the air or upon an ob7ect/
but the e%%ect is stationary unless cast on a mobile ob7ect or creatureE The spell lasts t!o
rounds %or each le1el o% the e4perience o% the casterE I% the spell is centered on a creature/
the e%%ect then radiates %rom the creature and mo1es as it mo1esE &n un!illin( creature
recei1es a sa1in( thro! 1sE spellE I% success%ul/ the spell e%%ect is centered about one %oot
behind the position o% the creature at the instant o% castin( Fthe e%%ect does not mo1e !ith
the creature in this caseGE This spell pro1ides a de%ense a(ainst sound+based attacks/ such
as harpy sin(in(/ a horn o( blast'ng, etc.
+&$o7e! 1agic 1o*th
*e1el# ;
Ran(e# 5C yards
Components# >/ S/ M
0uration# Special
Castin( Time# ;
&rea o% E%%ect# 5 ob7ect
Sa1in( Thro!# -one
This spell !orks in all !ays like the 2nd+le1el !iDard spell mag'c mouth/ e4cept
as %ollo!sE
2hen this spell is cast/ the mouth is endo!ed !ith the bard's current kno!led(e/
Intelli(ence/ and personalityE 2hen the predetermined e1ent occurs that acti1ates the
mouth/ it con1erses as i% the bard !ere actually thereE 3or e4ample/ the mouth mi(ht say/
J2ho (oes therePJ and !ait %or a replyE I% the 1isitors announce their names/ it could (o
on to say/ JTarnak/ please proceed to the music room/ !hile the rest !ait in the sittin(
The mouth lasts until the con1ersation is o1erE
&lthou(h the mouth can be set to acti1ate due to a 1isual stimulus F'.e., acti1ate i%
anyone !earin( a (reen %eather approaches the castle (ateG/ once tri((ered/ it reacts only
to sounds and speechE &lso note that the mouth and the bard are not linked in any !ayE
nce cast/ the mouth's kno!led(e is set and !ill ne1er chan(eE Thus/ i% a bard is
e4tremely an(ry at Tarnak !hen he casts an 'mpro0ed mag'c mouth/ the mouth !ill
remain in a state o% an(er/ e1en i% the bard and Tarnak ha1e reconciledE
+nstant A*!ience
*e1el# ;
Ran(e# ;C yards
Components# >/ S/ M
0uration# "p to < hours
Castin( Time# 2
&rea o% E%%ect# 5 room or area !ithin ran(e
Sa1in( Thro!# -one
2hen this spell is cast/ audience members are ma(ically con7uredE Each round
5d< people enter the room or area in a normal mannerE FThey actually appear 7ust outside
the room !hen no one is lookin(EG This continues %or a number o% rounds e.ual to the
caster's le1elE
The audience contains a combination o% races/ (ender/ and social class appropriate
to the occasionE
Instant audience members act in e1ery !ay like any other members o% the
audienceE They !alk around durin( intermission/ talk/ eat snacks/ and so onE Ho!e1er/
they al!ays e1ade .uestions about their past/ their history/ or current e1ents/ as they ha1e
no past/ no history/ and ha1e no idea as to !hat is (oin( on in the !orld outside o% the
Instant audience members are strictly noncombati1e and ne1er attack or cast
spells Falthou(h they can be bullies or bra((arts i% that is appropriateGE I% one su%%ers e1en
a sin(le point o% dama(e/ he instantly 1anishes alon( !ith all o% his items Fincludin(
items no lon(er on his body/ such as clothes that he hun( in the linen closetGE
nce the per%ormance ends/ instant audience members lea1e in an appropriate
manner and 1anish as soon as they are out o% 1ie!E
I% the audience is treated in an inappropriate !ay Fas determined by the 0MG/ the
spell instantly endsE 3or e4ample/ an audience could be summoned to !atch a combat/
but i% the audience is used as a human shield/ it 1anishesE
The material components are a small collection o% the items carried by the
appropriate audience Fa (old coin/ a piece o% %ine %abric/ a snu%% bo4/ etcEGE These are
tossed into a ba( that contains at least one li1e mouseE The mouse is not destroyed/ but
1anishes durin( the spell to reappear some!here in the room a%ter the spell endsE
Wall of So*n!
*e1el# ;
Ran(e# ?C yards
Components# >/ S/ M
0uration# Concentration M 5 roundNle1el
Castin( Time# ;
&rea o% E%%ect# Special
Sa1in( Thro!# -one
The wall o( sound spell brin(s %orth an immobile/ shimmerin( curtain o% 1iolently
disturbed airE The !all is made up o% a number o% 5C'45C' sections e.ual to the caster's
le1elE These sections can be arran(ed as desired as lon( as the resultin( !all all lies in
one plane F iEeE/ it must be %latG that stands up 1erticallyE
ne side o% the !all/ selected by the caster/ produces a 1oluminous roar that
completely disrupts all communication/ command !ords/ 1erbal spell components/ and
any other %orm o% or(aniDed sound !ithin ;C %eetE In addition/ those !ithin 5C %eet are
dea%ened %or 5d< turns i% they %ail a sa1in( thro! 1sE spellE
n the other side o% the !all/ a loud roar can be heard/ but communication is
possible by shoutin(/ and 1erbal components and command !ords %unction normallyE
&nyone passin( throu(h the !all su%%ers 5dA points o% dama(e and is permanently
dea%ened unless he rolls a success%ul sa1in( thro! 1sE spellE 0ea%ened creatures su%%er a
+5 penalty to surprise rolls/ a M5 penalty to their initiati1e rolls/ and they are 2CL likely
to miscast spells !ith a 1erbal componentE
& s'lence 3D' rad'us spell cast by a hi(her le1el caster speci%ically %or this purpose
!ill dispel the !allH the !all other!ise destroys all s'lence spells that come into contact
!ith itE
The material component is a piece o% slate and a %in(er nail clippin(E
ConA*$e Cabinet
*e1el# <
Ran(e# 5C %eet
Components# >/ S
0uration# 5 roundNle1el
Castin( Time# <
&rea o% E%%ect# Special
Sa1in( Thro!# -one
This is a 1ery special spell created speci%ically %or the bard classE Be%ore this spell
can be used/ the bard must ha1e a special cabinet madeE It must be o% the hi(hest .uality/
!orth at least 5/CCC (old piecesE It can be any siDe up to < %eet !ide by < %eet deep by A
%eet hi(hE
nce the cabinet is made/ this spell must be cast upon it and the cabinet must be
namedE &t any later date/ the bard can cast this spell and the cabinet temporarily teleports
to the bard's current locationE The cabinet carries !ith it any contents that are o% a
per%ormin( nature usable by the bardE F3or e4ample/ it mi(ht contain musical
instruments/ cleanin( tools/ a playin( stool/ etcE/ %or a True BardE It mi(ht be lined !ith
thro!in( da((ers/ rapiers R%or s!ord s!allo!in(S/ and blind%olds %or a BladeGE
2hen the cabinet teleports to the bard/ a percentile die must be rolledE n a C5+
C</ it appears 2d2C %eet in the air and %alls/ destroyin( itsel% Fbut its contents are
reco1erableGE n a roll o% BB+CC/ it teleports into the (round and is destroyedE ther!ise/
it is sa%eE
The cabinet remains %or the duration o% the spell or until the bard speaks the
cabinet's nameE It then teleports sa%ely back to its pre1ious location/ alon( !ith any
carried items o% a per%ormin( nature usable by the bardE
& bard may ha1e only one such cabinet at a timeE The teleport !ill not carry the
cabinet to another planeE I% items o% a nonper%ormin( nature are le%t in the cabinet/ then
the cabinet !ill not teleportE
1agical +tes
&s is the nature o% bards/ they meddle in e1erythin(/ includin( ma(ical items
created by the (reat !iDards o% past and presentE Belo! you !ill %ind a list o% ne!
ma(ical items/ old ma(ical items/ and ne! !ays to use old ma(ical itemsE
Ne, 1agical +tes
Case of Co&$ession' 2hen empty/ this musical instrument case appears as any
other such caseE Ho!e1er/ !hen touched to any instrument normally carried in a case/ it
trans%orms so that it per%ectly %its the instrumentE 2hen the case is closed !ith the
instrument inside/ it shrinks until it easily %its in the palm o% the handE The reduced case
!ei(hs only a poundE 2hen the case is opened/ it returns itsel% and its instrument to %ull
&bout 5CL o% these cases are cursedH such cases de1our the instrument 26L o%
the timeE
Go*$! of T$a7el' By shakin( this (ourd and sayin( the command !ord/ the bard
is able to teleport himsel% and one other to any kno!n placeE & gourd o( tra0el does not
allo! %or tra1el bet!een planesE
& gourd o( tra0el has 5d5C seeds !ithin it/ !hich produce the rattlin( sound that
causes the (ourd to %unctionE E1ery time the (ourd is used/ one o% these seeds 1anishesE
2hen the last seed 1anishes/ the (ourd becomes a nonma(ical itemE
%a$& of %ealing' 2hen this ma(ical harp is played !ithin 5C %eet o% !ounded
creatures/ it heals each creature by one point per hour o% playin(E Ho!e1er/ once the
music stops or a ne! player takes o1er/ %urther playin( is useless unless ne! !ounds are
&%ter ei(ht hours o% continuous playin(/ a bard must be(in to make success%ul
Constitution rolls once an hour or he misplays the harp and healin( endsE
%o$n of A&lification' This horn is not hollo! as one !ould e4pectE Rather/ it is
solid and resembles the horn o% a rhinocerosE It is used by touchin( its base to the
%oreheadE It ma(ically attaches and con1eys its special po!erE &t this time/ the one
!earin( the horn has his 1oice ampli%ied %rom t!o to ten times in 1olumeE The e4act
increase is up to the character usin( the hornE The horn has no other %unctionE It can be
remo1ed by anyone !ho li(htly pulls on itE
This horn increases the ran(e o% all son(s/ 7okes/ rhymes/ and other %orms o%
1erbal communication proportionately Fe.g., an ampli%ication o% %i1e increases the ran(e
by %i1e times the normal distanceGE
The character can also yellE & yell causes 2d5C points o% dama(e to e1eryone
e4cept the user !ithin a ran(e o% 6 %eet times the ampli%ication Fe.g., settin( 2 has a 5C+
%oot ran(e/ settin( 6 has a 26+%oot ran(e/ etcEGE & success%ul sa1in( thro! 1sE petri%ication
reduces dama(e by hal%E nly one yell per encounter can be attemptedE
Each time the horn is used/ there is a 5L chance that it permanently a%%i4es to the
user's %orehead and loses all ma(ical abilityE It can then be used as a !eapon %or head
butts/ causin( 5d; points o% dama(eE Ho!e1er/ the oddity o% ha1in( a horn (ro!in( %rom
the character's head results in a +2 Charisma penaltyE & !ish must be used to remo1e the
%o$n of #a*bles' 2hen this instrument is blo!n/ one 6'46'46' cube o% useless
baubles spe!s out o% it per le1el o% the blo!erE &lthou(h this is usually rather comical/ it
can be dan(erous in a limited spaceE
The instrument can be sa%ely blo!n once e1ery hourE I% blo!n more %re.uently/
there is a 5CL cumulati1e chance that the horn back%ires/ suckin( the blo!er into it and
spe!in( him out as a collection o% useless baublesE It is impossible to resurrect or
reincarnate a creature in this state/ althou(h a w'sh can be used to reco1er the 1ictimE
0($e of Wo*n!ing' This cursed item appears normal in e1ery !ay until it is %irst
playedE 2hen the musician's %in(ers strike its strin(s/ they se1er the tips o% his %in(ersE
Roll 5d? %or the number o% %in(ers that the musician loses# 5+< the number o% lost %in(ers/
6 all %in(ers and the thumb/ and ? escaped unscathedE Each %in(er lost causes 5d2 points
o% dama(e/ but the musician should not be lo!ered belo! 5 hit point due to lost %in(ersE
Each lost %in(er causes the musician's pro%iciency at playin( musical instruments
to su%%er a penalty o% +2E ther pro%iciencies and acti1ities re.uirin( manual de4terity are
like!ise reduced/ at the 0M's discretionE *ost di(its can be re(enerated ma(icallyE
&s !ith cursed s!ords/ !hene1er the musician decides to play/ the lyre leaps into
his handsH ma(ically alterin( the %orm o% the instrument does not abate its curseE
Pe$ia&t of P$oof Against So*n!' This small periapt is indistin(uishable %rom
other (emsE The character !ho has this periapt (ains e4tra resistance to any sound+based
attack or in%luenceE I% a sa1in( thro! is normally allo!ed/ the periapt pro1ides an e4tra
bonus to the sa1in( thro!E The le1el o% the bonus depends upon the .uality o% the periapt/
as %ollo!s#
D5BB Sa7e #on*s
C5+<C M5
<5+?C M2
?5+@6 M;
@?+BC M<
B5+B6 M6
B?+CC M5/ 6' radius
I% no sa1in( thro! is usually allo!ed/ the periapt pro1ides a normal sa1in( thro!
1sE spell a(ainst the soundE & per'apt o( proo( aga'nst sound a%%ects all hostile sounds/
includin( harpy sin(in(/ sirens/ screams or shrieks that cause dama(e or %ear/ all musical
in%luences Fincludin( bard abilitiesG/ spells that rely upon 1erbal communication to a%%ect
their 1ictims Fe.g., command, suggest'on, etc.G/ and so onE Ho!e1er/ the periapt has no
e%%ect upon communication/ such as/ J)ill that stupid bardT/J 1erbal components %or
spells/ ma(ical item command !ords/ or any other sound that does not directly a%%ect the
indi1idual !ho has the periaptE
Pick of St$*ing' This ma(ical pick enables the user to play any strin(ed
instrument that is normally plucked !ith %in(ers or a pickE This includes harps/ lutes/
mandolins/ etcE The person (raspin( the pick can play any son( he has e1er heardE The
pick's ma(ic is so (reat that all %unctions o% the instrument are instantly masteredE Thus/
the bard automatically kno!s the proper (rips to use on the lute/ ho! to hold the harp/
ho! to ad7ust the strin(s o% the mandolin/ etc. His skill le1el ri1als that o% a master
musician pro%icient in the instrument's useE
&lso/ a bard !ho uses this pick to play the lyre o% !oundin( does not su%%er any
se1ered %in(ersE
Reco$!e$ of Reco$!ing' This recorder has t!o ma(ical %unctionsE I%/ a%ter a son(
is played on it/ the bard says/ JPlay it a(ain !hen = happens/J the recorder !ill ma(ically
play the entire son( o1er a(ain any time condition = occurs Fe.g., J2hen Tarnak comes
!ithin 2C %eetEJGE
The other ma(ical %unction is acti1ated by speakin( the !ord/ Jrecord/J be%ore
playin( a son(E &t any later time/ the bard can say/ Jplay back/J and the recorder produces
all sounds that it recorded !ithin ;C %eet durin( the son(E 3urthermore/ these sounds are
played back as i% the recorder hadn't been makin( any noise at the timeE
The recorder does not reproduce special sound+based attacks o% any sortE
Cithe$ of S&ee!' This Dither appears to be a normal musical instrumentE
Ho!e1er/ i% it is played in a rapid tempo and the musician says/ J&da(ietto/J all allies
!ithin ;C %eet are a%%ected as i% under the in%luence o% a haste spellE
I% the Dither is played slo!ly and J&da(issimoJ is spoken/ all %oes !ithin ;C %eet
are a%%ected as i% under a slow spell Fno sa1in( thro!GE The e%%ects last as lon( as the bard
concentrates upon the music or until he plays the Dither at a moderate tempo and says/
J&ndanteEJ I% he mo1es/ de%ends himsel%/ su%%ers dama(e/ rolls %or a sa1in( thro!/ or
per%orms any other action/ his concentration is brokenE
& 5'ther o( speed %unctions only once per dayE 3urthermore/ %or e1ery successi1e
day in a ro! that its ma(ic is used/ there is a 5CL cumulati1e chance that one o% its
strin(s breaks/ renderin( the item useless unless it can be repairedE
Ol! 1agical +tes
The %ollo!in( ma(ical items are all located in the Dungeon Master's !u'deH they
are particularly suited to or %a1ored by bardsE *tal'c'5ed entries are cursed or are items that
bards %ind particularly distaste%ulE
Philter o% 'libness
Ph'lter o( %tammer'ng and %tutter'ng
1iscellaneo*s 1agic ?Noninst$*ental@
Boots o( Danc'ng
Helm o% Comprehendin( *an(ua(es and Readin( Ma(ic
Sheet o% Smallness
Tome o% *eadership and In%luence
1iscellaneo*s 1agic ?1*sical +nst$*ents@
Ch'me o( Hunger
Chime o% Interruption
Chime o% penin(
Drums o( Dea(en'ng
0rums o% Panic
Harp o% Charmin(
Harp o( D'scord
Horn o% Blastin(
Horn o( Bubbles
Horn o% Collapsin(
Horn o% 3o(
Horn o% 'oodness FE1ilG
Horn o% >alhalla
*yre o% Buildin(
Pipes o% Hauntin(
P'pes o( Pa'n
Pipes o% Soundin(
Pipes o% the Se!ers
Wea&ons an! A$o$
&rmor o% Command
El1en Chain Mail
S!ord o% 0ancin(
Ne, T,ists on Ol! +tes
Fptional RulesG
This optional section contains su((ested special e%%ects that occur !hen 1arious
bard kits use the instruments and other ma(ical items listed abo1eE &ll o% these
su((estions are optional/ but !ill make %or a lot o% added %la1or and %un in your
Because bards are so musically inclined/ their understandin( o% all musical
instruments/ includin( ma(ical items/ is such that they (ain certain special bene%itsE This
is also true o% se1eral other ma(ical items that are specially related to bardsE
El7en 1inst$els' Because these special demi+bards understand the union o%
ma(ic and music better than anyone/ they (ain a special bene%itE &ny time a haDardous
ma(ical e%%ect based on music occurs/ an el1en Minstrel (ains a M2 bonus to the sa1in(
thro!E Success indicates that the haDardous e%%ect is a1oidedE I% no sa1in( thro! is
allo!ed/ this allo!s one at the normal chance %or successE
Philte$ of Glibness' I% a Charlatan imbibes this potion/ e1en detect l'e !ill ha1e
only a 6L chance to note any Jstretchin( o% the truthEJ
Philte$ of Stae$ing an! St*tte$ing' This potion %unctions as a ph'lter o(
gl'bness or persuas'0eness !hen imbibed by a ,ester and has no ill e%%ectsE
#oots of Dancing' These boots ha1e no e%%ect upon a ,esterE
%el of Co&$ehen!ing 0ang*ages an! Rea!ing 1agic' 2hen !orn by a
bard/ this helm (rants the ability to understand B6L o% stran(e !ritin(s and BCL o%
ma(ical !ritin(sE I% the bard is 5Cth le1el or hi(her/ the chance to understand ma(ical
!ritin(s rises to B6LE
Toe of 0ea!e$shi& an! +nfl*ence' 2hen this is read by a bard/ the character
increases by one le1elE His e4perience points become e.ual to the minimum re.uired to
attain the ne! le1elE
"nless stated other!ise/ the %ollo!in( notes apply only to bard kits that ha1e
Musical Instrument listed as a bonus pro%iciencyE Those kits that ha1e Musical Instrument
listed as a su((ested pro%iciency are also a%%ected/ but only i% the bard in .uestion is
pro%icient !ith the particular instrumentE
Chie of %*nge$' 2hen struck by a bard/ this chime's cursed po!ers radiate out
?C %eet M 5C %eet per le1el o% the bardE
Chie of +nte$$*&tion' 2hen this is used by a bard/ a%%ected spellcasters must
roll their sa1in( thro!s !ith a +5 penalty per three le1els o% the bardE El1en Minstrels
disrupt any spell that they can themsel1es castE
Chie of O&ening' Bards can attempt to destroy locks/ lids/ doors/ 1al1es/ and
portals !ith this chime Fin addition to its normal %unctionsGE The chance to destroy is
e.ual to 6L per le1el o% the bardE Thus a ?th+le1el bard !ould ha1e a ;CL chance to
destroy such an itemE The ma4imum chance is B6LE % course/ i% the bard doesn't !ant to
destroy the item/ he can use the chime normallyE
D$*s of Deafening' These drums are a pair o% kettle drums/ but bards can
in1oke the ma(ic in each drum separatelyE I% the le%t drum is struck/ it causes those !ithin
5C %eet to be stunned %or 2d< roundsE I% the ri(ht drum is struck/ it causes all !ithin @C
%eet to be permanently dea%ened Fa heal spell or similar ma(ic is needed to re(ain
hearin(GE 0!ar1en Chanters can double all areas o% e%%ectE
D$*s of Panic' I% these drums are struck by a bard/ the radius o% the inner Jsa%e
DoneJ can be reduced to any desired measurementE &%%ected creatures su%%er a sa1in(
thro! penalty o% +5 penalty per three le1els o% the bardE
%a$& of Cha$ing' nce per turn a bard is able to cause the harp to cast a
command spell as a caster e.ual to the bard's le1elE
%a$& of Disco$!' "n%ortunately %or bards/ their (reater musical talents cause the
e%%ects o% this instrument to last %or 2d<M2 rounds a%ter the music stopsE ,esters cause the
e%%ect to last %or 2d< turnsE
%o$n of #lasting' Bards are better able to play this instrument/ so that there is
only a 6L cumulati1e chance per day that the horn !ill e4plodeE 3urthermore/ the listed
J2L cumulati1e chance o% the instrument sel%+destructin(J is reduced to 5LE
%o$n of #*bbles' Bards are actually able to use this cursed ma(ical item to their
ad1anta(e Fonce they determine !hat the horn isGE 2hen properly blo!n by a bard/ the
horn emits a cone o% bubbles ;C %eet lon( !ith a ;C+%oot diameter endE &nyone cau(ht in
the bubbles is e%%ecti1ely blinded %or 2d5C rounds unless he rolls a success%ul sa1in(
thro! 1sE breath !eaponE Ho!e1er/ there is a 6L chance that the horn back%ires and
sucks the bard throu(h it/ emittin( him as a mass o% bubblesE nce all o% the bubbles pop
Ftakin( 2d5C roundsG/ the bard is irre1ocably deadE ,esters ha1e only a 5L chance o%
bein( turned to bubblesE
%o$n of Colla&sing' Bards ha1e only a 6L chance o% soundin( the horn
improperlyE 0!ar1en Chanters ne1er use this instrument improperly once they kno! the
command !ordE
%o$n of :og' 2hen this horn is blo!n/ bards are able to create the typical %o(/ or
they can create a re(ion o% ma(ical rainE Rain can be 1ery use%ul as a source o% !ater/ to
put out %ires/ or to %ill the bottom o% a room !ith !aterE The rain !ill accumulate 5 inch o%
!ater per round in a 5C+%oot s.uareE
%o$n of Goo!ness ?E7il@' "n%ortunately %or many bards/ soundin( this
instrument mi(ht produce an ali(nment chan(eE There is a 6CL chance that the bard
becomes neutral e1il/ other!ise he becomes neutral (oodE I% the bard is already one o%
these t!o ali(nments/ the horn %unctions normallyE
%o$n of the T$itons' Bards are able to sound this horn e1en thou(h it isn't
normally usable by ro(uesE Meistersin(ers and hal%lin( 2histlers are able to use this
ma(ical horn t!ice per dayE
%o$n of Valhalla' &t 6th le1el bards can sound the brass horn/ at 5Cth le1el the
bronDe horn/ and at 56th le1el the iron hornE Skalds can play any o% these horns !ithout
0($e of #*il!ing' & bard can ne(ate the e%%ects o% a horn o( blast'ng/ a
d's'ntegrate spell/ or the e%%ect o% up to three rounds o% attack %rom a ram or similar sie(e
itemE This !orks once per day %or e1ery three le1els o% the bardE 2hen the lyre is used to
per%orm !ork/ a bard is able to achie1e the !ork o% 5CC men M 5C men per le1el o% the
bardE I% a bard should happen to %ail the %alse chord check/ a sa1in( thro! 1sE
paralyDation is also allo!edE Success indicates that the bard reco1ered %rom his mistake
!ithout mishapE
Pi&es of %a*nting' 2hen these po!er%ul pipes are blo!n by a bard/ those !ho
%ail their sa1in( thro!s 1sE spell are a%%ected as i% sub7ect to a (ear spellE Those !ho
succeed on the roll still su%%er the +2 penalty to morale checks and a +5 penalty to surprise
rollsE The bard can choose to use the pipes normallyE
Pi&es of Pain' Because o% the musical skills o% bards/ all !ithin ?C %eet are
sub7ect to the ma(ic o% these pipes !hen played by a bardE Sa1in( thro!s are rolled !ith
a +5 penalty per three le1els o% the bardE
Pi&es of So*n!ing' Bards are able to (enerate any sound !ith these pipes/ up to
and includin( the 1olume o% ei(ht yellin( menE The only limit is that the sound can't
imitate any %orm o% understandable 1erbal communicationE Charlatans/ ho!e1er/ can
(enerate understandable communicationE
Pi&es of the Se,e$s' 2hen played by bards/ these pipes actually teleport the rats
%rom some unkno!n locationE Thus/ a bard can summon rats e1en i% he is in an area
completely de1oid o% ratsE Meistersin(ers can select !hether (iant or normal rats arri1e/
and ha1e a M5CL bonus to any control rollsE
A$o$ of Coan!' Bards !earin( this armor are able to speak one command a
day !ith the e%%ects o% the %irst le1el priest spell/ command E
S,o$! of Dancing' Bards can release a sword o( danc'ng on any round in !hich
its plus isn't a 5 Fe.g., round 2/;/</?/@/A/ etcEGE Blades o% 6th le1el or hi(her can release the
!eapon a%ter the %irst roundH it !ill %i(ht on its o!n %or a number o% rounds e.ual to the
Blade's le1el be%ore returnin( %or one roundE
Cha&te$ D' 1*sic
Th$o*gho*t %isto$(
This section contains a short/ non%antasy look at the history o% music %rom the
0ark &(es throu(h the Renaissance periodE This e4amination concentrates upon !estern
culture/ !hich is the primary basis %or the &090: (ameE
Music !as not al!ays the sophisticated production that !e o% the 2Cth century are
used to hearin(E &lthou(h it has played a part in the li%e o% the human race since be%ore
recorded history/ modern music took many years to de1elopE
Be%ore the time o% the Christian church/ music !as rarely !ritten do!nE 2ith
such sparse in%ormation/ it is hard to decipher !hat the son(s o% the ancients !ere likeE
Ho!e1er/ it is likely that they !ere 1ery simple rhythms that !ere pounded out !ith
sticks or simple percussion instrumentsE
E1entually reeds or canes !ere used to %orm the %irst !ood!inds and a ne!
musical sound emer(edE But !e still don't kno! !hat the music o% this early era sounded
It !asn't until the ACCs that music !as bein( re(ularly recorded in !estern
ci1iliDationsE E1en then/ it !as only the monks o% the Christian church !ho !ere !ritin(
it do!nE Thus/ our records o% these early son(s are some!hat slantedE Music throu(hout
most o% the 0ark &(es Fup until &E0E 55CCG consisted mainly o% simple tunes that !ere
played or sun( in unison/ thus they !ere pure melody B'.e., no accompanimentGE They
!ere primarily used either to help pass time durin( !ork or to sin( durin( reli(ious
This 0ark &(e music !as based on the modal scale/ as opposed to the keyed scale
o% modern timesE 0ark &(e music !as likely borro!ed %rom the 'reeks and RomansE
&lthou(h simple/ it could be 1ery ele(ant and beauti%ully e4pressi1eE
-ear the end o% the 0ark &(es/ musicians !ere combinin( se1eral melodic linesE
&t %irst this !as per%ormed by mirrorin( a tune at a di%%erent pitch/ but soon the added
lines !ere takin( on a %orm o% their o!n/ becomin( a melody in their o!n ri(htE This
de1elopment !as immeasurably enhanced !hen a system %or !ritin( do!n music
de1eloped around &E0E BCCE
&round &E0E 55CC/ e4amples o% !ritten music be(in appearin( outside the
Christian churchE Son(s and dances !ere !ritten by and per%ormed by public entertainers
Flike many o% the bard kits included in this bookGE 3rom the mid+5<th century on/ secular
music !as bein( composed and per%ormed by pro%essional musiciansE Ho!e1er/ such
pro%essionals !ere mainly employed by the church and a %e! noblesE
&t the same time/ music be(an to take on a more complicated %ormE
&ccompaniments and ad1anced multiple melodies FpolyphonicsG !ere bein( usedE This
spurred an increased demand %or public entertainment and noblemen be(an takin( a
ma7or interest in musicE It became a matter o% honor and pride %or a nobleman to support
a pro%essional musician at his courtE
0urin( the Renaissance/ the cry %or secular music increased dramatically/ !ith
master compositions appearin( around &E0E 56CCE These compositions included both
instrumental and 1ocal partsE 8et/ e1en then/ most composers !rote primarily %or the
church or !ealthy noblemenE
Music continued to e1ol1e throu(h the baro.ue period F&E 0E 5?CC+5@6CG/
classical period F&E 0E 5@6C+5A2@G/ and on into the modern era/ but these are beyond the
scope o% the &090: (ameE
Most bards !ould not be cau(ht dead !ithout at least one musical instrument
upon their person or near at handE Many o% their special abilities rely upon the use o% an
instrumentE Instruments are also used as status symbols/ trade symbols/ and as part o% the
bard's personal (arbE Some instruments take on a li%e o% their o!n/ (ainin( more %ame
than the bards !ho play themE
Musical instruments are 1ery rare/ e4pensi1e/ and complicated de1icesE nly a
master cra%tsmen !ould e1en think o% constructin( a lyre or herald's trumpet/ let alone a
pipe or(anE Bards not only understand ho! these rare and comple4 de1ices !ork/ they
can use them to produce beauti%ul soundsE By simply !orkin( the strin(s and keys o%
these de1ices/ bards can brin( a cro!d to tears or ha1e them leapin( %or 7oy Fall this
!ithout e1en usin( their kit's special bene%itsGE
Most bardic colle(es a(ree that the instruments o% the time should be di1ide into
%our (eneral cate(ories# !ind/ strin(ed/ percussion/ and keyboardE Common instruments
!ithin each o% these cate(ories %ollo! in Table 2C Fas !ell as an JtherJ cate(ory %or
se1eral instruments that do not %all into the %our (eneral cate(oriesGE &%ter each
instrument is a one+letter code that identi%ies the time period durin( !hich this instrument
!as de1eloped and usedH these periods coincide !ith the %ollo!in( datesE
Table 5E' ERAS
Co!e E$a Tie S&an
& &ncient 2orld prior to &E 0E <6C
0 0ark &(es &E 0E <6CJ55CC
M Middle &(es &E 0E 55CCJ5<6C
R Renaissance &E 0E 5<6CJ5?CC
1*sical P$oficienc(

There are no! !ell o1er 6C musical instruments %or bard players to choose %romE
&lthou(h such a lar(e selection is nice/ players mi(ht !onder i% they ha1e to spend a
pro%iciency slot %or each instrument they !ish their bards to masterE 3ortunately/ the
ans!er is JnoEJ
The instruments in Table 2C ha1e been broken do!n into con1enient cate(ories
and (rouped appropriately into an indented outline %ormatE & number in parenthesis
appears a%ter each le1el that contains subentriesE This is the number o% pro%iciency slots
that must be spent in order to (ain pro%iciency in all instruments indented beneath that
le1elE 3or e4ample/ %or %i1e pro%iciency slots/ a character can become pro%icient in all
!ind instrumentsH %or only three slots he can limit himsel% to becomin( pro%icient in all
instruments in the %lute %amilyE Those instruments that don't ha1e a number ne4t to them
cost a sin(le slot to (ainE
-ote that pro%iciency in an instrument or cate(ory includes not only those
instruments listed/ but any others in his campai(n !orld that %all into the same cate(oryE
Thus/ i% a bard spends t!o slots to (ain pro%iciency in ba(pipes/ he isn't limited to 7ust the
dudy and Dampo(naE He kno!s ho! to play any ba(pipe that e4ists in his campai(n
Cost an! Weight
-ote that some cate(ory names/ such as JBa(pipes/J are also the names o%
speci%ic instrumentsE These cate(ories ha1e a (old piece cost and !ei(ht in pounds listed
ne4t to them so you can buy the instrument o% that nameE Ho!e1er/ purchasin( a (eneric
ba(pipe does not mean that you ha1e both a dudy and Dampo(na++you ha1e only a
(eneric ba(pipeE
Glossa$( of 1*sical +nst$*ents
The %ollo!in( section describes some o% the a%orementioned musical instrumentsE
AEolian ha$&' -amed a%ter the 'reek (od o% !inds/ this instrument is played by
the !indE &Eolian harps resemble %lat bo4es !ith strin(sE
Al&ho$n' &n alphorn is a ?+ to 52+%oot+lon(/ J,J+shaped/ S!iss horn used to call
cattle/ amon( other thin(sE
#ag&i&e' This ancient instrument !as used throu(hout the !orld# Rome/
-orthumberland/ Scotland/ Ireland/ Brittany/ 3rance/ Italy/ Spain/ Portu(al/ -or!ay/
3inland/ Poland/ Russia/ 'reece/ Persia/ China/ India/ and the Balkan countriesE
#alalaika' This is a three+strin( Russian trian(ular (uitarE It comes in 1arious
siDes/ the lar(est restin( upon the (round !hen playedE
#ells' These are sometimes attached to clothin( to accentuate rhythm in danceE
#ones' & simple instrument in !hich t!o pieces o% bone are clacked to(etherE
Castanets' This Spanish instrument consists o% t!o small/ hollo!+shaped pieces
o% !oodE Castanets are !orn on the %in(er and thumbE *ike bones/ they are clacked
Cebalo' This !as the old Italian name %or dulcimer Fbut it !as later used to
re%er to the harpsichordGE
Chita$$one' This double+necked lute is 1ery lar(e/ o%ten si4 %eet lon(/ and has 2C
!iresE It !as also called the Roman theorboE
Citole' This instrument !as in1ented in ItalyE It has a %lat body/ a short neck/ %our
brass or steel strin(s/ and is plucked !ith a .uillE By 566C this !as kno!n as the citternE
Citte$n' & member o% the (uitar %amily/ the cittern is shaped like a %i(/ !ith a %lat
back/ %retted %in(erboard/ and !ire strin(s Fusually %our pairsGE It is a descendant o% the
Medie1al citoleE The bass cittern is also called the pandoraE
Cla&&e$s' T!o pieces o% hard material F!ood/ bone/ metal/ etcEG struck to(ether
are called clappersE They ha1e e4isted %or thousands o% years in all parts o% !orld Fas
spoons/ bones/ etcEGE
Cla$sach' &n ancient small harp o% the Scottish hi(hlandsE
Cla7ecin' 3rench harpsichordE
Cla7es' 2hen these short/ round sticks o% hard!ood are used/ the hollo! o% one's
hand acts as a resonatin( ca1ity %or sound ampli%icationE
Cla7icebalo' This is the Italian harpsichord and is o%ten abbre1iated as
JcembaloEJ The !ord deri1es %rom latin Jcla1isJ+a key/ and JcembaloJ+a dulcimer/ !hich
describes the instrument+it's a keyed dulcimerE
Cla7icho$!' This keyboard instrument is small/ o%ten 7ust an oblon( bo4 placed
on the tableE It can ha1e its o!n le(s and stand on the %loor/ but this !as a later
de1elopmentE Sound is made !hen a small piece o% metal hits a strin(/ producin( a so%t/
.uiet toneE
Clogs' 2ooden shoesE
Co$nett' The cornett Fnot cornetG is a !ood!ind !ith a cupped mouthpiece Flike
that o% a trumpetG that comes in three siDes# treble/ small treble/ and tenorE It is shaped
either as a strai(ht tube or as a tube cur1ed like an SE
C$*ho$n' This double+reed !ood!ind comes in all siDes# trebles/ tenors/ and
C(bals' These are brass dishes that are slammed to(etherE
D$*s' 0rums ha1e e4isted %or thousands o% yearsE The many types ha1e one
thin( in common# a skin or membrane stretched ti(htly o1er some kind o% hollo! 1esselE
The membrane is beaten !ith sticks or the handsE
The e4ception is the %riction drum/ !hich has its skin pierced by a stick or strin(
that is rubbed or pulled/ causin( the skin to 1ibrateE
;ettledrums are metal bo!ls !ith parchment stretched o1er themE
%'de drums are !ooden or metal cylinders !ith skin o1er each endE The lo!er end
has strin( or (ut/ called snares/ stretched o1er it that causes the drum to rattle !hen it is
Bass drums are 1ery lar(e/ double+headed drums %rom t!o to three %eet in
diameter and o% e.ual len(thE
!ong drums are like bass drums but they ha1e only one head FmembraneGE
Bongos are t!o small drums that sit side by sideE
Tom1toms are small riental drums !ith pi(skin heads stretched o1er a bo!l+
shaped shellE
Cyl'nder drums are a type o% base drum that is beaten at both endsE
The changgo is a )orean t!o+headed lap drumE
Talk'ng drums are used to send messa(esE
%l't drums can be made by hollo!in( out a tree or lo( throu(h a lon( narro! slitE
The !ood is then beaten to produce the soundE
D*lcie$' "sed in Hun(ary/ Rumania/ and CDechoslo1akia/ the dulcimer is a
shallo!/ closed bo4 o1er !hich are strun( !ires that are struck !ith a !ooden hammerE
In Hun(ary and Rumania this is called a cimbalom/ and in 'reece/ a santouriE
:anfa$e t$*&et' This is o%ten hun( !ith a heraldic banner and used %or state
and ceremonial purposesE
:i!!le' There are t!o types o% %iddles# %olk For spikedG %iddles and medie1al
%iddlesE & spiked %iddle is a type o% bo!ed lute and either has a lon( neck Ftypical o%
&%rica/ &sia/ and the Middle EastG or a short neck as %ound in EuropeE Most spiked
%iddles ha1e one to three strin(sE
Medie1al %iddles !ere replaced by the 1iol %amily and usually had three to %i1e
strin(s !ith both %lat and rounded backsE
3ipple %lute# This type o% %lute is held 1ertically and is !inded %rom the endE
:l*te' There are t!o types o% %lutes# the 1ertically !inded %ipple %lute and the
horiDontally held trans1erse %luteE The trans1erse is made o% !ood or metal stopped at one
endE The player blo!s in a side hole/ !ith notes made by closin( holes alon( the %lute's
Gesho$n' This is an ancient type o% recorder made o% chamois or (oat hornE
Gitte$n' & medie1al (uitarE
Glokens&iel' This ori(inated in 'ermany and !as used in !ar bandsE
Gong' & (on( is a lar(e metal plate that is struck !ith a malletE
%a$onica' This instrument ori(inated in &sia and China around 55CC BECE
%a$&' The harp is an ancient instrumentE It consists o% a sound bo4 near the
player and numerous strin(s that are each plucked to produce a speci%ic toneE
%a$&sicho$!' This is much like a keyboarded psaltery in that its keys cause the
strin( to be pluckedE
%o$ns' Horns ha1e e4isted all o1er the !orld throu(hout recorded historyE The
earliest %orm !as the animal horn or lar(e sea shellE Most are end+blo!n/ but some side+
blo!n horns e4istE Metal horns arose in the 5<th century and !ere made o% brass/ copper/
and occasionally sil1erE They !ere slender tubes ? to 52 %eet lon(/ o%ten coiled in se1eral
circles !ith a %lared bellE
%*$!( g*$!(' This mechanical instrument resembles a 1iola !ith a handle to
crankE Crankin( it causes a !heel to re1ol1e under its %our to si4 strin(s like an endless
bo!E & small keyboard is used to silence certain strin(sE
/e,;s ha$&' This instrument is called a %eu(dtromp Fchild's trumpetG by the
0utchE It has no connection to the ,e!ish reli(ionE It is a bottle+shaped !ire %rame !ith
metal ton(ue held in teeth/ allo!in( the mouth ca1ity to alter the sound it producesE
2aFoo' &lthou(h considered a humorous instrument today/ the kaDoo is o% ancient
2it' & small 1iolinE
2oto' The most %amous ,apanese instrument is the 5;+strin(ed ,apanese Dither
kno!n as the kotoE The instrument is played on the (round or !hile restin( on a lo!
0i$a !a b$accio3 li$a !a gaba' These are Italian strin(ed instrumentsE The lira
da braccio has se1en strin(s and is played like a 1iolinE The lira da (amba is a bass
instrument held bet!een the knees and has 55 to 5? strin(sE
0*$' The lur is an ancient trumpet o% Scandina1ian ori(inE It is made in pairs
t!istin( in opposite directions to resemble horns or the tusks o% an animalE
0*te' The lute is o% Persian+&rabian ori(in and came to Europe at the time o% the
crusadesE The body resembles a pear split len(th!iseE Thus/ it has a cur1ed back/ a %lat
belly/ and a %retted neckE It ran(es in siDe %rom the lar(e chitarrone and theorbo to the
small mandoraE
0($e' The lyre has e4isted since ;CCC BCE It has %our components# a sound bo4/
t!o arms/ and a crossbarE Strin(s run %rom the cross bar do!n across the sound bo4E
1an!oline o$ an!olin' & lute+shaped/ small strin(ed instrumentE
1etallo&hone' This resembles a 4ylophone/ but it has metal bars that are beaten
!ith small hammersE
Nake$s' These are small kettledrums o% &rabian ori(in that came !est durin( the
crusadesE They are made o% metal or !ooden bo!ls co1ered !ith skin and are used in
pairs like bon(osE
Nightingale' This toy !histle o% (lass is lo!ered into !ater to emit a bubblin(
sound not unlike the ni(htin(ale F iEeE/ the birdGE
Oca$ina' This 1essel %lute is (lobular or pear+shaped !ith a mouthpiece on one
side and holes cut in its bodyE The holes are opened and closed !ith the %in(ersE
O$gan' &n or(an has pipes connected to a !ind supply that is controlled by a
keyboardE There are t!o types o% or(an pipes# %lue pipes and reed pipesE 3lue pipes
produce sound like a !histle+%luteE Reed pipes contain a thin strip o% metal that 1ibratesE
r(an pipes ran(e %rom len(ths o% a %e! inches to ?< %eetE
I% an or(an is keyed !ith the hands it is called a Jmanual/J i% played !ith the %eet
it is a Jpedal boardsEJ
Pan!o$a o$ #an!o$a' This is the bass citternH it has a %lat back !ith !ire strin(s
and %retsE It usually has three pronounced rid(es/ makin( it easy to identi%yE
Pan&i&es' Panpipes are simply a set o% !histle+%lutes supposedly in1ented by the
(od PanE
Postho$n' & posthorn !as used to announce the arri1al o% a mail coachE Most
!ere strai(ht/ althou(h a %e! !ere coiledE
Psalte$(' This type o% dulcimer has a s.uare or trian(ular bo4 o1er !hich are
strin(sE It is held on the lap or a(ainst the chest and pluckedE
Rackett' This is an early double+reed !ood!indE
Rattle' & rattle can be made o% a (ourd/ clay/ !ood/ or leather/ and it is %illed !ith
Rebec' This is the strin(ed ancestor o% the 1iolin %amilyE The rebec e1ol1ed %rom
the &rabian %iddle but has a rounded back/ unlike the %iddleE The body is pear shaped and
has three strin(sE The rebec is played on the shoulder or a(ainst the chestE
Reco$!e$' &lso kno!n as the En(lish %lute/ the recorder is blo!n at the endE It
has ei(ht holes !ith !hich to alter the produced soundE
Sansa' The sansa is &%rican in ori(in and has a metal or cane ton(ue attached to a
!ooden board or bo4E It is also called the thumb pianoE
Sc$a&e$' 2hen you scrape a stick o1er a series o% notches in !ood or bone/ you
ha1e a basic scraperE
Se$&ent' This !ood!ind is shaped like a pronounced SE
Shaisen ?saisen@' This ,apanese lon(+necked lute has a s.uare !ooden bodyE
Its belly and bottom are made o% cat skin and it has %rets !ith three strin(s that are
plucked hardE
Sha,' This early double+reed is an outdoor instrument that produces a loud
buDDin( soundE
Sheng' This is a Chinese mouth or(anE
Sist$*' The sistrum is an open/ "+shaped rattle that contains metal discs or
other ob7ects that rattle !hen shakenE
Sita$' This three+ to se1en+strin(ed Indian lute !as in1ented in PersiaE
Sta&ing stick' ne o% the oldest kno!n instruments is the stampin( stickE It is
simply a len(th o% hollo! !ood or bamboo that is beaten on the (roundE It !as o%ten used
to beat (rain or other %ood into pulp !hile pro1idin( simple music durin( !orkE
Tabo$' This early side FsnareG drum is usually slun( %rom the !aistE Smaller
1ersions can be played !ith 7ust the le%t hand !hile the bard plays a small !histle %lute in
the other handE
Tabo*$ine' The tambourine likely ori(inated in RomeE It is a shallo! !ooden
hoop parchment stretched o1er a %rame that is struck !ith knuckles or rubbed !ith the
thumbE The hoop has imbedded metal plates that 7in(le !hen shakenE
Ta"ta' BronDe (on( o% Chinese ori(inE
Theo$bo' & double+necked instrumentE
T$iangle' & trian(le is a steel bar bent into a trian(le that is struck !ith a metal
T$*&et' The Medie1al trumpet !as non1al1ed and !as played %rom the side or
Violin' This instrument e1ol1ed %rom the %iddle/ rebec/ and lira da braccioE
Viols an! Viol fail(' These instruments produce a so%t soundH they resemble
1iolinsE Ho!e1er/ their shoulders slope/ their backs are %lat/ their sound holes are C+
shaped/ they ha1e broader necks/ and they ha1e si4 strin(s/ not %ourE
Woo! block' & Chinese percussion instrument made o% a hollo! !ooden block
that is struck !ith a stickE
Cithe$' The Dither has a %lat bo4 that is strun( !ith strin(s o% metal or (utE It is
plucked !hile restin( on a tableE
G(lo&hone' This consists o% hard!ood blocks that are hit !ith a malletE
Glossa$( of So*n!
&lthou(h a de(ree in music isn't re.uired to play a bard character/ it o%ten
increases realism i% such players kno! a %e! basicsE This !ay they can role+play their
characters !ith an air o% authority/ understandin(/ and authenticityE 3or this reason/ a %e!
common terms associated !ith many %orms o% music are de%ined belo!E By brie%ly
studyin( this mini+(lossary/ you can breathe some ne! li%e into the 1ocabulary o% your
:*n!aentals of 1*sic

Accent' To stress or emphasiDe a noteE
Type %tressed by
0ynamic >olume
Tonic Pitch
&(o(ic >alue Fsee Ealue G
#eat' "nit o% measure that sets the tempoE Beats are measured by tappin( one's
%oot/ the stroke o% the conductor's baton/ etcE
Co&ass' The ran(e o% a 1oice or instrumentE
D(naics' The (radations o% loudness or so%tness !ith !hich music is
Term Mean'ng
Pianissimo 1ery so%t
Piano so%t
MeDDo piano moderately so%t
MeDDo %orte moderately loud
3orte loud
3ortissimo 1ery loud
3orte piano loud/ then so%t
S%orDando/ s%orDato sharply accented
3orDando/ %orDato sharply accented
Crescendo (radually louder
0ecrescendo (radually so%ter
0iminuendo (radually so%ter

:o$' Musical structure and ho! the musical elements are put to(etherE The
basic elements are indi1idual pitches FnotesG/ ho! they sound to(ether FharmonyG/ and
ho! much time they take up in relation to one another FrhythmGE
:$e.*enc(' Sound !a1e crests per second/ !hich determines pitchE
+ntonation' & per%ormer's accuracy !ith respect to pitchE
1eas*$e o$ ba$' The base (roupin( o% beats Fusually there are 2/ ;/ or < beats per
1elo!(' & (roup o% musical tones in se.uence makin( up a meanin(%ul !holeE
1ete$' The number o% beats per measure and the type o% note that de%ines a beatE
Common meters are 2N2 Ft!o beats based on hal% notesG/ 2N< Ft!o beats based on .uarter
notesG/ ;N< Fthree beats based on .uarter notesG/ and <N< F%our beats based on .uarter
1otion' The musical pattern created by successi1e notesE The motion mi(ht rise
and %all smoothly or 7ump aroundE
Pitch' The hi(hness or lo!ness o% a musical toneE Pitch is determined by a note's
Range' The entire series o% notes F%rom lo!est to hi(hestG that a 1oice or
instrument can produceE
Rh(th' The mo1ement o% musical tones !ith respect to timeE Rhythm combines
the aspects o% tempo FspeedG and 1alue Flen(th o% notesGE
St(le' The manner in !hich music is treatedE & %e! o% the numerous stylistic
directi1es and their meanin(s are listed belo!E
%tyle Mean'ng
&%%abile smoothly and (race%ul
&%%ettuoso tenderly !ith %eelin(
&(ilmente li(htly and smoothly
&(itato restlessly/ in an e4cited manner
&n(stlich %ear%ully/ in an an4ious manner
&nimato li1ely/ in a spirited manner
&ppasionato !ith intense %eelin(
Brillante in a sho!y/ brilliant manner
Brusco abruptly/ !ith harsh accents

Te&o' The speed at !hich a piece is played or sun(E
Tempos #rder o( %peed
&da(issimo >ery slo!
&ndante or Moderato Moderate
Presto >ery %ast
Chang'ng Tempos Mean'ng
&llentando Slo! do!n
Ritardando 'radually slo! do!n
Rallentando 'radually slo! do!n
&llar(ando Slo! do!n and play louder
Rubato 3ree tempo
&ccelerando 'radually speed up
Calcando Speed up

Tone' &ny sound o% de%inite pitchE &lso re%ers to the .uality o% soundE
Val*e' The duration o% a noteE
Voice Range' Ran(e o% 1oiceE Each bard can be classi%ied as one o% the
Eo'ce &ange
Soprano Hi(hest %emale ran(e
MeDDo soprano Mid %emale ran(e
&lto *o!est %emale ran(e/
hi(hest male ran(e
Tenor Hi(h male ran(e
Baritone Mid male ran(e
Bass *o!est male ran(e

Vol*e' *oudnessE
Coon 1*sical Te$s

Acco&anient' Musical material that supports the main melody or 1oice+partE
A$$angeent' Re!ritin( o% a composition %or a ne! medium Finstrument/ 1oice/
Conce$t' & public per%ormance o% music other than opera or church musicE
Con!*cting' The art o% directin( a (roup o% musical per%ormersE
Conser1atory or Colle(e# & school that specialiDes in musical instructionE
Deb*t' 3irst public per%ormance o% a musicianE
Enco$e' &udience's appeal %or an additional per%ormanceE
1o7eent' & ma7or section in a son(E
Notation' & system %or !ritin( do!n music usin( notesE
1*sical G$o*&s'
!roup Compos't'on)
!roup Components
Band Brass/ !ood!ind/ 9 percussion
Choir 'roup o% sin(ers
Chorus *ar(e choir ha1in( more than one sin(er per part

Ensemble &ny (roup o% per%ormers
rchestra Strin(ed/ brass/ !ood!ind/ and percussion
!roup %'5e)
umber o( 0o'ces
ame or 'nstruments
Solo 5
Recital 5 or 2
0uet 2
Trio ;
$uartet <
$uintet 6
Se4tet ?
Septet @
ctet A
-onet B
Pa$t' The music !ritten %or a sin(le type o% instrumentE
Passage' &ny short section o% a musical compositionE
Sco$e' The !ritten notes to be per%ormed by all instruments or 1oicesE
T*ning' &d7ustin( an instrument so it produces the proper soundsE

1*sical +tes

#aton' The slender stick used by conductors to direct a per%ormanceE
1et$onoe' & de1ice that produces re(ularly timed beatsE
1*te' & de1ice that mu%%les the sound o% an instrumentE
Plect$*' 'eneral name %or any de1ice used to pluck the strin(s o% a musical
Po!i*' Raised plat%orm on !hich the conductor standsE
T(&es of Songs
Ai$ !e co*$' & short son( o% se1eral stanDas %or one or more 1oices accompanied
by lute or harpsichordE
Anthe' & short choral piece based on a reli(ious te4t or sourceE
A$abes.*e' & short ima(inati1e pieceE
A$ia' &n elaborate solo son( (enerally !ith instrumental accompanimentE
A$ioso' & style o% recitati1e that is more son(+like and e4pressi1e than ordinary
A*ba!e' & piece o% instrumental music played in the mornin( as opposed to the
serenade/ !hich is played in the e1enin(E
A($e' &n En(lish solo son( accompanied by the lute/ theorbo/ or bass 1iol Fand
occasionally by t!o sin(ersGE
#agatelle' & short piece %or a keyboard instrumentE
#alla!' & solo son( that tells a story in simple 1erseE The same music is repeated
%or each stanDaE
#an!ine$ie' & %ast/ dancelike pieceE
Canon o$ :*g*e' & musical composition in !hich a melody in one 1oice+part is
imitated by other 1oice+parts that are sli(htly o%%set Fe.g., ro!/ ro!/ ro! your boatGE
Ca$ol3 Noel3 o$ Weihnachtslie!' & son( sun( in honor o% a holiday Fe.g.,
Christmas son(sGE
Chant' "sually re%ers to the music o% churchesE
:a"la' &n En(lish son( sun( in nonsense syllables Be.g., %alala/ %a la laGE
:anfa$e' & tune used to announce someone's arri1al/ the start o% a parade/ the
start o% a 7oustin( tournament/ etcE
:olk *sic' Music that is learned by !ord o% mouthE
%(n' &ny son( that e4presses praise or lo1e o% a deityE
+&$o7isation' Composin( a son( or theme as it is bein( per%ormedE
/ig' & li1ely danceE
0ai' & %orm o% music and poetry de1eloped in 3rance in the 5;th CenturyE
0aent' & composition that mourns someone's deathE
0*llab(' & cradle son( used by mothers to lull their babies to sleepE
0($ic' Means Json(likeEJ %ten used to describe instrumental pieces that are short
and e4pressi1eE
1e!le(' & (roup o% %amiliar tunes played one a%ter another and loosely linked
National anthe' & son( adopted by a kin(dom as its o%%icial son(E
O!e' & musical settin( o% a poem !ritten in honor o% a person or special occasionE
O&e$a' & play in !hich the characters sin( rather than speakE
Pa$o!(' &n e4a((erated imitation o% a composition/ o%ten to make %un o% itE
P$og$a *sic' & (eneral term %or music that tells a storyE
Psal' & musical composition based on the te4t %rom the book o% PsalmsE
Recitati7e' & style o% sin(in( that closely resembles speech/ !ith little chan(e in
pitch and rhythmE
Ro*n!' & 1ocal composition !ith three or more parts that enter one a%ter another/
repeatin( the same !ords Fe.gE/ canons and %u(uesGE
Se$ena!e' & lo1e son( sun( durin( the e1enin( belo! a belo1ed's !indo!E
Shant(' & !ork son( sun( by sailors to help keep time durin( 7obs that re.uire
S,an song' & term used %or a person's %inal !ork be%ore his deathE
Sa&le Songs
The %ollo!in( are a %e! sample son(s to !het your appetiteE I% you !ould like to
!rite your o!n son(s %or your bard to sin(/ it is su((ested that you (et a book o% old/
traditional %olk son(s/ and replace e4istin( !ords !ith those o% your o!n choosin(E
#onnie Geo$ge Ca&bell ?Scottish balla!@
5E Hie upon Hielands/ and lai(h upon Tay/
Bonnie 'eor(e Campbell rode out on a dayE
He saddled/ he bridled/ and (allant rode he/
&nd hame cam his (uid horse/ but ne1er cam heE
2E ut cam his mother/ dear/ (reetin( %u sair/
&nd out cam his bonnie bryde/ ri1in( her hairE
The meado! lies (reen/ the corn is unshorn/
But bonnie 'eor(e Campbell !ill ne1er returnE
;E Saddled and bridled and booted rode he/
& plume in his helmet/ a s!ord at his kneeE
But toom cam his saddle/ all bloody to see/
h/ hame cam his (uid horse/ but ne1er cam heT
1( Gentle %a$& ?+$ish lo7e song@
5E My (entle harp/ once more I !aken
the s!eetness o% thy slumb'rin( strain/
In tears our last %are!ell !as taken/
&nd no! in tears !e meet a(ainE
8et e1en then !hile peace !as sin(in(
Her halcyon son( o'er land and sea/
Thou(h 7oy and hope to others brin(in(/
She only brou(ht ne! tears to theeE
2E Then !ho can ask %or notes o% pleasure/
My droopin( harp/ %rom chords like thineP
&las/ the lark's (ay mornin( measure
&s ill !ould suit the s!an's declineE
r ho! shall I/ !ho lo1e/ !ho bless thee/
In1oke thy breath %or %reedom's strains/
2hen e'en the !reaths in !hich I dress thee/
&re sadly mi4ed/ hal% %lo!ers/ hal% chainsP
Sk(e #oat Song ?Scottish balla!@
5E *oud the !inds ho!l/ loud the !a1es roar
Thunder clouds rend the airH
Ba%%led our %oe's stand on the shore/
3ollo! they !ill not dareE
2E Thou(h the !a1es leap/ so%t shall ye sleep/
cean's a royal bedH
Rock'd in the deep/ 3lora !ill keep
!atch by your !eary headE
;EMany's the lad %ou(ht on that day/
2ell the claymore could !ield
2hen the ni(ht came/ silently lay
0ead on Culloden's %ieldE
<E Burn'd our homes/ e4ile and death
Scatter the loyal menH
8et/ e'er the s!ord cool in the sheath/
Charlie !ill come a(ainE
Speed/ bonnie boat/ like a bird on the !in(/
Jn!ardTJ the sailors cryE
JCarry the lad that's born to be kin(
1er the sea to SkyeTJ
The 1inst$el #o( ?+$ish song of 7alo$@
5E The minstrel boy to the !ar is (one/
In the ranks o% death you'll %ind himH
His %ather's s!ord he has (irded on/
&nd his !ild harp slun( behind himE
J*and o% son(TJ said the !arrior bard/
JThou(h all the !orld betrays thee/
ne s!ord/ at least/ thy ri(hts shall (uard/
ne %aith%ul harp shall praise theeEJ
2E The minstrel %ell/ but the %oeman's chain
Could not brin( that proud soul underH
The harp he lo1'd ne'er spoke a(ain/
3or he tore its chords a sunderH
&nd said/ J-o chain shall sully thee/
Thou soul o% lo1e and bra1ery
Thy son(s !ere made %or the pure and %ree/
They shall ne1er sound in sla1eryEJ

Cha&te$ H' Role"Pla(ing #a$!s
A #a$!;s 1in! +sn;t #a$$e!
2elcome to the mind o% a bardE To play a bard/ you must think like a bardE He is a
dreamer/ a romantic/ and a part+time philosopherE & bard !ants to be a master o% all skillsE
He !ants to try e1erythin(/ kno! e1erythin(/ and be e1erythin(E "n%ortunately/ most
bards are mortalE The constraints o% mortality keep a bard mo1in( %rom one pro%ession
and acti1ity to the ne4tE He %ears that i% he spends too much time in one place or doin(
one thin(/ he !ill miss out on somethin( elseE
Pra(matists claim that bards su%%er %rom J(reen pasture syndromeEJ This
syndrome (ets its name %rom co!sE They constantly poke their heads o1er or throu(h
%ences in an attempt to eat the (rass on the other sideE 3armers lau(h at their li1estock
because the (rass in their o!n pasture is o%ten (reener than the (rass on the other sideE
But the co!s ha1e (reen pasture syndrome and al!ays seem to think that thin(s are better
some!here elseE
Bards are easily e4cited about ne! de1elopments/ upcomin( e1ents/ and chan(e
in (eneralE I% thin(s aren't chan(in(/ they become bored 1ery .uicklyE Thus/ bards are not
ones to hold do!n lon(+time 7obsE 2hen they do take 7obs/ they !ork at them at a
breakneck pace at %irstE Then/ as the 7ob becomes routine/ their pace slo!s and they spend
more time ponderin( the %uture and !here it !ill take them ne4tE
&ll o% this is also true %or ad1enturin( bardsE They !ant to (et (oin(/ attack no!/
stop listenin( at e1ery door/ rush %or!ard and meet li%e head onE Bards don't al!ays select
the most e%%ecti1e spells or the most ad1anta(eous pro%icienciesE Instead/ they select the
most dramatic/ the most %un/ those that can be used in uni.ue situationsE & %lashy spell/
such as color spray/ is al!ays pre%erable to a borin( one/ such as hold portal or sleep .
Bards lo1e cro!ds and lo1e to be around peopleE They tend to ha1e many
ac.uaintances but %e! close %riendsE Some bards actually push a!ay those !ho try to (et
too closeE & bindin( %riendship or relationship is like a root# It attempts to plant the bard
in one place and lock him into the relationshipE This is %ar more than 7ust undesirable to
most bards+it is do!nri(ht %ri(htenin(E Bards en7oy their %reedom and don't !ant
anythin( to 7eopardiDe itE
% all the character classes/ none are as care%ree and li(hthearted as bardsE These
characters rarely o!n more than they can carryE To bards/ all the !orld is their home and
their ima(ination is the only limit to their aspirationsE &lthou(h they can be pro%oundly
mo1ed by others' pli(hts/ bards reco1er .uickly %rom any sadness they mi(ht %eelE %ten
they deal !ith problems by lea1in( them behind and tra1elin( on to some (reener
I% you are (oin( to play a bard/ remember at least this one rule o% thumb# 8our
character's main (oal is to/ Jmo1e on and e4perience all that there isEJ
&ccordin( to the Dungeon Master's !u'de FChapter 2# E4perienceG/ bards (ain
e4perience %or the %ollo!in( reasons#
GP Reason

2CC Per success%ul use o% a special ability
2 Per (old piece 1alue o% treasure obtained
6 Per hit die o% creatures de%eated
TypK Monster e4perience
TypK ther (roup e4perience

K JTypJ stands %or a typical share o% e4perienceE
&ll o% the abo1e reasons are sel%+e4planatory e4cept %or Jsuccess%ul use o% a
special abilityEJ & bard's special abilities include his thie% skills/ his ability to read any
!ritten ma(ical item/ and his special bene%itsE
I% you !ould like to tailor e4perience a!ards to better re%lect the e4periences o%
the bard class/ the %ollo!in( is su((estedE
GP Reason
5CC Per success%ul use o% a thie% ability
2CC Per success%ul use o% 5Cth+le1el ability to read any !ritten ma(ical de1ice

56C Per success%ul use o% a special bene%it
26 Per spell le1el cast to o1ercome %oes or problems
5CC 3or each si(ni%icant per%ormance o% the bard's entertainin( talents
6CC 3or each ma7or per%ormance o% the bard's entertainin( talents
5 Per (old piece 1alue o% treasure obtained
6 Per hit die o% creatures de%eated
TypK Monster e4perience
TypK ther (roup e4perience

K JTypJ stands %or a typical share o% e4perienceE

So ho! (ood is a bard's per%ormanceP It depends partly upon his skill and le1el/
but most importantly/ upon his reputationE The son(s o% a %amous skald hailin( %rom the
icy north are met !ith (reat anticipation and acceptanceE &n in%amous blade kno!n %or
his many assassinations dra!s 7ust as lar(e a cro!d to his darin( per%ormances o%
Reputation is an intan(ible aspect o% any bardE &s the bard tra1els the path o% li%e/
his reputation can (ro! into that o% a (reat sin(in( hero/ it can be slandered so e1eryone
thinks the bard is a co!ardly oa%/ or the bard's reputation can become an in%amous cloak
!ith !hich to %ri(hten !atchmen and thrill the cro!dsE
2hen you %irst (enerate your character/ his reputation is based upon that o% his
%amilyE 3rom there/ e1ents and the !ay the bard is role+played continually ad7ust his
reputationE Read on %or the e1ents that de%ine a bard's reputationE
:ollo,ing a Pe$fo$e$
& bard's reputation is a 1ariable that can chan(e in an instantE 3urthermore/
reputation 1aries %rom one 1illa(e or to!n to the ne4tE & bard's initial reputation applies
to his home to!n onlyE This is the center o% the bard's reputationE
*et's %ollo! the de1elopment o% the (reat Hanalacious's reputationE She put on her
%irst public per%ormance in 'reyha!k City at the a(e o% 5?E 3irst impressions are
e4tremely important and 1ary uncontrollably dependin( upon the mood o% the audience/
season/ local e1ents/ etcE &%ter her %irst per%ormance/ Hana became a JnotedJ member o%
the entertainin( classE
To determine Hana's initial reputation/ the %ollo!in( table !as consultedE
Table I4' +N+T+A0 REPUTAT+ON
I!9 Roll +n!e6 Title
2 C "nsun(
; 5 &ccepted
< 2 )no!n
6 ; -oted
? < 'ood standin(
@ 6 *iked
A ? 2ell+kno!n
Hanalacious !as pleased !ith her initial reputation/ but she had aspirations o%
(reatnessE She looked upon those (reat bards !ho !ere her teachers/ and she en1ied the
reputations they had built %or themsel1esE Some !ere popular/ some !ere celebrated/ a
%e! !ere e1en acclaimed by the citiDens o% 'reyha!k/ but Hana !anted to attain a
re1ered reputation %or hersel%E
+n!e6 Title
C "nsun(
5 &ccepted
2 )no!n
; -oted
< 'ood standin(
6 *iked
? 2ell+kno!n
@ &dmired
A Prominent
B 0istin(uished
5C Popular
55 Reputable
52 Honored
5; Celebrated
5< Illustrious
56 Eminent
5? &cclaimed
5@ Presti(ious
5A 3amousNIn%amous
5B Reno!ned
2C Re1ered
Reachin( %or a re1ered reputation !ould be a lon( and delicate process %or
HanalaciousE She !ould ha1e to !atch her e1ery action and !ord/ bein( care%ul to a1oid
entan(lements !ith the la!/ yet helpin( those in needE % course/ all this !ould mean
nothin( i% she didn't also put on %re.uent per%ormances o% her musical talentsE
Hana made a list o% all the thin(s that could both help and hinder her climb to
%ame on the ladder in Table 2<E &mon( them she included the %ollo!in(#
Table 26# REP"T&TI- M0I3IERS
,ast per(ormance was)
!ithin the !eek M5
o1er a !eek a(o MC
o1er a month a(o +5
o1er ; months a(o +2
o1er ? months a(o +;
o1er B months a(o +<
o1er a year a(o +6
"ach attempt to publ'cly 'n(luence react'ons
that succeeds M2
%ails but no reaction ad7ustment +5
%ails and !orsens reactions +;
Money spent on local appearance7reputat'on)
CL o% income +2
5CL o% income MC
26L o% income M5
6CL o% income M2
@6L o% income M;
BCL o% income M<
Completed a local ad1enture M5
3ul%illed a local .uest M2
Blamed %or a 1iolent crime +2
Con1icted o% a 1iolent crime +6
0M's option MN+6
Hanalacious realiDed that there are t!o types o% reputable per%ormers/ both o%
!hom dra! lar(e cro!ds# those !ho are %amous and those !ho are in%amousE The
%amous person is looked upon as a public hero/ upholder o% (ood/ and a (enerally la!+
abidin( citiDenE The in%amous per%ormer is !ell kno!n as a courser/ a romantic thie% !ho
li1es abo1e the la! and leads a hi(h+paced/ romantic li%e Fe.g., Robin HoodGE
% course/ Hana decided to !alk the path to in%amy/ realiDin( that there is a hu(e
(ap bet!een an in%amous per%ormer and a 1iolent bully/ ruthless thu(/ or e1il 1illainE
&(ain/ Hana made a list o% those actions that (ained a person the reputation o%
bein( in%amous as opposed to those that (ained a person %ameE
Table 2?# 3&ME &-0 I-3&M8
3ame Scale#
Calmed a 1iolent situation M2
Made a hostile person look %oolish M5
Turned a cro!d's mood a(ainst e1il M;
Pre1ented a crime %rom occurrin( M2
"pheld a (ood person's reputation M5
"pheld !hat's ri(ht 1sE ad1ersaries M5
+nfa( Scale'
Blamed %or a non1iolent crime M5
&1oided imprisonment M2
Escaped imprisonment M;
Make to!n !atch look %oolish M5
Created a political scandal M;
3or a bard tryin( to become in%amous/ per%ormin( acts on the in%amy list impro1e
the chances %or buildin( his reputation/ !hile per%ormin( acts on the %ame scale decrease
these chancesE The opposite is true %or a bard !ho is attemptin( to become %amousE
& bard's reputation is ad7usted only in t!o situations# !hen he increases in le1el/
and !hen he puts on a si(ni%icant public per%ormance Fin !hich case it is checked 7ust as
the per%ormance be(insGE
& d2C is rolled and any modi%iers %rom the precedin( three tables are applied to it
only i% their total is ne(ati1e Fi% the net total modi%ier ends up bein( positi1e/ it is simply
I% the result o% the d2C/ ad7usted by a possible ne(ati1e modi%ier/ is (reater than or
e.ual to the bard's current reputation/ then the reputation increases one cate(oryE I% the net
result is a ne(ati1e number/ the bard's reputation is lo!ered by this amount Fthus a net
result o% +; !ould lo!er the bard's reputation by three places on Table 2<GE I% the roll
%alls in bet!een/ nothin( happensE Ho!e1er/ no matter !hat/ a natural roll o% 2C al!ays
increases the bard's reputation by 5 and a natural roll o% 5 al!ays decreases it by at least 5
Fmore i% there are ne(ati1e modi%iersGE
-o matter !hat the roll/ all reputation modi%iers reset a%ter!ard/ and the bard
once a(ain has a net C ad7ustmentE
E1entually/ Hanalacious became in%amously acclaimed F5?G in 'reyha!k City/
but she %elt stilted by per%ormin( %or the same cro!d o1er and o1er (ainE 2hat she
!anted !as a %resh audienceH one that had heard o% her in%amous reputation/ but that
hadn't been to any o% her per%ormancesE Thus/ she contacted the bard colle(e/ kno!n as
the Society o% the Sil1er *ute/ in the nearby to!n o% HardbyE She had se1eral o% the
colle(e's members ad1ertise that the In%amous Hanalacious !ould soon be per%ormin( %or
the publicE
T!o !eeks later/ Hana arri1ed in HardbyE She !as pleased to note that her
reputation had some!hat preceded herE She !asn't acclaimed F5?G like she !as in
'reyha!k City/ but she !as treated as an illustrious F5<G personalityE % course/ the
distance %rom her established 'reyha!k City base !as responsible %or the sli(ht declineE
Table 2< sho!s the decline in reputation as a bard mo1es a!ay %rom his base/ !here he
has an established reputationE
Distance Re&*tation
f$o base Decline
5 to!n or 26 miles +2
2 to!ns or 6C miles +<
; to!ns or 5CC miles +?
< to!ns or 56C miles +A
6 to!ns or 2CC miles +5C
3arther -o reputation
0ocal Re&*tation
&s noted earlier/ a bard's initial reputation applies to his home to!n onlyE This
reputation increases and decreases based upon reputation modi%iersE 3urthermore/ the
decision !hether to become in%amous or %amous must be madeE This selection determines
ho! certain e1ents a%%ect the bard's reputationE
2hen a bard enters another 1illa(e/ to!n/ or city/ his reputation should be
determined %or that areaE This is done by consultin( Taable 2@E The bard's closest
established reputation is used as a baseE &n established reputation is de%ined as a place in
!hich the bard has put on some %orm o% entertainment per%ormanceE The closest
established reputation is then ad7usted by distanceE
3or e4ample/ i% the nearest established reputation is t!o to!ns a!ay/ the bard's
local reputation is %our le1els lo!erE I% the bard !ishes to establish a local reputation/ he
simply puts on a public per%ormance or series o% per%ormances Fspread out o1er no more
than a year's timeGE Each per%ormance costs the bard 5CC (p per 5/CCC citiDens in the to!n
F'.e., 5 sil1er piece per personGE The bard then becomes an established per%ormer in the
nce a reputation is established/ it is ne1er a(ain in%luenced by other established
reputationsE Thus/ a%ter Hanalacious's bi( per%ormance in Hardby/ her reputation in
'reyha!k City has no impact upon her reputation in HardbyE She thus has an
independent/ established reputation in both citiesE Hana's player should !rite do!n the
t!o city names and note Hana's reputation ne4t to each nameE
#enefits of a Goo! Re&*tation
Reputation is treated much like a special pro%iciency/ althou(h no pro%iciency slots are
For can beG spent on itE 2hen a situation arises in !hich the bard's reputation should be
considered/ 5d2C is rolled+this is called a reputation checkE &ny roll e.ual to or less than
the bard's reputation le1el is considered a successE Ho!e1er/ no such roll should e1er
replace role+playin(E In %act/ the bard player should role+play any situation be%ore a
reputation check is madeE The 0un(eon Master should then assi(n an ad7ustment to the
reputation check based upon the role+playin(E
I% a bard is attemptin( to alter encounter reactions F'.e., in%luence reactions or
some similar abilityG/ a success%ul reputation check indicates that the bard can ad7ust the
reactions by t!o le1els instead o% the typical oneE
& reputation can be used as an in1isible keyE & success%ul reputation check can (et
a bard into pri1ate parties or %unctions e1en !hen the bard isn't on the (uest re(istryE &
reputable bard !ill also %ind it easy to (et a seat at the most prominent ban.uet hall in
to!n/ e1en i% there is a lon( line and the bard %ailed to make a reser1ationE
0ealin( !ith prominent public %i(ures is also easier !ith a (ood reputationE &
city's mayor is more likely to in1ite a reputable person to dinner than a commonerE
Reputation can also be used to help smooth out deals/ such as the price re.uired to rent
the public theater %or a !eekend's per%ormanceE
Many other uses o% reputation e4ist and should be ad7udicated by the 0un(eon
The Pe$fo$e$
So !hat is it that makes bards such %antastic entertainersP 2hy is a bard !ith a 56
pro%iciency in musical instrument any better than a %i(hter/ priest/ or !iDard !ith a 56P
2hat makes bards so specialP The ans!er to these .uestions and other .uestions are
%ound in this sectionE
"nlike all the other character classes/ bards are per%ormersE This is a special trait
common to all bardsE There is no die roll bonus associated !ith this trait/ it isn't listed
under any kit's special bene%its/ and it isn't a pro%iciencyE
Bein( a true per%ormer is so %undamental to the bard character class that it isn't
listed at allE Instead/ this %act in%luences almost e1ery aspect o% the character classE It is
because o% their per%ormin( nature that bards (ain special abilities !ith music/ son(/
poems/ 7u((lin(/ and so on Fbased upon the kitGE Bein( per%ormers is as %undamental to
the bard class as bein( combatants is to the !arrior classE It is the one element common to
all the bard kits/ the element that de%ines the essence o% bein( a bardE
Back to the e4ample o% musical instrument pro%iciencyE It is true that a !arrior
!ith a pro%iciency o% 5? in musical instruments is able to play more precisely and more
accurately than a bard !ith a 56 or lessE Ho!e1er/ playin( music technically correct is
only hal% the pictureE Since bards are per%ormers/ they understand numerous hidden
aspects relatin( to musicE They are more in tune !ith their audience and adapt their
per%ormances appropriatelyE Bards are more a!are o% mood/ %eelin(/ tone/ and the
dramatic e%%ects o% stretchin( the music beyond the technicalities o% precise playin(E
& !arrior !ho is a master musician Fpro%iciency 2CG can play the most
complicated piece o% music e4actly as !rittenE Moreo1er/ e1ery time he plays the piece/ it
sounds 7ust as it did the last timeE But a bard !ith only a 56 pro%iciency can entertain
audiences %ar more success%ullyE E1ery per%ormance is custom tailored to the occasion
and the audienceE The bard takes the liberty o% interpretin( the son( and !on't simply
repeat itE
The Effect on Role"Pla(ing
&s a role+player/ i% you can capture this per%ormin( aspect o% the bard class/ you
!ill ha1e captured the essence o% your characterE E1erythin( should center around this
aspectE The spells you choose should not al!ays be chosen to ma4imiDe your character's
e%%ecti1eness in combatE Rather/ they should make the most dramatic impact upon those
around him Fincludin( the ad1enturin( partyGE 8our bard li1es to per%ormE
*ike!ise/ !hen you select your bard's !eapons/ clothin(/ items/ pro%iciencies/
%riends/ allies/ enemies/ etcE/ you should try to e4amine these choices %rom a per%ormer's
point o% 1ie!E
2hat !eapon !ill compliment your bard's role as a per%ormer/ both on the sta(e
and o%%P 2hat color should his cape beP 2hich pro%iciencies !ill make him a more
e%%ecti1e per%ormer or a more memorable personalityP 2hich spells produce e%%ects in
line !ith your bard's personaP Ho! can these spells be used to build up the reputation o%
your bardP These are the .uestions to ask yoursel%E
Playin( a bard can be a lot o% %unE Play up the detailsE &dd %la1or to the (ameE
Immerse the other players in the %antasy o% the (ameE 8ou should al!ays play hea1y on
description and moodE 3or e4ample/ it isn't the success or %ailure o% an attack that matters/
it's the !ay in !hich it is madeE
&s a player you are succeedin( at your 7ob i% your %ello! role+players kno! the
color o% your bard's boots/ !hat kind o% !eapon he !ields/ the name o% his %a1orite son(
Fbetter yet/ the !ords to itG/ the material components to his most+used spells/ the lesser
details o% his personality/ his 1ocal ran(e/ etcE I% they kno! your bard as i% he !ere a real
person/ then you are a true bard role+playerE
To establish such a realistic character/ you must ha1e a 1ery solid mental ima(e o%
your bard's appearance/ personality/ and mannerismsE 3or belie1ability/ these aspects
must be predetermined/ consistent/ and you must portray them reliablyE
Some role+players are skilled at establishin( such a solidly de%ined characterE
%ten they base the bard upon a character in a mo1ie or book that they kno!E thers
spend hours mentally de1elopin( their bard and (ettin( to kno! him as a %riendE Some
(enerate pa(es o% notes to help them outE 8ou can use any method you like and the
%ollo!in( section should help you out !ith this processE
Defining Jo*$ #a$!;s Pe$sonalit(
Most o% the other Complete Handbooks present sample personality typesE It can
be 1ery use%ul to read o1er these sections to help you de%ine your character's personalityE
&lthou(h such descriptions are color%ul and use%ul/ they 7ust be(in to establish the many
%acets that you should de%ine %or a bardE
'eneratin( complete e4amples o% indi1idual bard personalities !ould take pa(es
o% te4t and !ould result in only a doDen options %or you to choose %romE 3or this reason/
personality types are not presented in this handbookE Rather/ the %ollo!in( section
contains many traits o% a character's personality/ alon( !ith se1eral e4amples o% each
&lthou(h e4amples under each trait are numbered/ you should only roll randomly
i% you are ha1in( a hard time selectin( an appropriate traitE &lso note that randomly
rollin( e1ery trait !ill likely result in combinations that make little sense or are
unplayableE So (o throu(h and care%ully select your character's traitsE )eep in mind his
kit/ ali(nment/ race/ other traits/ and all other elements that you ha1e already de%inedE
-ote that the e4amples under each trait are not e4hausti1eE 3eel %ree to select any
other descripti1e term that could de%ine the traitE 8ou can also select one or more traits
!ithin a speci%ic cate(ory i% they aren't contradictoryE &lso/ note that the %ollo!in( list o%
traits is %ar %rom completeE Selectin( the %ollo!in( traits !ill help de%ine your bard's
persona and is a (ood start/ but you should e4pand these descripti1e terms in your o!n
mind or on paperE E4amine your character as a !hole/ then %ill in the (aps and add some
e4tra detailsE

5 -eurotic
2 -ormal
; Sli(htly insane
< Stable
6 "nstable
? >ery stable

5 Careless
2 CuriousNIn.uisiti1e
; 3anaticalNbsessi1e
< Percepti1e
6 PreciseNE4actin(
? Rela4ed
@ Retirin(
A Somber
B Studious
5C SuspiciousNCautious

5 E(oistN&rro(ant
2 Humble
; Modest
< Proper
6 ProudNHau(hty
? Ser1ileNbse.uious

5 &ltruist
2 Bene1olent
; E4tro1erted
< Hedonist
6 Intro1erted
? Male1olent
@ ptimist
A Pessimist

5 &cti1e
2 &nti+intellectual
; &1era(e
< Brilliant
6 3li(hty
? 0ull
@ Ponderous
A Schemin(

5 Bra1e
2 Calculatin(
; Cra1en
< 3earless
6 3oolhardy
? -ormal

5 &esthetic
2 &moral
; 0epra1ed
< Immoral
6 *ust%ul
? *usty
@ -ormal
A Per1erted
B Sadistic
5C >irtuous

5 &1era(e
2 Iconoclastic
; Impious
< Irreli(ious
6 Irre1erent
? MartyrN Qealot
@ Pious
A Pro%ane
B Re1erent
5C Saintly
5 0ri1en
2 Ener(etic
; *aDy
< Moti1ated
6 -ormal
? Sloth%ul
5 &ltruism
2 &thletics
; Community ser1ice
< 0ancin(
6 E4otic animals
? 3ishin(
@ 3oods 9 Preparation
A 'amblin(
B Handicra%ts
5C History
55 Horticulture
52 Huntin(
5; Husbandry
5< *e(ends
56 -ature
5? -one
5@ Politics
5A Reli(ion
5B Smokin( 9 Pipes
2C 2ines 9 Spirits

5 &rmor
2 &rt!ork
; Books 9 Scrolls
< Coins 9 Tokens
6 )ni1es 9 0a((ers
? Minerals 9 'ems
@ rnaments 9 ,e!elry
A Porcelain/ China/ 9 Crystal
B Shields 9 2eapons
5C S!ords
55 Trophies 9 Skins
52 2eapons

5 Ca1es
2 Enclosed places
; Cro!ds
< 0ark
6 0yin(
? Hei(hts
@ Horses
A Insects
B *oneliness
5C Pain
55 Poison
52 Priests
5; Si(ht o% o!n blood
5< Snakes
56 Spiders
5? Torture
5@ Traps
5A "ndead
5B 2ater
2C 2iDards


5 &uthority
2 Bad %ood
; Be((ars
< Bra((arts
6 Bullies
? 'reed
@ 'uards
A Heretics
B *a!s
5C *o!er class
55 3armers
52 Priests
5; Ri1al clan
5< Sel%ishness
56 Stupidity
5? Thie1es
5@ Bi( cities
5A "pper class
5B 2arriors
2C 2iDards

5 Baker
2 Be((ars
; Blacksmith
< Constable
6 3orei(ner
? Innkeeper
@ )in(
A *ocal colle(e
B Mayor
5C Merchant
55 Prince
52 Princess
5; Sa(e
5< Sheri%%
56 Sla1e master
5? Ta1ern master
5@ Thie%
5A Thie1es' 'uild
5B 2arrior
2C 2iDard

5 Be((ars
2 Criminals
; 0ra(ons
< 0!ar1es
6 El1es
? 'nomes
@ Hal%+el1es
A Hal%+races
B Hal%lin(s
5C Hi(h!aymen
55 Humans
52 *iDard men
5; *o!er class
5< -onhumans
56 Planar bein(s
5? Ru%%ians
5@ Thie1es
5A "nder!orlders
5B "pper class
2C "se ally list

5 &brasi1e
2 &nta(onistic
; Blusterin(
< CapriciousNMischie1ous
6 CompassionateNSensiti1e
? Courteous
@ 0iplomatic
A 3orce%ul
B 3oulNBarbaric
5C Help%ulN)indly
55 Hostile
52 pinionatedNContrary
5; 1erbearin(
5< Practical 7okerNPrankster
56 Rash
5? Rude
5@ Trustin(
5A >en(e%ul
5B >iolentN2ar+like
2C 2ell+spoken

5 &loo%
2 Cheer%ul
; CruelNCallous
< Easy(oin(
6 E1en+tempered
? 3or(i1in(
@ Hard+hearted
A Harsh
B Hot+tempered
5C Pleasant
55 Moody
52 Silly
5; Peace%ul
5< Reser1ed
56 Schemin(
5? So%t+hearted
5@ SolitaryNSecreti1e
5A Taciturn
5B "n%eelin(NInsensiti1e
2C "n%or(i1in(

5 &1era(e
2 0eceit%ul
; *iar
< Scrupulous
6 Truth%ul
? >ery honorable

5 0andyish
2 0i(ni%ied
; 3oppish
< Imposin(
6 Slob
? Spartan
@ Stately
A Typical

5 &bo1e &1era(e
2 &bundant
; &1era(e
< E4ceptional
6 3e!
? Scant

5 Cheap
2 0urable
; 'arish
< 3unctional
6 Hi(h
? ,unk
@ )in(ly
A *o!
B Practical
5C Trash

Personal Hab'ts
5 0ishe1eled
2 Immaculate
; -onchalant
< r(aniDed
6 Per%ectionist
? Prim and proper
@ Scatterbrained
A Sloppy

%tate o( Cloth'ng
5 Clean
2 0irty
; Immaculate
< Ra((ed
6 Rou(h
? "nkempt

5 &scetic
2 &1era(e
; Charitable
< Co1etous
6 'enerous
? 'reedy
@ Miserly
A Spendthri%t
B Thri%ty
5C 2astrel

-o! that you ha1e your bard %ully de%ined/ it is time to put on a sho!E Bards
per%orm in e1ery situation/ %rom street sho!s to elaborate per%ormances in the to!n's
(rand theaterE This section contains the in%ormation you and your 0un(eon Master need
to determine the cost/ turnout/ and income %rom such per%ormancesE
In se1eral places in this section/ a pro%iciency check is asked %or !ithout the e4act
pro%iciency bein( speci%iedE The actual pro%iciency depends upon the type o%
per%ormanceE I% the bard is playin( an instrument/ use the musical instrument pro%iciencyH
i% he is 7u((lin( kni1es/ use the 7u((lin( pro%iciencyH and i% he is sin(in(/ use the sin(in(
pro%iciencyE Thus/ the pro%iciency check matches the per%ormance bein( (i1enE
Street+side Per%ormances
Street+side per%ormances include any situation in !hich the bard plays %or a
chan(in( audience in a public placeE Bards can try playin( on the sides o% streets/ in %ront
o% public buildin(s/ in the to!n baDaar/ etcE
&ll a bard needs to per%orm street+side is a coin collection de1ice Fa bo4/ cup/ or
open knapsackG/ his per%ormin( implements/ and some timeE
In some to!ns and 1illa(es/ the la! considers street+side per%ormers to be be((ars
and 1a(rantsE In such to!ns a permit containin( a !a4 seal set !ith the appropriate
o%%icial's rin( must be carried or the per%ormer is likely to end up payin( t!ice the
amount he made and possibly spendin( a ni(ht in the to!n dun(eonE The typical %ee %or
such a document is 5 (pE The document is (ood as lon( as it lasts F!hich is usually 5dA
days/ due to the %ra(ile nature o% the !a4GE
The bi( dan(er or thrill Fdependin( upon point o% 1ie!G o% per%ormin( street side
lies in the per%ormer's e4posureE Thie1es consider street+side per%ormers to be easy
pickin(sH e1en be((ars ha1e been kno!n to loot a bard's takin(sE n occasion a (an( o%
ru%%ians !ill attack the per%ormer in an attempt to (ain his 1aluables Finstruments are !ell
!orth such a riskGE
Per%ormin( street side %or money is considered a desperate actH a bard !ith a
reputation o% 5C or abo1e loses t!o places on the ladder durin( any !eek in !hich he
(i1es such a per%ormanceE
The income (ained %rom a street+side per%ormance is %i(ured by rollin( both a
pro%iciency check and a reputation checkE The number o% success%ul rolls FC Rboth %ailS/
5/ or 2 Rboth succeedSG is checked a(ainst the conditions/ as determined by the 0un(eon
Master/ on Table 2BE The bard's total income %rom the per%ormance is determined by
multiplyin( the hourly income F%ound in Table 2BG by the number o% hours the bard
per%orms that dayE -e! checks are needed %or each day's per%ormanceE
Success%ul Checks
Conditions C 5 2
Horrid C 5 cp 5d2 cp
Poor C 5d2 cp 5d< cp
3air 5 cp 5d< cp 5dA cp
'ood 5d< cp 5d2 sp 5d< sp
E4cellent 5d5C cp 5d< sp 5dA sp
3abulous 5d< sp 5dA sp 5d< (p
Booked Per%ormances

& bookin( is an arran(ement in !hich a bard entertains the cro!d o% some pri1ate
business Fusually a ta1ernGE The ta1ern master and bard come to some prearran(ed
a(reement as to the income/ hours/ and type o% entertainmentE The bard Fand his assistants
i% anyG simply sho! up and per%ormE The ta1ern master al!ays has a place set aside %or
the per%ormerE Perhaps a small sta(e/ a corner o% the ta1ern %loor/ or e1en some old
keyboard instrumentE
Typically/ it is the bard's responsibility to brin( all the instruments re.uired %or his
per%ormanceE ther than that/ the bard has no set e4pensesE 0rinks are usually on the
house as lon( as the bard doesn't select the more e4pensi1e itemsE Ho!e1er/ it is
considered pro%essional to tip the bar maids and !enches hea1ily !hen they brin( a
per%ormer drinks Fit sets a (ood e4ample %or the customersGE
3e! cities ha1e any le(al limitations on booked per%ormancesE
&lthou(h a booked per%ormer is a bit more protected %rom snatch+and+run thie1es/
the dan(er %rom bar %i(hts and bra!ls is almost as badE It is unlikely that the bard !ill
lose money in such situations/ but his body and instruments can be se1erely dama(edE
Bookin(s are considered a (ood startin( place %or bardsE Such per%ormances
satis%y the re.uirement %or a bard to per%orm locally in a to!n in order to maintain his
reputationE Ho!e1er/ hi(hly reputable bards F5; or hi(herG su%%er a +5 reputation
ad7ustment %or (i1in( a booked per%ormance in any but the most la1ish surroundin(sE
The method o% payment 1aries !idely %rom ta1ern to ta1ern and %rom lo! to hi(h
social le1elE The tendency is %or the ta1ern master to pay the bard a set salary once a
ni(ht/ !eek/ or monthE n top o% this/ !ise ta1ern masters also allo! bards to put out a
collection bo!lE This ensures that the bard (i1es his all durin( the per%ormanceE
Collection bo!ls (ain money at the street+side per%ormance rate speci%ied on
Table 2BE The salaried income should be determined randomly on Table ;CE The bard can
then ad7ust this random result by one in any direction i% he rolls a success%ul reputation
check or a pro%iciency check/ or by t!o i% he succeeds !ith both checksE
Table ;C# B)E0 I-CME
0A Roll Salary
5 3ree room
2 & %ree meal
; Room and board
< 0ouble the collection bo!l contents
6 6 electrum per ni(ht
? 6 (old per ni(ht
@ 2dA (old
A 2d52 (old
The term carni1al is used here to include any circus/ carni1al/ cara1an/ or other
tra1elin( %orm o% entertainmentE &ll o% these (roups arri1e at most to!ns %rom time to
timeE 0urin( the local har1est season/ circuses o%ten arri1e to 7oin in the celebration and
%esti1itiesE Holidays are o%ten tar(eted by carni1al bandsE ccasionally the (o1ernin(
body o% a lar(e city actually contracts %or a carni1al as part o% a %und raisin( dri1eE
Carni1al bands are comple4 and e4pensi1e operations to run/ and they include
multiple per%ormersE It is easiest %or a bard to 7oin in an e4istin( carni1al/ but i% he !ants
to start his o!n he has to in1est some time and moneyE The base list o% needed assets
includes at least one !a(on Fthou(h a one+!a(on carni1al is unlikely to see much
successG/ horses or o4en to pull it/ entertainin( implements/ portable per%ormance area Fa
sta(e/ tents/ etcEG/ se1eral hi(h+.uality per%ormers/ and the necessary support cre!
Fteamster/ cook/ carpenter/ etcEGE Total outlay o% (old %or such an operation is in the
thousands o% (old piecesE
It is ille(al in most to!ns and 1illa(es %or a carni1al to simply set up tents and
be(in per%ormin( Funless it is !ell outside o% the to!n !allsGE *e(al permission ran(es
%rom simple 1erbal appro1al to purchasin( a carni1al or circus permit %rom the to!nE
Such permits typically cost 6C (old per tent/ sta(e/ or per%ormin( area and are (enerally
(ood %or one !eekE
The dan(ers a carni1al %aces are much the same as those %aced by a tra1elin(
merchant# hi(h!ay robbery/ pirates Fdurin( !ater transportG/ and monster raids are
commonE E1en !ithin the !alls o% a to!n/ a carni1al is %ar %rom sa%eE Thie1es and
be((ars are attracted to carni1als like %liesE &lthou(h these lo!li%es typically play the
cro!d/ they aren't a(ainst makin( o%% !ith a 1aluable instrument or the carni1al stron(
bo4E E1en more dan(erous are the ri1al carni1als and per%ormers !ho are in competition
%or the same audienceE Such (roups occasionally resort to practical 7okes/ 1andalism/
employin( bullies/ or e1en hirin( assassins to dri1e o%% the competitionE
Per%ormin( in a carni1al is considered .uite reputable and satis%ies the
per%ormance criteria o% reputation up to and includin( a reputation o% 5@E I% a more
reputable bard per%orms %or any but the most elite carni1als/ he !ill su%%er a +5
ad7ustment to his local reputationE
Carni1al per%ormers are (i1en %ree room and board !hile on the road Ftypically
some blankets and a mat to thro! in/ under/ or around the !a(on or tents at ni(ht and
relati1ely (ood %ood %rom the tra1elin( cookGE n top o% this/ they make !a(esE The
normal arran(ement is that each per%ormin( ni(ht's income is di1ided up as %ollo!s# 6CL
to the carni1al master and 6CL to the cre!E The cre!'s hal% o% the money is not split
e1enlyE Each member is assi(ned a number o% sharesE Typical shares are as %ollo!s#
Table 45' CARN+VA0 S%ARES
Position Sha$es of C$e, +ncoe
Per%ormers ; M FI o% success%ul checksGK
Cook <
Carpenter ;
Teamster 2
Sta(e Hands 5
'uards *e1el F(enerally 5+<G
KRoll one pro%iciency check and one reputation checkH the number o% success%ul
checks is used on this table and on Table ;2 as !ellE
The ni(ht's total income is e.ual to the total number o% attendees Fattendees plus
patronsG times the carni1al %eeE
Each per%ormer dra!s in a number o% attendees based upon a reputation and
pro%iciency checkE FThese attendees are in addition to applicable patrons++see pa(e 55@
%or more about patronsEG The number dra!n by each per%ormer should be checked
separately F%or simplicity/ 0Ms may use the J5J column on Table ;2 %or all -PC
per%ormersGE Roll both a pro%iciency check and a reputation check/ then consult the
%ollo!in( table to determine ho! many attendees that per%ormer dre! into the carni1alE
-ote that this doesn't mean that this is the number that the per%ormer entertains/ as
attendees dra!n in by other per%ormers !ander around and obser1e all the actsE
The typical %ee %or a ni(ht at the carni1al is one electrum piece per person Fe4cept
in%ants/ !ho are admitted %or %reeGE I% this carni1al's entrance %ee is hi(her or lo!er/ the
0un(eon Master !ill take this into account !hen he determines the ni(htly conditions %or
the purposes o% Table ;2 Fhi(her %ees e%%ecti1ely impro1e the conditions/ lo!er %ees
!orsen the conditionsGE
S*ccessf*l Checks
Con!itions B 5 I
Horrid 5d< 2d< ;d<
Poor 5d? 2d? ;d?
3air 5dA 2dA ;dA
'ood 5d5C 2d5C ;d5C
E4cellent 5d52 2d52 ;d52
3abulous 5d2C 2d2C ;d2C
Sho,s an! P$o!*ctions
Sho!s and productions are the bi( time %or per%ormersE These include any
per%ormance that takes place in an established buildin( or place !here the audience
sho!s up speci%ically %or the per%ormance and nothin( elseE Some e4amples include plays
and recitals (i1en at the local theater or opera house/ concerts at the local music hall/ and
productions put on at local bard colle(esE Such a per%ormance is either a re(ularly
scheduled e1ent or is accompanied by a lot o% promotion and ad1ertisin(E
The cost o% puttin( on a sho! or production is lar(eE Costs include ad1ertisin(/
%acility rental/ sta(e hands/ per%ormer's %ees/ etcE & typical outlay is 5d< sil1er pieces
times the ma4imum possible cro!d Fthis is usually e.ual to the a1ailable seatin(GE
Sho!s and per%ormances are usually outside the domain o% city la!sE E1en i%
there are %ees/ the o!ner o% the %acility is (enerally responsible %or payment Ftypically an
additional sil1er piece per audience memberGE
& nice side bene%it to such e4tra1a(ant per%ormances is the unlikely e1ent o%
1ictimiDationE The only crooks !ho dare mess !ith such e1ents are hi(h+rankin( master
thie1es or a %ully planned hit by the local thie1es' (uild/ thou(h these are 1ery rare
It is considered an honor to per%orm in sho!s or productionsE This satis%ies
per%ormance re.uirements %or any reputation le1el and actually boosts reputations o% 5C
or less by M5E Ho!e1er/ it is rare %or any per%ormer belo! a 5C reputation to be in1ited to
per%orm at such e1entsE The standard auditions eliminate all but the best per%ormersE
% all per%ormances/ productions pro1ide the (reatest %or potential income/ but
they are also the most riskyE &s !ith carni1als/ the net ni(htly income is e.ual to the
number o% attendees times the admittance %eeE Typical admittance %ees to productions are
5 (old piece/ althou(h really elaborate per%ormances put on in e4tra1a(ant theaters can
ran(e up to a platinum piece or moreE
Be%ore the actual number o% attendees is determined/ the ma4imum possible
number must be %oundE I% the per%ormance is to take place !ithin a buildin(/ the
ma4imum e.uals the buildin('s seatin( capacityE ther!ise/ some reasonable number !ill
ha1e to be settled upon bet!een 0un(eon Master and the in1ol1ed playersE
nce the ma4imum possible cro!d is determined/ each per%ormer rolls both a
reputation check and a pro%iciency checkE Take the total number o% success%ul checks
%rom all per%ormers and di1ide this by the number o% checks that !ere rolledE This (i1es a
number bet!een C and 5/ inclusi1eE Multiply this number by the ma4imum possible
cro!d to determine ho! many people actually sho! upE
I% e1ery per%ormer succeeds at both checks/ then the ma4imum possible cro!d
sho!s upE I% only hal% o% the checks succeed/ then the number o% attendees is only hal% the
ma4imumE I% 26L succeed/ then 26L sho! up/ etcE n top o% this/ bards ha1e their
applicable patrons sho! upE
Hal% o% the net income Fattendance %ees minus production costsG (oes to the
%acility's o!ner and the other hal% is di1ided amon( the per%ormers and sta(e hands usin(
the carni1al's share systemE
Cha&te$ E' Co$a!es
Bards ha1e many comrades throu(hout their li1esE &s they climb the ranks o%
%ame to!ard a (reat reputation/ they rely hea1ily upon the 1arious bard colle(esE These
institutions contain %ello! per%ormers (reat and smallE Bards meet those !ho ser1e as
teachers/ critics/ peers/ and %riends !ithin the bard colle(esE
& bard !ho pro1es to be a (ood entertainer (ains a pool o% patrons !ho (o out o%
their !ay to attend his per%ormances and occasionally help him outE I% a bard sur1i1es
lon( enou(h/ he e1entually (ains de1oted %ollo!ersE
#a$! Colleges
Bards o%ten associate !ith one another/ especially those !ho hold similar 1ie!s
and practice similar %orms o% entertainmentE I% such a (roup becomes established/ it is
kno!n as a colle(eE Colle(es are to bards !hat (uilds are to most other charactersE These
are places in !hich skills/ philosophies/ belie%s/ and talents are pooled to(etherE Ho!e1er/
colle(es are too uni.ue to be (i1en the (eneric label o% J(uildEJ
Membership in most (uilds is a permanent matter or at least a lon(+term oneE I% a
thie% 7oins the local thie1es' (uild/ he is likely (oin( to remain there until somethin(
drastic happensE This is not so !ith bards 7oinin( bard colle(esE
Bards %loat %rom one colle(e to the ne4tE 2hen they are 1isitin( a particular city
or 1illa(e/ they look up the local colle(e and partake in its %unctionsE Then !hen the
bard's mood chan(es/ he parts !ith that colle(e and proceeds on his merry !ayE Colle(es
ser1e as a %orm o% specialty inn+members come and stay %or a !hile/ then mo1e onE
3rom one month to the ne4t/ the entire membership o% a (i1en colle(e can chan(eE
&s !ould be e4pected/ this demands that bard colle(es be set up in a 1ery loose %ormatE
Most colle(es ha1e a set o% rules posted in some easily accessible location Fo%ten 7ust
inside the entry !ayGE These rules are amended/ repealed/ and redra%ted as o%ten as
membership turno1er causes a shi%t in philosophyE
The %unctions o% a colle(e are determined by the current membersE Most meetin(s
are called on an in%ormal basisH those !ho sho! up partake in the discussion/ practice/ or
seminarE Such meetin(s can e1ol1e into a re(ular e1ent F%or a short !hileG/ %ra(ment into
smaller (roups/ or simply end in lieu o% more e4citin( e1entsE
&uthority is treated as is e1erythin( else+in a 1ery nonchalant !ayE I% the current
rankin( member o% the colle(e is a neutral e1il bard/ authority is determined by a(e/
po!er/ and underhanded tricksE I% a la!%ul neutral bard is in control/ authority is
(o1erned strictly by a set o% !ritten la!s and proceedin(sE % course/ as one leader
departs the colle(e and another comes into po!er/ the rules and methods o% determinin(
authority are likely to chan(eE & common sayin( amon( bards is/ JI% you don't like the
!ay a colle(e is run/ !ait a minute and it'll chan(eEJ
Coon E7ents
There are numerous e1ents that occur at any colle(eE & %e! o% the most common
are per%ormances/ practices/ debates/ dress rehearsals/ collectin( dues/ seminars/
discussions/ (atherin(s/ and (eneral meetin(s
Per%ormances are (i1en by one or more bardsE These ran(e %rom 1ocal solos to
dancin( duets to an entire cast o% actors puttin( on a playE Some per%ormances are
restricted to audiences made up o% %riends or colle(e membersE thers are open to the
public and help %und the colle(eE E1ery decent colle(e has a sta(e or other per%ormance
area/ but many per%ormances take place at the local theater or in the 1illa(e s.uareE
&ll bards are per%ormers o% one sort or another/ and no per%ormer can ele1ate his
talents by study aloneE Practice literally makes per%ect %or the skills o% a bardE Thus
numerous practices are held at the colle(eE Here/ bards can play be%ore peers/ (ain the
ad1ice o% a master/ learn the latest techni.ues %or strin(in( a harp/ and so onE I% optional
trainin( rules are used/ colle(e is !here most bards trainE
Since bards are romantic philosophers at heart/ it is no small !onder that debates
%re.uently crop upE Sub7ects ran(e %rom the proper !ay to pluck a mandolin to the best
philosophical ali(nment to hold !hen (oin( throu(h li%eE &lthou(h debate is de%ined as a
controlled discussion in !hich t!o or more sides air their 1ie!s/ it is not uncommon %or
such debates to boil into heated ar(uments endin( !hen one side or another dra!s its
!eapons and threatens 1iolenceE
Be%ore any pro%essional production/ a dress rehearsal must take placeE This
brid(es the (ap bet!een practices and actual per%ormancesE The intent is to run throu(h
the entire per%ormance !ithout an audience or only a specially selected audienceE This
enables the bards to 7ud(e the len(th o% the per%ormance and make any last minute
alterationsE ccasionally/ dress rehearsals are used as test per%ormances be%ore a small
sample audienceE The purpose o% this is to determine i% the sub7ect matter is too 1olatile
%or the tar(et audienceE
0ues are usually collected as soon as a bard %irst enters a colle(eE Typical dues are
an electrum piece plus 26L o% all income the bard makes !hile associatin( !ith the
colle(e F6CL i% the colle(e is used to put on the per%ormanceGE I% a bard doesn't per%orm
or dra!s in only small cro!ds/ he !ill be asked to lea1e or contribute a platinum piece
each !eek Fhis decisionGE
Hi(h+le1el bards o%ten make money at colle(es by plannin( seminars and other
e1ents and char(in( a co1er %ee Fusually a %e! sil1er piecesGE Seminars are e1ents in
!hich a small panel o% bards Fusually 5 to ;G presents in%ormation on some predetermined
topicE Seminars are learnin( e1entsH those !ho attend e4pect to ha1e %un/ learn somethin(
use%ul/ and (et a chance to ask .uestions o% the mastersE Seminar audiences should
al!ays be at least t!o le1els belo! those o% the panelE Thus/ a bard must be at least ;rd
le1el to put on a seminarE
0iscussions are simply planned e1ents in !hich a small+ to medium+siDed (roup
F;+5CG o% bards (et to(ether and discuss a topicE The sub7ect can be pro%essional Factin(
techni.ues/ ho! to clean instrumentsG/ rela4in( Freminiscin( about the (ood old daysG/ or
philosophical Fdiscussin( the li%estyle o% the pi4ieGE 0iscussions are 1ery loose in %ormat/
and no one is necessarily in char(eE
'atherin(s are some o% the most cherished e1ents o% a colle(eE & (atherin( is
rarely a planned %ormal e1entE Rather/ it occurs !hen se1eral bards be(in talkin( about
the same topic/ such as the proper tempo %or an epic poemE In other !ords/ (atherin(s are
ac.uaintance meetin(sE Stories are s!apped/ tales told/ rumors shared/ and lau(hs had by
allE ccasionally a (atherin( is planned/ such as an early brunch or late e1enin( ballE
3inally/ no colle(e !ould be complete !ithout the (eneral colle(e meetin(E These
are %ormal e1ents held %or the sole purpose o% discussin( the colle(e/ its policies/ %uture/
and other %unctionsE Some colle(e meetin(s are mandatoryH a %ine F5 spG or penalty must
be paid by those !ho do not sho!E Common topics include assi(nin( personnel to
cleanin( and cookin( details/ discussin( methods %or ad1ertisin( colle(e per%ormances/
1otin( on !hether or not to per%orm at a local duke's !eddin(/ and so onE
&s a bard's reputation (ro!s/ he be(ins to attract patronsE These people (o out o%
their !ay to attend the bard's per%ormancesE Some e1en take up tra1elin( !ith the bard on
short per%ormin( toursE Such de1oted patrons o%ten ser1e the bard as sta(e handsE
Patrons should not be con%used !ith %ollo!ersE Patrons are more interested in a
bard's per%ormances than in the bard as an indi1idualE They are cau(ht up !ith the bard's
artistic talentsE Some !ill tra1el miles to attend as many per%ormances as possible/ others
donate sil1er and (old to ensure that their %a1orite per%ormer can support his careerE
0e1oted patrons lo1e his per%ormances so much that they are !illin( to help him out in
order to (et him on sta(e more o%tenE Patrons are a 1aluable commodity to bards and are
al!ays treated !ith careE
+nitial Pat$ons
&c.uirin(/ (ainin(/ and losin( patrons is based upon the optional reputation system
presented in this handbookE I% this system isn't used/ substitute the bard's le1el %or his
nce a bard becomes !ell+kno!n Freputation ?G he (ains his %irst patronsE To
determine ho! many patrons the bard initially (ains/ roll 5d2C a number o% times e.ual to
the bard's ma4imum number o% henchmen Fa %unction o% CharismaGE E1ery result e.ual to
or belo! the bard's reputation indicates that one more patron is ac.uiredE
-ote that patrons are not henchmen and do not count a(ainst this numberE
Gaining an! 0osing Pat$ons
The number o% a bard's patrons %luctuates as the bard's reputation chan(esE &ny
time the bard's reputation increases/ more patrons can be (ainedE The bard rolls 5d2C in
an attempt to roll e.ual to or belo! his ne! reputationE He can keep rollin( until he %ailsE
The number o% consecuti1e rolls e.ual to or belo! his ne! reputation is the number o%
ne! patrons (ainedE Ho!e1er/ the number o% a bard's patrons is limited by his ma4imum
number o% henchmen and by his le1el/ as sho!n on Table ;;E The number ne4t to the
bard's le1el is multiplied by the bard's ma4imum number o% henchmen Fsee Table ? in the
PHB G to determine the bard's ma4imum number o% patronsE
Table 44' NU1#ER O: PATRONS
#a$!;s 1a6i* K of
*e1el Henchmen Times#
5+< 5
6+B 2
5C+5< ;
56+5B <
2CM 6
I% a bard's reputation e1er drops/ he must check to see i% any o% his patrons lea1e
himE This is done by rollin( once %or each patronE &ny roll abo1e the bard's ne!
reputation indicates that the patron has lost his in%atuation !ith the bard and is no lon(er
a patronE & natural roll o% 2C indicates that the patron is 1ery upset !ith the bard and !ill
ha1e nothin( more to do !ith himE
I% you !ant to add e1en more detail to your bard's patrons/ you can roll on the
%ollo!in( table %or each oneE
Table ;<# T8PE 3 P&TR-

5d2C Type o%
Roll Patron 0escription
5+5C 3an &ttends e1ery local per%ormanceE
55+52 0iehard &ttends e1ery per%ormance !ithin 5CC miles
and insists on payin( 5d< times !hat others
5;+5< Booster &ttends all local per%ormances and brin(s 5d?
%riends alon(E
56 Enthusiast 2ill ser1e as a sta(e hand !ithout char(e in
e4chan(e %or %ree admittanceE
5? Supporter Roll 5d52H in that many months the
!ill donate 5d5C times the bard's le1el/ in
(old/ to the bardE
5@ Qealot Qealots %ollo! the bard around to e1ery
per%ormanceE Some ha1e been kno!n to
secretly shado! the bard !here1er he (oes/
e1en on dan(erous .uests F%rom !hich they
seldom returnGE
5A 0e%ender 0e%enders are Dealots !ho ha1e taken it
upon themsel1es to protect the bard/ ser1in(
as body (uardsE
5B E4tremist E4tremists attempt to mimic the bard as
much as possibleE They dress like him/ act
like him/ learn his habits/ and !ill e1en
attempt to steal authentic items %rom himE
Some e4tremists e1en attempt to be%riend
the bard's %riends and lo1ersE
2C 3anatic 3anatics are e4tremists/ but i% the bard e1er
rolls that a %anatic drops %rom the ranks o%
his patrons/ the %anatic is 26L likely to
attempt to assassinate the bardE

&s stated in the Player's Handbook/ the True Bard can attract 5Cd? C+le1el
soldiers at the Bth le1el/ i% he builds a stron(holdE These %ollo!ers arri1e o1er a period o%
time and are not automatically replaced i% lost in battleE
The abo1e in%ormation is correct %or the True BardE % the other kits/ only the
Skald and some Heralds recei1e such %ollo!ersE The other kits recei1e %ollo!ers as
indicated belo!E
Table 4=' :O00OWERS #J 2+T
2it :ollo,e$s
True 5Cd? C+le1el !arriors
Blade ;d? Fuse Table ;5 in the PHBG
Charlatan 5d? 5st+le1el Charlatans
'allant ;d< C+le1el !arriors and 5 ;rd+le1el s.uire
'ypsy+bardF5G ;d? (ypsies F6CL thie1es/ 2CL %i(hters/ 2CL %i(hterNthie1es/ 6L
thie%Nma(es/ <L thie%Nma(es and 5L special R%i(hterNma(eNthie%/ ran(er/
bard/ druid/ bear/ etcESG
HeraldF2G 5Cd? C+le1el !arriors or 5d< 2nd+le1el !arriors and 5d? ;rd+le1el thie1es
,ester -o %ollo!ers
,on(leur ;d? Fuse Table ;5 in the PHBG
*oremasterF;G 5d? 5st+le1el !iDards
Meistersin(erF<G "p to ; animal companions
Riddlemaster -o %ollo!ers
Skald 5Cd? C+le1el !arriors
ThespianF<G 2d52 C+le1el actors
5E To attract these %ollo!ers/ a Bth+le1el For hi(herG 'ypsy+bard must %irst
purchase a !a(on and t!o cartsE
2E & Herald has t!o optionsE I% he decides to build a stron(hold o% his o!n/ he
attracts 5Cd? C+le1el !arriorsE Ho!e1er/ i% the herald is ser1in( a lord as his a(ent/ the
lord donates a section o% his %ortress to the herald/ alon( !ith 5d< 2nd+le1el !arriors and
5d? ;rd+le1el thie1esE
;E *oremasters do not build typical stron(holdsE Instead/ they ac.uire a to!er in
the corner o% some nobleman's keep/ or a house in the scholarly .uarter o% to!nE
<E Meistersin(ers do not build typical stron(holdsE They construct a number o%
hidden cotta(es insteadE
6E These actors do not ha1e a class and do not (ain le1elsE They pay %or all o% their
o!n e4penses and brin( in an additional 5d? (old each per month %or the thespianE
A&&en!i6' O$iginal #a$!s Table
Dice fo$ D$*i! A!!l<
E6&< E6&e$ience Acc*< 0e7el S&ells 0ang<
Cha$ 00888
*e1el Points hp Title 52;<6 Colle(e )no!n L L
5 C+2/CCC CK Rhymer 5JJJJ FProbationerG CKK 6L
2 2/CC5+</CCC 5 *yrist 2JJJJ 3ochlucan C 2CL
; </CC5+A/CCC 2 Sonneteer ;JJJJ 3ochlucan C 22L
< A/CC5+5?/CCC ; Skald ;5JJJ 3ochlucan 5 2<L
6 5?/CC5+26/CCC < Racaraide ;2JJJ Mac3uirmidh C ;CL
? 26/CC5+<C/CCC 6 ,on(leur ;;JJJ Mac3uirmidh 5 ;2L
@ <C/CC5+?C/CCC ? Troubadour ;;5JJ Mac3uirmidh 5 ;<L
A ?C/CC5+A6/CCC @ Minstrel ;;2JJ 0oss C <CL 26L
B A6/CC5+55C/CCC A Muse ;;;JJ 0oss 5 <2L ;CL
5C 55C/CC5+56C/CCC B *orist ;;;5J 0oss 5 <<L ;6L
55 56C/CC5+2CC/CCC 5C Bard ;;;2J Canaith C 6CL <CL
52 2CC/CC5+<CC/CCC 5C M 5 Master Bard ;;;;J Canaith 5 6;L <6L
5; <CC/CC5+?CC/CCC 5C M 2 ME Bard 5;
;;;;5 Canaith 5 6?L 6CL
5< ?CC/CC5+ACC/CCC 5C M ; ME Bard 5<th ;;;;2 Cli C ?CL 66L
56 ACC/CC5+5/CCC/CCC 5C M < ME Bard56th ;;;;; Cli 5 ?;L ?CL
5? 5/CCC/CCC+5/2CC/CCC 5C M 6 ME Bard 5?th <;;;; Cli 5 ??L ?6L
5@ 5/2CC/CC5+5/<CC/CCC 5C M ? ME Bard 5@th <<;;; &nstruth C @CL @CL
5A 5/<CC/CC5+5/?CC/CCC 5C M @ ME Bard 5Ath <<<;; &nstruth 5 @;L @6L
5B 5/?CC/CC5+5/ACC/CCC 5C M A ME Bard 5Bth 6<<<; &nstruth 5 @?L ACL
2C 5/ACC/CC5+2/CCC/CCC 5C M B ME Bard 2Cth 6<<<< llamh 5 ACL A6L
25 2/CCC/CC5+2/2CC/CCC 5C M 5C ME Bard 25
66<<< llamh 5 A<L
22 2/2CC/CC5+;/CCC/CCC 5C M 55 ME Bard 22
666<< llamh 5 AAL
2; ;/CCC/CC5+up 5C M 52 ME Bard 2;
66666 Ma(na 5 B6L
K The bard has as many Hit 0ice as he has pre1iously earned as a %i(hter Fplus the
possible addition o% those earned as a thie%/ i% that class le1el e4ceeds the class le1el o%
%i(hterGE &ll bard Hit 0ice Fand additional hit pointsG are additions to e4istin( Hit 0ice+
none are lost %or becomin( a bardE
KK The character may already kno! lan(ua(es %rom his pre1ious e4perienceE
KKKStands %or J*e(end *ore and Item )no!led(eJ
-otes Re(ardin( the ri(inal Bards Table
E4perience points are strictly those (ained as a bardE &ll pre1iously earned e4perience
points are not considered hereE
E4perience le1el is that o% the bard class onlyE There is no le1el beyond the 2;rdE The
bard (ains druidic po!ers as a druid o% the same le1el !ould/ and he learns and
casts spells e4actly as a druid o% the same le1el/ but he does not pro(ress beyond
the 52th le1el o% druid ability until the 2;rd le1el Fat !hich time he casts spells at
the 5;th le1el o% abilityGE Bards can read scroll that contain druidic spellsE
&t %irst le1el/ the bard has as many Hit 0ice as he has pre1iously earned as a %i(hter
Fplus the possible addition o% those earned as a thie% i% that class e4ceeds the class
le1el o% %i(hterGE &ll bard Hit 0ice Fand additional hit pointsG are additions to
e4istin( Hit 0ice+none are lost %or becomin( a bardE
Colle(e is an important distinction to a bardH he !ill not associate !ith a bard o% a
lesser colle(eE The e4ceptions to this rule are the Magna $lumnae/ !ho !ill
happily aid Fby ad1ice and su((estionG any bard o% any le1elE
The bard need not study to learn the additional lan(ua(es indicated on the table+this
process is subsumed as pre1ious !orkE
Charm percenta(e is the chance the bard has o% success%ully castin( a charm person
For charm monsterG spell !ith his musicE It does not ne(ate any immunities or
sa1in( thro!s 1sE ma(icE
*e(end lore and item kno!led(e percenta(e sho!s the chance a bard has o% kno!in(
somethin( about a le(endary person/ place/ or thin(/ or o% kno!in( !hat a
particular ma(ical item isE The latter ability is limited to !eapons/ armor/ potions/
scrolls/ and those items o% ma(ical nature that the bard can employ or !hich bear
ma(ical inscriptionsE &ll bards kno! runes/ (lyphs/ characters/ symbols/ etcE
-aturally/ any kno!led(e (ained by the bard !hile in his %ormer classes is
retained at all le1elsE
Class 0escription
&s this character class subsumes the %unctions o% t!o other classes+%i(hters and
thie1es+and tops them o%% !ith ma(ical abilities/ it is o%ten not allo!ed by 0un(eon
MastersE E1en thou(h this presentation is (reatly modi%ied %rom the ori(inal bard class/ it
is o%%ered as supplemental to the system/ and the 0M !ill be the %inal arbiter as to the
inclusion o% bards in the campai(nE
& bard must ha1e scores o% 56 or better in the %ollo!in( abilities# Stren(th/
2isdom/ 0e4terity/ and CharismaE He must also ha1e an Intelli(ence score o% at least 52
and a Constitution score o% at least 5CE The character must be either a human or a hal%+el%E
Bards be(in play as %i(hters and must remain e4clusi1ely so until they ha1e
achie1ed at least the 6th le1el o% e4perienceE &nytime therea%ter/ and in any e1ent prior to
attainin( the Ath le1el/ they must chan(e to the thie% classE Sometime bet!een 6th and Bth
le1el/ bards must lea1e the thie% class and become a druid+at this time/ they are actually
bards under druidic tutela(eE Bards must %ul%ill the re.uirements in all the abo1e classes
be%ore pro(ressin( to the ri(inal Bards TableE They must al!ays remain -eutral/ but
they may be 'ood/ Chaotic/ E1il/ or *a!%ul i% they !ishE
& bard al!ays en(a(es in combat at the le1el he attained as a %i(hterE *ike!ise/ he
is able to %unction as a thie% o% the le1el attainedE &ll sa1in( thro!s are made on the most
%a1orable table/ !ith the actual bard le1el considered to be that o% a druidE He must
al!ays ha1e a strin(ed instrumentE
The bard's poetic ability raises the morale o% associated creatures by 5CLE It
like!ise can inspire %erocity in battle/ so attack rolls (ain a M5 bonusE Both e%%ects re.uire
t!o rounds to inspire the desired e%%ect/ and they last %or one turnE -ote that the bard can
en(a(e in combat !hile en(a(ed in this ability/ but he cannot sin( or cast spellsE
& bard's sin(in( and playin( ne(ates the son( e%%ects o% harpies and similar
attacks that rely upon son(E It ne(ates the sound o% shriekers/ !ho are soothed by the
sound o% the bard's instrumentE
2hen the bard plays his instrument/ creatures Fnot in the bard's partyG !ithin <J o%
the bard must roll success%ul sa1in( thro!s 1sE spell or sit entranced !hile the bard
per%ormsE E1en those creatures !ho are not charmed by the bard !ill still stop and listen
%or one roundE Charmed creatures are sub7ect to a su((estion Fas the spellG/ and i% the bard
implants the su((estion in his son(/ the charmed creatures must roll a success%ul sa1in(
thro! 1sE spell !ith a +2 penalty or be sub7ect to the %ull impact o% the su((estionE Those
!ho sa1e are totally %ree o% the bard's charm e%%ectE Each creature is susceptible to this
ability once per dayE *oud noise or physical attack !ill ne(ate the charm/ but not the
0ue to his trainin(/ a bard has kno!led(e o% many le(endary and ma(ical items
a%ter the 5st le1el o% e4perience/ and this kno!led(e impro1es !ith ad1ancementE I% some
le(endary kno!led(e is appropriate and the dice score indicates that the bard has
kno!led(e in that area/ then his ability !ill deli1er in%ormation similar to the ma(ic+user
spell/ legend loreE 2ithout actually touchin( an item/ the bard also has a like chance o%
determinin( its ma(ical properties and ali(nmentE This latter ability is limited to armor/
miscellaneous !eapons/ miscellaneous ma(ical items Fi% usable by a druid/ %i(hter/ or
thie%+unless inscribed !ith ma(ical !ritin(/ in !hich case the bard can read !hat is
!ritten at the leastG/ potions/ rin(s/ rods et alE Fi% usable by a druid/ %i(hter/ or thie%G/ and
scrollsE &rti%acts and relics are not considered Jmiscellaneous ma(ical itemsEJ
Bards are able to use ma(ical items that are permitted to druids/ %i(hters/ and
thie1esE Ma(ical booksNlibramsNtomes that pertain to the same are also bene%icial For
bane%ulG to bards/ and these items can raise %i(htin( or thie1in( abilities beyond the normE
FI% a !ritin( is bane%ul/ treat the bard as the least %a1orable o% his classesEG Miscellaneous
ma(ical items o% a musical nature are superior !hen employed by a bard/ such as drums
o( pan'c F+5 to sa1in( thro!sG/ a horn o( blast'ng F6CL (reater dama(eG/ a lyre o( bu'ld'ng
Fthe e%%ects are doubledG/ and p'pes o( the sewer Ft!ice the number o% rats in hal% the
usual timeGE
Bards may !ear leather or ma(ical chain mail only and may not use shieldsE They
may use any type o% club/ da((er/ dart/ 7a1elin/ slin(/ scimitar/ spear/ or sta%%E They may
also use a bastard/ lon(/ or short s!ordE They may employ oil/ but ne1er poison Funless
they are -eutral E1il in ali(nmentGE
Bards !ill ne1er ser1e as a henchman %or lon(er than one to %our monthsE They
are unable to employ henchmen other than druids/ %i(hters/ or thie1es o% human/ hal%+el%/
or el% stockE It is possible %or a bard to attract one henchman upon attainin( 6th le1el/ t!o
at Ath le1el/ three at 55th le1el/ %our at 5<th le1el/ %i1e at 5@th le1el/ si4 at 2Cth le1el/ and
any number o% them at 2;rd le1el Fsub7ect to the bard's CharismaGE nly bards o% 2;rd
le1el may settle do!n and construct a stron(hold o% any sortE
-ote# I% bards are permitted in your campai(n/ there is a possibility that the 0M
!ill also include certain ma(ical items that are usable only by bardsE