[Where I read] The Complete Bard's Handbook and The Complete Thief's Handbook

The Ent

No Huorn, boy! No Huorn!
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Weird question, but was it Margeret Weiss and Hickman who created the whole "gnomes and technology" thing? Because it occurs to me I don't see it anywhere before them. Really, aside from David the Gnome, I suppose it was an appropriate a thing as any to base Gnomes on since--otherwise--they don't have anything unqiue to call their own.
Oh but they do - illusion magic.
Other than that they were pretty much just smaller Dwarves with a different personality (having much the same bonuses in 1e and 2e - attack bonuses vs humanoids, AC bonus vs giants, etc). But, illusion magic - only Gnomes and Humans could be Illusionists (and in 2e in particular, the +1 Intelligence bonus made Gnome Illusionists fairly badass, actually. A Wizard with 19 Intelligence was nothing to sneeze at, even if Illusionist might not have been the most powerful Specialty Wizard out there (allthough moreso than Necromancer, Abjurer and Diviner I'd say ^_^). Of course in 1e level limits meant Gnomes wouldn't be very powerful at all, but well. Illusionist/Thief and Fighter/Illusionist are/were fairly badass combinations! Imagine a Gnome Fighter/Illusionist with Improved Invisibility and/or Blur and/or Mirror Image and/or...etc. (I'm fairly sure a Gnome Fighter/Illusionist with Improved Invisibility etc could take on a tribe of Ogres on his own, even mid-level. They won't hit anything!)

That said more could definitely have been made outta that.

Okay, this is the class which inspired me to want to do a book. It is a perfect example of why the brown-leather books occasionally approached greatness--because they're so damned WEIRD. There's a picture which accompanies this describing of someone shooting a bullet or something at the Halfling and he has whistled up an energy shield. Who came up with this? Why do Halflings, of all classes, whistle? Why does it give them superpowers?

Who cares!


Wow, this all over the place.
I liked that class myself, it seems pretty badass in a way allthough most of its stuff boils down to "talks to animals" and "throws rocks at people" with a side order of "random nature magic" (why, WHY is *Entangle* the final spell ability learnt!? At that high level it's hardly even useful anymore except against the sort of opposition the Whistler'd take down in a couple rounds with rocks anyway!). I mean the rock throwing ability is actually good, darts were *great* weapons in 2e, *especially* against Wizards and Clerics (all it takes is *one* hit to destroy concentration, remember! And no Concentration skill!), so the Whistler is basically "the dude that ruins the spellcaster's day".

I'd probably tone the eco-hippie stuff down a notch or a million though. Halflings are down-to-earth farmers, they don't have a problem butchering, or killing predators. Well the way I see them anyway. They need their sausages and meat pies. I mean a vegetarian Halfling!? No way, man. No way. It's like a Dwarf who shaves or an Elf who thinks being an Elf isn't awesome.
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Rules Information

The next few parts aren't really all that interesting to me, covering basic Bard abilities. It talks about abilities and supernatural powers Bard possess. There's also some information on various magical items, basically saying Bards gain much better benefits from music instrument items than wizards do.

Some of the old 2E items are WEIRD ass devices, though.

Case of Compression: When empty, this musical instrument case appears as any other such case. However, when touched to any instrument normally carried in a case, it transforms so that it perfectly fits the instrument. When the case is closed with the instrument inside, it shrinks until it easily fits in the palm of the hand. The reduced case weighs only a pound. When the case is opened, it returns itself and its instrument to full size.
I love the random curses in these things.

Horn of Baubles: When this instrument is blown, one 5'x5'x5' cube of useless baubles spews out of it per level of the blower. Although this is usually rather comical, it can be dangerous in a limited space.

The instrument can be safely blown once every hour. If blown more frequently, there
is a 10% cumulative chance that the horn backfires, sucking the blower into it and
spewing him out as a collection of useless baubles. It is impossible to resurrect or
reincarnate a creature in this state, although a wish can be used to recover the victim.
Ahhhh, the joys of sadistic DMs.

Lyre of Wounding: This cursed item appears normal in every way until it is first played. When the musician's fingers strike its strings, they sever the tips of his fingers. Roll 1d6 for the number of fingers that the musician loses: 1-4 the number of lost fingers, 5 all fingers and the thumb, and 6 escaped unscathed. Each finger lost causes 1d2 points of damage, but the musician should not be lowered below 1 hit point due to lost fingers.
Whoever made this, REALLY hated bards.

New Twists on Old Items
(Optional Rules)

This optional section contains suggested special effects that occur when various bard kits use the instruments and other magical items listed above. All of these suggestions are optional, but will make for a lot of added flavor and fun in your campaign. Because bards are so musically inclined, their understanding of all musical instruments, including magical items, is such that they gain certain special benefits. This is also true of several other magical items that are specially related to bards.

Elven Minstrels: Because these special demi-bards understand the union of magic and music better than anyone, they gain a special benefit. Any time a hazardous magical effect based on music occurs, an elven Minstrel gains a +2 bonus to the saving throw. Success indicates that the hazardous effect is avoided. If no saving throw is allowed, this allows one at the normal chance for success.
2E just loves reinforcing the awesomeness of elves, doesn't it.

Philter of Glibness: If a Charlatan imbibes this potion, even detect lie will have only a 5% chance to note any "stretching of the truth."
This reminds me of the rule that Priests show up as their God's alignment even to Know Alignment.

Philter of Stammering and Stuttering: This potion functions as a philter of glibness or persuasiveness when imbibed by a Jester and has no ill effects.
Again, this is just a random effect. However, I did like the idea that Wands of Wonder and Decks of Many Things were more useful to Jesters.

Boots of Dancing: These boots have no effect upon a Jester.
That's sad since it actually seems like it'd be cool.

Helm of Comprehending Languages and Reading Magic: When worn by a bard, this helm grants the ability to understand 95% of strange writings and 90% of magical writings. If the bard is 10th level or higher, the chance to understand magical writings rises to 95%.
Reminds me of Tasslehoff's glasses.

Tome of Leadership and Influence: When this is read by a bard, the character increases by one level. His experience points become equal to the minimum required to attain the new level.
Dun Dun dun.

Drums of Deafening: These drums are a pair of kettle drums, but bards can invoke the magic in each drum separately. If the left drum is struck, it causes those within 10 feet to be stunned for 2d4 rounds. If the right drum is struck, it causes all within 70 feet to be permanently deafened (a heal spell or similar magic is needed to regain hearing). Dwarven Chanters can double all areas of effect.
I love how cursed items used by the people most likely to be cursed by them aren't cursed at all.

Drums of Panic: If these drums are struck by a bard, the radius of the inner "safe zone" can be reduced to any desired measurement. Affected creatures suffer a saving throw penalty of -1 penalty per three levels of the bard.
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Yes, I remember that and I think that was actually good for getting enemies to run away. I'm not a big fan of Dungeons and Dragons as the game where you have to kill every single opponent you face, so I always welcomed that ability.
Display Weapon Prowess was pretty good. It forced a morale check on anyone with equal or fewer hit dice/levels. If they failed, they backed down if possible, or took a -1 to attack rolls if they had to fight.

To be fair, they've got gnomish invention pinned down there. There are some great and fabulously elaborate rules in the 3.5e Dragonlance race book which might adapt well for the Professor if you wanted something more sophisticated.
There are also rules for it in the BECMI supplement Top Ballista, which has skills for Fantasy Physics and Machine Building. There was also the Book of Wondrous Inventions that went even further into fantasy engineering (although most of the devices in the book are overly jokey for most campaigns). The skygnomes in Top Ballista have developed magically-powered biplanes and triplanes.

Lord Shark

Validated User
Whistlers can communicate with any naturally occurring animal that can squeak,
chirp, or whistle. Such communication is on a fundamental level. Basic information can
be exchanged, as well as mood, feelings, etc. For example, a Whistler could chatter with
a squirrel and learn that it has a lot of nuts hidden in a nearby oak tree. Whistling with a
bird might enable the Whistler to learn if it has seen any large monsters (but not if it has
seen five ettin or other specific information).

Lewd Beholder

RPGnet Member
Validated User
One of my most favorite gaming experiences was sending a gnome professor through Expedition to the Barrier Peaks.

I tried so hard to convince the gm to follow it up with the da trilogy (Adventures in Blackmoor, Temple of the Frog, City of the Gods), but he still hadn't forgiven me :D
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There's a list of obscure musical instruments from all over the world.

A couple of tunes' lyrics. Which was a nice touch.


Welcome to the mind of a bard. To play a bard, you must think like a bard. He is a dreamer, a romantic, and a part-time philosopher. A bard wants to be a master of all skills. He wants to try everything, know everything, and be everything. Unfortunately, most bards are mortal. The constraints of mortality keep a bard moving from one profession and activity to the next. He fears that if he spends too much time in one place
or doing one thing, he will miss out on something else.
[Insert ADD joke]

Pragmatists claim that bards suffer from "green pasture syndrome." This syndrome gets its name from cows. They constantly poke their heads over or through fences in an attempt to eat the grass on the other side. Farmers laugh at their livestock because the grass in their own pasture is often greener than the grass on the other side. But the cows have green pasture syndrome and always seem to think that things are better somewhere else.
I love how they actually bother to explain "the grass is always greener."

Bards are easily excited about new developments, upcoming events, and change in general. If things aren't changing, they become bored very quickly. Thus, bards are not ones to hold down long-time jobs. When they do take jobs, they work at them at a breakneck pace at first. Then, as the job becomes routine, their pace slows and they spend more time pondering the future and where it will take them next.
This sounds more like Chaotic behavior than Neutral.

[All of this is also true for adventuring bards. They want to get going, attack now, stop listening at every door, rush forward and meet life head on.Bards don't always select the most effective spells or the most advantageous proficiencies. Instead, they select the most dramatic, the most fun, those that can be used in unique situations. A flashy spell, such as color spray, is always preferable to a boring one, such as hold portal or sleep.
I'm pretty sure that bards are not innately stupid. Also, sleep and hold portal can be pretty darn dramatic.

Then we get to one of my FAVORITE parts of the book, THE REPUTATION SYSTEM!



So how good is a bard's performance? It depends partly upon his skill and level, but most importantly, upon his reputation. The songs of a famous skald hailing from the icy north are met with great anticipation and acceptance. An infamous blade known for his many assassinations draws just as large a crowd to his daring performances of weaponry.
I use the reputation system a bit for my thieves as well, showing what people think of adventurers in general.

Reputation is an intangible aspect of any bard. As the bard travels the path of life, his reputation can grow into that of a great singing hero, it can be slandered so everyone thinks the bard is a cowardly oaf, or the bard's reputation can become an infamous cloak with which to frighten watchmen and thrill the crowds.
Guards, of course, are just dumb at arresting famous people.

When you first generate your character, his reputation is based upon that of his family. From there, events and the way the bard is role-played continually adjust his reputation. Read on for the events that define a bard's reputation.
Remember, even in D&D, you can't escape nepotism.

Following a Performer

A bard's reputation is a variable that can change in an instant. Furthermore, reputation varies from one village or town to the next. A bard's initial reputation applies to his home town only. This is the center of the bard's reputation.

Let's follow the development of the great Hanalacious's reputation. She put on her first public performance in Greyhawk City at the age of 16. First impressions are extremely important and vary uncontrollably depending upon the mood of the audience, season, local events, etc. After her first performance, Hana became a "noted" member of the entertaining class.
I love how first impressions is actually a rule. Sadly, this system seems like more trouble than it's worth.

To determine Hana's initial reputation, the following table was consulted.
2d4 Roll Index Title
2 0 Unsung
3 1 Accepted
4 2 Known
5 3 Noted
6 4 Good standing
7 5 Liked
8 6 Well-known
Greyhawk City, if you can make it there--you can make it anywhere.

Hanalacious was pleased with her initial reputation, but she had aspirations of greatness. She looked upon those great bards who were her teachers, and she envied the reputations they had built for themselves. Some were popular, some were celebrated, a few were even acclaimed by the citizens of Greyhawk, but Hana wanted to attain a revered reputation for herself.

Index Title
0 Unsung
1 Accepted
2 Known
3 Noted
4 Good standing
5 Liked
6 Well-known
7 Admired
8 Prominent
9 Distinguished
10 Popular
11 Reputable
12 Honored
13 Celebrated
14 Illustrious
15 Eminent
16 Acclaimed
17 Prestigious
18 Famous/Infamous
19 Renowned
20 Revered
I LOVED the system before I went diceless a long time ago. It gave a real sense of accomplishment for completing all of this.

Reaching for a revered reputation would be a long and delicate process for Hanalacious. She would have to watch her every action and word, being careful to avoid entanglements with the law, yet helping those in need. Of course, all this would mean nothing if she didn't also put on frequent performances of her musical talents. Hana made a list of all the things that could both help and hinder her climb to fame on the ladder in Table 24. Among them she included the following:
The name Hanalicious makes me want to make "Erotic Performer" or "Porn Star" for a Bard Kit.

Reaching for a revered reputation would be a long and delicate process for
Hanalacious. She would have to watch her every action and word, being careful to avoid
entanglements with the law, yet helping those in need. Of course, all this would mean
nothing if she didn't also put on frequent performances of her musical talents.
Hana made a list of all the things that could both help and hinder her climb to fame on
the ladder in Table 24. Among them she included the following:
This is a very well-designed system because the fact it forces player characters to perform on a regular basis and keep track of their reputation can either be extremely frustrating or extremely well-rewarding. Knights of the Dinner Table magazine actually did a parody of this system, specifically, with one of the player characters breaking off their adventuring career to become lounge-singers at a series of local inns--with Teflon Billy, Thorina, and El Ravager becoming bouncers. I kid you not.

The DM only got the game back on track through other optional rules.

Last performance was:
within the week +1
over a week ago +0
over a month ago -1
over 3 months ago -2
over 6 months ago -3
over 9 months ago -4
over a year ago -5

Each attempt to publicly influence reactions
that succeeds +2
fails but no reaction adjustment -1
fails and worsens reactions -3

Money spent on local appearance/reputation:
0% of income -2
10% of income +0
25% of income +1
50% of income +2
75% of income +3
90% of income +4
Completed a local adventure +1
Fulfilled a local quest +2
Blamed for a violent crime -2
Convicted of a violent crime -5
DM's option +/-5
The problem I see here is adventures do nothing BUT violent crime. :)

Hanalacious realized that there are two types of reputable performers, both of whom draw large crowds: those who are famous and those who are infamous. The famous person is looked upon as a public hero, upholder of good, and a generally law-abiding citizen. The infamous performer is well known as a courser, a romantic thief who lives above the law and leads a high-paced, romantic life (e.g., Robin Hood).
No, I'm pretty sure that would be a Thief not a bard. Actually, in Robin Hood's case, I'm pretty sure that would be a dual-classed Ranger/Thief. Except, wait, Dual classing sucks. What *IS* Robin Hood?

Of course, Hana decided to walk the path to infamy, realizing that there is a huge gap between an infamous performer and a violent bully, ruthless thug, or evil villain. Again, Hana made a list of those actions that gained a person the reputation of being
infamous as opposed to those that gained a person fame.
Porn Star-Thief-Bard? Hmm. Much be drawn by Jim Ballent.
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Fame Scale:
Calmed a violent situation +2
Made a hostile person look foolish +1
Turned a crowd's mood against evil +3
Prevented a crime from occurring +2
Upheld a good person's reputation +1
Upheld what's right vs. adversaries +1

Infamy Scale:
Blamed for a nonviolent crime +1
Avoided imprisonment +2
Escaped imprisonment +3
Make town watch look foolish +1
Created a political scandal +3
I think they needed more examples for this and should have possibly inserted it into the main book. Also, I'm a little curious about the political scandal bit. Is the bard expected to be holding up a dress with stains on it? This seems a little "off" for a bard.

Maybe they mean singing about Joffrey's parentage.

For a bard trying to become infamous, performing acts on the infamy list improve the chances for building his reputation, while performing acts on the fame scale decrease these chances. The opposite is true for a bard who is attempting to become famous. A bard's reputation is adjusted only in two situations: when he increases in level, and when he puts on a significant public performance (in which case it is checked just as the performance begins).
Like the Paragon and Renegade scores!

Eventually, Hanalacious became infamously acclaimed (16) in Greyhawk City, but she felt stilted by performing for the same crowd over and over gain. What she wanted was a fresh audience; one that had heard of her infamous reputation, but that hadn't been to any of her performances. Thus, she contacted the bard college, known as the Society of the Silver Lute, in the nearby town of Hardby. She had several of the college's members advertise that the Infamous Hanalacious would soon be performing for the public. Two weeks later, Hana arrived in Hardby. She was pleased to note that her reputation had somewhat preceded her. She wasn't acclaimed (16) like she was in Greyhawk City, but she was treated as an illustrious (14) personality. Of course, the distance from her established Greyhawk City base was responsible for the slight decline. Table 24 shows the decline in reputation as a bard moves away from his base, where he has an established reputation.
Obviously, this means globe trotting has its pitfalls for Bards.

The next part of the book is a rather wholly unnecessary bit of padding where it talks about "Bard traits" and choosing them more or less at random. It had a big long list of qualities you could throw into your bard, which seems like someone just needed to fill up some pages. It might work when the DM is trying to create NPCs but not a player.

The next part describes Performances and basically the venues Bards can perform at. There's Street-Side Performances, Inns, Theatres, Carnivals, and Booked Performances. The Carnivals are the best, more or less indicated to be how the BIG TIME performs in this period as if you were a Medieval rocker. Not much to say about this but I enjoyed the acknowledgement people will think less of you (reputation hit) if they see a famous bard performing street-side.

Chapter 9: Comrades

Bards have many comrades throughout their lives. As they climb the ranks of fame toward a great reputation, they rely heavily upon the various bard colleges. These institutions contain fellow performers great and small. Bards meet those who serve as teachers, critics, peers, and friends within the bard colleges.
I liked the Bard's College in Skyrim. It had the silliest quests but, also, the most helpful people for teaching you a wide-variety of skills. Which, when you think about it, is Fridge Brilliance.

A bard who proves to be a good entertainer gains a pool of patrons who go out of their way to attend his performances and occasionally help him out. If a bard survives long enough, he eventually gains devoted followers.
This is a bit like grafting White Wolf's Backgrounds system onto a single class in D&D, isn't it?
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And we're wrapping up now with some of the best for last!

Bard Colleges

Bards often associate with one another, especially those who hold similar views and practice similar forms of entertainment. If such a group becomes established, it is known as a college. Colleges are to bards what guilds are to most other characters. These are places in which skills, philosophies, beliefs, and talents are pooled together. However, colleges are too unique to be given the generic label of "guild."
Not because Bard's Colleges actually TEACH stuff and it's their function to pass along knowledge rather than simply make money--no, it's because they're clique-ish. I bet they have fraternities too.

Membership in most guilds is a permanent matter or at least a long-term one. If a thief joins the local thieves' guild, he is likely going to remain there until something drastic happens. This is not so with bards joining bard colleges.
These boots were made for walking and that's just what they'll do.

Bards float from one college to the next. When they are visiting a particular city or village, they look up the local college and partake in its functions. Then when the bard's mood changes, he parts with that college and proceeds on his merry way. Colleges serve as a form of specialty inn-members come and stay for a while, then move on.
Okay, I call BS on that one.

From one month to the next, the entire membership of a given college can change. As would be expected, this demands that bard colleges be set up in a very loose format. Most colleges have a set of rules posted in some easily accessible location (often just inside the entry way). These rules are amended, repealed, and redrafted as often as membership turnover causes a shift in philosophy.
The NE Bard's Guild is NG the next week! No one can tell when Indiana Jones is leaving so his class is taught by Belloq, instead! Hilarity ensues!

The functions of a college are determined by the current members. Most meetings are called on an informal basis; those who show up partake in the discussion, practice, or seminar. Such meetings can evolve into a regular event (for a short while), fragment into smaller groups, or simply end in lieu of more exciting events.

I'm not sure what this even means.

Common Events
There are numerous events that occur at any college. A few of the most common are
performances, practices, debates, dress rehearsals, collecting dues, seminars, discussions,
gatherings, and general meetings.
Then it goes on to explain what each is.

As a bard's reputation grows, he begins to attract patrons. These people go out of their
way to attend the bard's performances. Some even take up traveling with the bard on
short performing tours. Such devoted patrons often serve the bard as stage hands.
Patrons should not be confused with followers. Patrons are more interested in a bard's
performances than in the bard as an individual. They are caught up with the bard's artistic
talents. Some will travel miles to attend as many performances as possible, others donate
silver and gold to ensure that their favorite performer can support his career. Devoted
patrons love his performances so much that they are willing to help him out in order to
get him on stage more often. Patrons are a valuable commodity to bards and are always
treated with care.
This is my favorite part of the book because it's actual rules for psychotic fans.

Bard's Maximum # of
Level Henchmen Times:
1-4 1
5-9 2
10-14 3
15-19 4
20+ 5
If a bard's reputation ever drops, he must check to see if any of his patrons leave him.
This is done by rolling once for each patron. Any roll above the bard's new reputation
indicates that the patron has lost his infatuation with the bard and is no longer a patron. A
natural roll of 20 indicates that the patron is very upset with the bard and will have
nothing more to do with him.
If you want to add even more detail to your bard's patrons, you can roll on the
following table for each one.
1d20 Type of
Roll Patron Description
1-10 Fan Attends every local performance.
11-12 Diehard Attends every performance within 100 miles
and insists on paying 1d4 times what others
13-14 Booster Attends all local performances and brings 1d6
friends along.
15 Enthusiast Will serve as a stage hand without charge in
exchange for free admittance.
16 Supporter Roll 1d12; in that many months the supporter
will donate 1d10 times the bard's level, in
gold, to the bard.
17 Zealot Zealots follow the bard around to every
performance. Some have been known to
secretly shadow the bard wherever he goes,
even on dangerous quests (from which they
seldom return).
18 Defender Defenders are zealots who have taken it
upon themselves to protect the bard, serving
as body guards.
19 Extremist Extremists attempt to mimic the bard as
much as possible. They dress like him, act
like him, learn his habits, and will even
attempt to steal authentic items from him.
Some extremists even attempt to befriend
the bard's friends and lovers.
20 Fanatic Fanatics are extremists, but if the bard ever
rolls that a fanatic drops from the ranks of
his patrons, the fanatic is 25% likely to
attempt to assassinate the bard.
19-20 are, of course, the ones my players loved inflicting on us.

As stated in the Player's Handbook, the True Bard can attract 10d6 0-level soldiers at
the 9th level, if he builds a stronghold. These followers arrive over a period of time and
are not automatically replaced if lost in battle.
The above information is correct for the True Bard. Of the other kits, only the Skald
and some Heralds receive such followers. The other kits receive followers as indicated
Some good stuff here.

Kit Followers

True 10d6 0-level warriors
A.K.A useless cannon-fodder save for manning your walls.

Blade 3d6 (use Table 31 in the PHB)
3d6 WHAT? Warriors? Rogues?

Charlatan 1d6 1st-level Charlatans
Con-men should never work as a team. It opens...ideas.

Gallant 3d4 0-level warriors and 1 3rd-level squire
I do like the fact your squire has levels.

Gypsy-bard(1) 3d6 gypsies (50% thieves, 20% fighters, 20% fighter/thieves, 5%
thief/mages, 4% thief/mages and 1% special {fighter/mage/thief,
ranger, bard, druid, bear, etc.})
There's something....shifty....about the Gypsy-Bard's followers.

Herald(2) 10d6 0-level warriors or 1d4 2nd-level warriors and 1d6 3rd-level
Your own little intelligence agency!

Jester No followers
Oh come on! How about 1d6 Thesbian Bards and a trained monkey?

Jongleur 3d6 (use Table 31 in the PHB)
The illusive Table 31.

Loremaster(3) 1d6 1st-level wizards
I like to think these guys are studying with the Loremaster because he's cheap.

Meistersinger(4) Up to 3 animal companions
The Beastmaster!

Riddlemaster No followers
I disagree. It should be 1d4 members of the Riddlemaster's preferred gender in costumes covered in question marks.

Skald 10d6 0-level warriors
I'd say 2d6 3rd level fighters or barbarians.

Thespian(4) 2d12 0-level actors
Who the Thesbian will use for crowd control!

1. To attract these followers, a 9th-level (or higher) Gypsy-bard must first purchase a wagon and two carts.
So we can be MORE stereotypical.

2. A Herald has two options. If he decides to build a stronghold of his own, he attracts
10d6 0-level warriors. However, if the herald is serving a lord as his agent, the lord
donates a section of his fortress to the herald, along with 1d4 2nd-level warriors and 1d6
3rd-level thieves.
3. Loremasters do not build typical strongholds. Instead, they acquire a tower in the
corner of some nobleman's keep, or a house in the scholarly quarter of town.
4. Meistersingers do not build typical strongholds. They construct a number of hidden
cottages instead.
5. These actors do not have a class and do not gain levels. They pay for all of their
own expenses and bring in an additional 1d6 gold each per month for the thespian.
No real problem with these.

There's some rules for the original 1E Bard but that's it.


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Five Eyes

Pirate basketball team
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Table 31 is, of course, the table for Thief followers.

The Illusive table gets you Shepard and a handful of misfit NPCs.


Shadow Mage
Validated User
Rules Information

Case of Compression: When empty, this musical instrument case appears as any other such case. However, when touched to any instrument normally carried in a case, it transforms so that it perfectly fits the instrument. When the case is closed with the instrument inside, it shrinks until it easily fits in the palm of the hand. The reduced case weighs only a pound. When the case is opened, it returns itself and its instrument to full size.
It's a pokeball for instruments!

"Pikalute, I choose you!"
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