The Quintessential Bard II: Advanced Tactics

The Quintessential Bard

Author	Alejandro Melchor
Series	The Quintessential Series
Publisher	Mongoose Publishing
Publish date	2004
Pages	128
ISBN	1-904854-37-0
OGL Section 15	qbrdii
Content Puller	{$content}

The material below is designated as Open Game Content

Power Performances

There is no other class except the bard that touches upon the magic nature of art. Being the generalists they are, most bards only scratch the surface of the amazing power to be found in the seeds and fruits of the human imagination. Those who devote their energies towards the exploration of this aspect of their talent discover that it is not only music and song that can affect the world when played with a wilful mind, and that inspiration and manipulation are not by far the only effects that art can power.

Power performance is a category of the bardic music ability, although many of the mystic arts do not qualify as ‘music’ at all. With power performances, the bard is able to explore different expressions of his artistic might, not only channelling encouragement and morale through music, but other sort of emotions through other art forms.

There are two categories of power performance: styles focus on music and poetics to cause different emotions, and art forms are powers derived from other performing arts such as acting, dance, puppetry and ventriloquism, acrobatics and even prestidigitation.

Learning a Power Performance

Bards have the knack of learning several different disciplines, their restless hearts ever exploring new things to try – and often subsequently discard. That they should be able to branch out in their artistic talent is almost expected of them, so they have a variety of methods to learn a new power performance.

Some power performances have additional prerequisites that a bard must meet in order to learn them, in addition to any normal requirement depending on the learning method chosen.

Starting Performance: Songs of Inspiration (see below) is the default performance that bards learn
upon character creation, which includes the normal abilities of inspire courage, inspire competence and so forth. Upon character creation, the bard may choose to practise another power performance, replacing Songs of Inspiration with his new choice.

Parallel Performance: The bard’s artistic power resides in his soul, and the Perform skill is only a channel for it. The bard assigns a new power performance to each of the performing art skills he knows. He gains automatic access to the performance’s abilities as soon as he meets the level and skill rank prerequisites, spending skill points to develop all skills on their own.

Concurrent Performance I: The bard can make the effort to learn different power performances and tie them up to the same performing skill. To do this, he learns the new Power Performance feat (see below) and gains access to the new abilities using the same skill ranks as the performance he learned at character creation. He chooses the feat again for additional power performances. If the performance depends on a different skill other than Perform, its ranks should be purchased separately.

Concurrent Performance II: Bards are limited in character feats to expand their abilities and may not want to waste a feat choice on an ability they should be able to develop naturally. With the Games Master’s permission, a player may spend experience points to acquire a new power performance. The price for this 500 XP multiplied by the character’s level, and the character can only learn one power performance per level. After paying this price, it is as if the character had gained access to the performance through the feat.

Power Performance (General)
You have learned a power performance.
Prerequisites: Bard 1st level, related skill.
Benefit: By taking this feat, you gain access to the abilities listed under a power performance. The feat’s name is the power performance’s name, and the related skill in the prerequisite is the skill used to gain access to the power performance’s abilities.

Using a Power Performance

Once he has access to an ability in a power performance tree, the bard can use it freely by spending one daily use of bardic music. Some abilities may require a skill check at a set DC or more than one use of bardic ability, but this is the exception more than the rule and it will be noted in the ability’s description.

Access and Stages: The abilities of each power performance are organised in stages. Regardless of the characteristics of each power performance, they all grant access to their abilities through different stages. To gain access to a stage, the character must meet its prerequisites both in class level and skill ranks. The class level usually refers to bard levels only, but some prestige classes or alternative core classes grant an equivalent to bardic music ability. As a general rule, any class that adds its levels to the number of times the character uses his bardic music ability can be considered, with the Games Master’s permission, to count towards meeting the prerequisite of a stage. The skill rank prerequisite is more selective, requiring a minimum amount of ranks in the skill related to the power performance. In most cases this will be an undefined Perform skill, but some power performances have very specific prerequisites such as Perform (dance) or Perform (acting). The players or Games Master can create new power performances based on any performing skill or even on Tumble and Sleight of Hand. Each power performance will state which skill it requires to meet the stage’s prerequisites. Once the bard gains access to a power performance, he gains the abilities of all the stages for which he meets the prerequisites in both level and ranks in the appropriate skill.

Power Performance Stages

Stage	Level Prerequisite	Skill rank prerequisite
1st	1st	3
2nd	3rd	6
3rd	6th	9
4th	9th	12
5th	12th	15
6th	15th	18
7th	18th	21

Saving Against a Performance: The standard save DC against a bard’s power performance ability is ten plus half the character’s level plus his Charisma modifier. Some abilities may have a set DC, in which case the ability’s description will state so.

Duration: A power performance ability lasts for as long as the character keeps performing it, which requires a standard action spent in concentration and performance (singing, acting, dancing and suchlike.). Most abilities maintain their effects for five rounds after the character stops performing, in which case the description will state it. When a duration is not specified, assume that the effect lasts for as long as the character concentrates on it and performs it.

Using Scores
If you are using the rules for writing magical scores as detailed in the Tricks of the Trade chapter, the abilities in a power performance can be codified into such a magical item. Simply treat them like any other bardic music ability and follow the instructions. A bard may justify learning a new power performance by stumbling across a magical score detailing its use.

Styles

Styles are just a slight variation on focus rather than whole reinterpretations of the bard’s artistic power. The styles are still musical or poetical in nature, requiring the bard to use his voice, and instrument or a combination of both and therefore not such a great intuitive leap. Styles can be performed with any music- or poetics-related skill so it does not matter whether a bard is a singer, a lute player or an orator; he can use his talent to activate all the abilities of the power performance style.

Songs of Inspiration

Skill: Any sound-dependant Perform skill.
Abilities: 1st stage – countersong (Su), fascinate (Sp), inspire courage (Su); 2nd stage – inspire competence (Su); 3rd stage – suggestion (Sp); 4th stage – inspire greatness (Su); 5th stage – song of freedom (Sp); 6th stage – inspire heroics (Su); 7th stage – mass suggestion (Sp).

This is the standard power performance that all bards learn if they do not take special steps towards learning another one. It uses the power of voice and music to inspire hearts to greater heights by bolstering their morale through supernatural means. As such, most of its abilities are sonic, mind-affecting and language dependant. The abilities of this power performance are fully described in SRD.

Dirges

Skill: Any sound-dependant Perform skill.
Abilities: 1st stage – verses of life (Su), verses of death (Su), requiem (Su); 2nd stage – voice from the crypt (Sp); 3rd stage – mourning (Su); 4th stage – song of life (Sp); 5th stage – song of return; 6th stage – funeral (Su); 7th stage – reaper’s rhyme (Sp).

This power performance was developed from traditions of haunting dirges and funereal mourning chants. These ‘songs for the dead’ are a collection of requiems and laments that sound eerie and melancholic to most listeners, but which resonate strongly with undead beings.

1st Stage – Verses of Life (Su): The bard can recite verses that remind allies about what it means to truly be alive in the face of death. He can use his music or poetics to counter supernatural and spell-like abilities used by undead creatures, although it does not affect normal spells cast by undead spellcasters. He makes a Perform check every round that he has this ability active. All living creatures within 30 feet of the bard, including himself, that are affected by any supernatural or spelllike abilities from undead creatures may use the bard’s Perform check in place of their own saving throw if the Perform check proves to be higher. If a creature within range of the verses of life is already under the effect if a continuous ability (such as a dominate person spell-like ability), it gains another saving throw against the effect each round it hears the music, using the bard’s Perform check result for its save. The verses of life have no effect against effects that don’t allow saves. The verses of life last for up to ten rounds per use of bardic music spent.

1st Stage – Verses of Death (Su): The bard’s music is capable of touching the corrupt souls of the undead, entrancing them with its morbid melody. The bard can affect one undead creature, plus one additional undead creature for every two bard levels, but all targeted creatures must be within 90 feet and able to see, hear and pay attention to the bard. The bard must also be able to see the creatures. Mindless undead do not make a saving throw to resist, but intelligent undead can make a Will save at the standard DC to avoid the music’s effect. Affected creatures stop their movement to listen to the bard’s performance, taking no other actions for as long as the bard continues to play and concentrate (up to a maximum of one round per bard level). While listening to the verses, a target takes a –4 penalty on skill checks made as reactions, such as Listen and Spot checks. Any potential threat allows the creature a new saving throw, while any obvious threat (such as someone drawing a weapon, casting a spell or aiming a ranged weapon at the target) automatically breaks the effect.

1st Stage – Requiem (Su): The bard’s song speaks of the rest that awaits beyond death, reminding restless dead that they should not be walking the world. This ability works exactly like a cleric’s turn undead, except that the bard makes a Perform check instead of a Charisma check using the following table.

Perform Check Result	Most Powerful Undead Affected (Maximum Hit Dice)
6 or lower	Bard’s level –4
7–9	Bard’s level –3
10–12	Bard’s level –2
13–15	Bard’s level –1
16–18	Bard’s level
19–21	Bard’s level + 1
22–24	Bard’s level + 2
25–27	Bard’s level + 3
28–30	Bard’s level + 4

The turning damage for requiem is 2d6 + half the character’s level + Charisma modifier. At every fourth level, the bard also gains an additional +1 bonus to the damage check.

2nd Stage – Voice from the Crypt (Sp): The bard’s voice sound as if it is coming from deep beyond the mortal coil; this resonance compels undead to follow the bard’s command. The bard can target one undead creature that is within 60 feet and affect it as if by the suggestion spell, ignoring the usual immunity to mind-affecting spells possessed by undead. Mindless undead do not get a saving throw but can only comply with the simplest commands. Intelligent undead get a saving throw and can follow more complex suggestions. For every stage in Songs for the Dead that the bard reaches after the second, he can affect one additional creature with the same use of bardic music.

3rd Stage – Mourning (Su): The bard’s music brings solace to the living against the forces of death. The bard targets one ally with his music; the target must be within 60 feet and able to see, hear and pay attention to the bard. The bard must also be able to see the target. Affected allies gain a +4 bonus to all saves against death effects as well as against any other effect that uses negative energy or imposes negative levels. This protection stops the moment the bard stops singing. For every stage in Songs for the Dead that the bard reaches after the third, he can affect one additional creature with the same use of bardic music.

4th Stage – Song of Life (Sp): The bard’s mastery over uplifting music reaches a point where it can start countering the malicious effects that negative energy has on living beings. With one use of bardic music and a full round of singing within 60 feet of a single target, the bard can remove two negative levels or restore 1d4 ability points lost to the attack of an undead creature. The effect is instantaneous and the bard does not need to concentrate on it after the healing takes effect. For every stage in Songs for the Dead that the bard reaches after the fourth, he can affect one additional creature with the same use of bardic music, but no creature can be more than 20 feet away from another, nor more than 60 feet away from the bard.

5th Stage – Song of Return (Sp): At this point in his career, the bard understands the powers of life and death to such an extent that he can part the veils separating the worlds of life and death, reaching out for the soul of a creature who has perished. The bard can use this ability only once per day, and it costs him one use of bardic music per round that he sings. He touches a creature that must have not died more than one day earlier per Charisma modifier and must be physically whole – the corpse may have suffered injuries but it must not have lost limbs or only be partial remains. As he sings, his voice calls the soul back to its body. The song infuses the target’s body with negative energy to open the gateways of death, imposing a number of negative levels equal to the target’s original levels and/or Hit Dice. Each round that the character sings, he removes one of these negative levels. When the character stops or all the negative levels are removed, the target awakens with full hit points. All ability score damage, poisons and diseases remain. If the bard stops his song before all negative levels are removed, the target must make a Fortitude save (DC 15) to remove each of the remaining ones at the end of the day. These levels cannot be removed either by the restoration spell or the mourning ability, only by the greater restoration or more powerful spells.

6th Stage – Funeral (Sp): By singing the dirges and elegies for an undead creature, the bard can force it closer to the eternal rest of true death. The bard spends a single use of bardic music and focuses on a single target within 60 feet, which must be able to see and hear the bard and vice versa. The character makes a Perform check (DC 10 + the creature’s Fortitude or Will save bonus) and, if successful, surrounds the targeted creature with a nimbus of positive energy to impose 1d4 positive levels on undead targets. If the creature has at least as many positive levels as HD, it crumbles to dust, and its soul (or remnants of one) is free to pass on. Each positive level gives deals 5 points of damage and gives an undead creature a –1 penalty on attack rolls, saving throws, skill checks, ability checks, and effective level (for determining the power, duration, DC and other details of spells or special abilities). Additionally, an undead spellcaster loses one spell or spell slot from his or her highest available level. Positive levels stack. Assuming the subject survives, it loses its positive levels after a number of hours equal to the character’s bard level (maximum 15 hours). A living creature targeted by the nimbus instead gains 1d4x5 temporary hit points for one hour.

7th Stage – Reaper’s Rhyme (Sp): The pinnacle of the Songs for the Dead grants the bard the ability to echo the music of final rest, calling upon the Grim Reaper to collect the stranded life-forces of the undead and take them to their final rest. The bard must spend two uses of his bardic music ability to activate the reaper’s rhyme, forcing all creatures with the undead type within 60 feet of the bard to make a Will save or have their corrupted souls taken away. Success still imposes a number of positive levels on all undead creatures equal to the character’s Charisma modifier, which may still destroy weaker undead. Incorporeal undead are fully affected and become corporeal for a number of rounds
equal to the bard’s class level. All undead who fail their saves suffer a number of positive levels equal to
half the character’s bard level. Survivors of this attack continue to gain one positive level every round that they remain within 60 feet of the bard and he continues to play, until they leave or are destroyed. Liches and other undead who normally reform after apparent destruction are allowed another Will save to resist their final demise but, if they fail, their souls are forced to the other side to receive their final judgement, never to return to their accursed shape.

Rhythm of the Heart

Skill: Perform (percussion)
Abilities: 1st stage – life’s pulse (Su), rhythmic trance (Sp), set the beat (Su); 2nd stage – rhythm of life (Sp); 3rd stage – slow (Sp); 4th – fever beat (Su); 5th – beat of the warrior (Su); 6th stage – healing rhythm (Su); 7th stage – mass slow (Sp).

Amongst tribal people, many ancient traditions are inextricably tied up with the rhythmic music of the
drum. Without the drum, there can be no gathering of elders to make decisions. Without the drum, there can be no celebration of friendship or community, no ‘honour’ songs paying tribute to bygone leaders, and no sacred dance rituals at the change of seasons. Without the drum, there is no heartbeat. This heartbeat rhythm monitors the health of the tribe and protects its members.

1st Stage – Life’s Pulse (Su): This is a simple rhythm on the drum that can both emulate and stimulate the hearts of the bard’s allies. In fact this rhythm can be used to counter the effects of life force and lifeblood slipping away to serious wounds. Each round that the bard is performing the life’s pulse rhythm, he makes a Perform check against DC 15 for each ally within 60 ft. that is at negative hit points and is losing hit points. If the check is successful, the ally immediately stabilises as if through the first aid use of the Heal skill. The bard may keep up the life’s pulse for ten rounds.

1st Stage – Rhythmic Trance (Sp): The rhythmic beat of the bard’s drum can have a calming, meditative effect on creatures. This beat can cause one of more creatures to enter a trance. Each creature to be affected must be within 90 ft. of the bard and able to hear the rhythm of the drum. The bard must also be able to see the creature. The distraction of nearby combat or other dangers prevents the rhythmic beat from affecting the creature. For every three levels beyond 1st the bard may affect one additional creature (two at 4th, three at 7th and so on). To use this ability, the bard makes a Perform check, the check result becoming the DC for each affected creature’s Will Save. If a creature’s saving throw succeeds, the bard cannot attempt to entrance the creature again for 24 hours. If the saving throw fails, the creature becomes entranced by the rhythm. While entranced the creature has a –1 penalty to Armour Class, a –5 ft. penalty to movement and –2 penalty to initiative. This effect lasts for as long as the bard performs to a maximum of one round per level.

1st Stage – Set the Beat (Su): The bard playing this rhythm can set a tempo for himself and his allies. Any ally within 30 ft. of the bard who can hear him count out the tempo is bolster to maintain the tempo indicated. An affected ally gains a +5 ft. morale bonus to speed and a +1 bonus on initiative checks. At 8th level and every sixth level beyond, the allies gain an additional +5 ft. movement and +1 on initiative. This is a mind-affecting ability.

2nd Stage – Rhythm of Life (Sp): Besides stimulating the hearts of allies the rhythm of the bard can be used to resonate with each of his allies biorhythms. Any ally who is within 60 ft. of the bard, can be seen by the bard and is able to hear the rhythm can be affected by this ability. Those allies affected are treated as though the bard is performing a deathwatch as per the spell. This allows the bard to closely monitor the health of his comrades and help co-ordinate aid as necessary. This ability lasts as long as the bard concentrates plus five rounds.

3rd Stage – Slow (Sp): A bard performing at this level of skill is able to slow one creature that has fallen under his rhythmic trance. Using this ability does not break the bard’s concentration on the rhythmic trance effect. Slowing a creature does not count toward the bard’s daily limit of performances. A Will saving throw (DC 10 + ½ bard level + Cha modifier) negates the affect. This ability will last as long as the rhythmic trance is maintained. This ability only affects a single creature at a time.

4th Stage – Fever Beat (Su): The heart is a powerful organ that not only circulates nutrients and oxygen but also carries within it powerful agents to combat poison and disease. A fever beat is a fast moving rhythm that helps the bard or an ally strengthen these preventive agents as long as the they are within 30 ft. of the bard. The rhythm bolsters the ally’s resolve to survive and adds a +4 morale bonus to saving throws made to resist poison or disease. This rhythm can be performed up to a maximum of five minutes. This is a mind-affecting ability.

5th Stage – Beat of the Warrior (Su): A warrior intent on protecting his friends and loved ones is driven by the power of emotions to heights of fury and determination. The beat of the warrior taps into this primal instinct of protection and allows the warrior draw on hidden reserves of strength to protect his friends. One ally can be affected by this ability provided that he is within 30 ft. of the bard and can hear the rhythm clearly. This bardic rhythm provides a morale bonus to attack and damage on any creature threatens another ally which increases as the rhythm moves forward. In the first round the bonus is +1, in the second round it is +3, in the third round it is +5 and so on. This rhythm can be maintained for a number of rounds equal to ½ the bard’s level. At the end of the rhythm both the ally and bard are fatigued from the intensity of the beat for one minute.

6th Stage – Healing Rhythm (Su): Sometimes the body can be gently relaxed into a rhythmic biofeedback that speeds their recovery from injury. This ability can only affect a person once per day, as the body cannot be coerced to strain its inner reserves further. Performing this rhythm takes two minutes, with any interruptions disrupting the performance. At the end of the rhythm the bard and any allies within 30 ft. who can hear the bard’s performance are healed a number of hit points equal to their level plus the bard’s Charisma modifier, and up to two points of ability damage.

7th Stage – Mass Slow (Sp): This ability functions as the slow ability, except that the bard can make the slow simultaneously to any number of creatures that he has already entranced. This is a mind-affecting ability.

Songs of Despair

Skill: Any sound-dependant Perform skill.
Abilities: 1st stage – weaken resolve (Su), torment (Sp), instil dread (Su); 2nd stage – distraction (Su); 3rd stage – confusion (Sp); 4th stage – inferiority (Su); 5th stage – madness (Sp); 6th stage – inspire ruin (Su); 7th stage – bedlam (Su).

The stereotypical bard is a happy-go-lucky individual that lifts the spirit with his song and helps his allies with well-timed magical support. Not all bards feel so inclined. Some nurse burning hatred in their hearts rather than uplifting inspiration, their music oozing negativity and despair. Rather than helping others, the songs of such bards are focused on spreading gloom, despair and madness.

1st Stage – Weaken Resolve (Su): By spending one use of bardic music, a bard can sing or recite tales of woe that describe all of the many horrible fates that will befall listeners without them able to do anything about it. Every round the character makes a Perform check, and all opponents (or all creatures, depending on the bard’s intentions) within 60 feet must make a Will save with the Perform check result acting as the DC. Those who fail become assailed with self-doubt, and suffer a –2 penalty to all saving throws while wihin 60 feet and the bard continues singing. The bard may spend an additional use of bardic music to force a creature within the area to re-roll a successful saving throw in hopes that it will fail the second time, but may only do this once per round.

1st Stage – Torment (Su): By spending one use of bardic music, the bard can devote his attention to awaken the pain and suffering in a single target that only music can evoke. The creature to be tormented must be within 90 feet, able to see and hear the bard, and able to pay attention to him. The bard must also be able to see the creature, and any threat of imminent danger against a target prevents the ability from working. For every stage a bard reaches beyond 1st he can target one additional creature with a single use of this ability. To use the ability, a bard makes a Perform check, with the result
becoming the DC for each affected creature’s Will save against the effect. If a creature’s saving throw succeeds, the bard cannot attempt to torment it again for 24 hours.

If its saving throw fails, the creature begins agonising over his past mistakes and faults, doubting his abilities and power. Affected targets must make Concentration checks to cast spells or use abilities (DC 15 + spell level, or DC equal to ability’s save DC +5). Affected targets must also make Concentration checks in order to use feats (DC 15) and to move at more than half speed (DC 12). The targets remain affected for as long as the bard continues to perform and concentrate, up to a maximum of one round per bard level.

1st Stage – Instil Dread (Su): The bard can fill the hearts of his enemies with an unknowable dread with words of death and loss. To be affected, a target must be able to hear the bard sing. The effect lasts for as long as the target hears the bard sing and for five rounds thereafter. An affected creature suffers a –1 morale penalty on saving throws against charm and fear effects and a –1 morale penalty on attack and weapon damage rolls. At 8th level, and every six bard levels thereafter, this penalty increases by one (–2 at 8th, –3 at 14th, and –4 at 20th).

2nd Stage – Distraction (Su): The bard’s music is far from soothing and relaxing; instead, it becomes increasingly distracting. The effect extends for 60 feet around him and affects everyone inside, friends and foes alike. Targets must be able to hear the bard and be able to pay attention to him. All creatures in the area must make a Will save against the standard DC to avoid being affected. Creatures who save successfully cannot be distracted by the bard in this way for 24 hours. Creatures that fail their save find it very hard to focus and concentrate on what they are doing. All Concentration checks automatically fail, and all other skill checks suffer a –2 circumstance penalty. During his performance and as a free action, the bard can spend an additional bardic music use to force one affected creature to re-roll a successful attack roll. The targets remain affected for as long as the bard continues to perform and concentrate and five rounds after he stops.

3rd Stage – Confusion (Sp): The bard can sing maddening verses to the ear of a single victim he is already tormenting with his bardic music ability. The chosen victim makes another Will save against the standard DC, with failure meaning that the victim is affected by a confusion spell as if cast by a sorcerer of the character’s bard level.

4th Stage – Inferiority (Su): Most bards know songs and epics that uplift the spirit of those that hear them, pushing them to strive for greater glory. A bard who knows the Songs of Despair can do exactly the opposite; he can convince others of their worthlessness, singing songs of great deeds not to serve as an example, but as an unfavourable comparison. The bard can demean a single target within 30 feet, stripping him of his morale to diminish his fighting prowess. For every stage the bard reaches beyond the 4th, he can target one additional target with a single use of this ability (two at 5th stage, three at 6th, four at 7th). To impose inferiority, a bard must sing and the target must hear him sing. The effect lasts for as long as the target hears the bard sing and for five rounds thereafter. The target must make a Will save against the standard DC or be demeaned by a sense of utter inferiority. A creature demeaned with this ability suffers 12 points of nonlethal damage that vanish when the effect ends, but count towards incapacitating the target; the target also suffers a –2 competence penalty on attack and damage rolls and a –1 competence penalty on Fortitude saves.

5th Stage – Madness (Sp): The bard’s ability to induce conflicting emotions grows to frightening levels. The bard can affect all opponents (or all creatures if he so desires) within 30 feet; the targets must be able to hear him as well as to understand him, and he must be able to see them in return. The character must make a Perform check every round, with his result becoming the DC of the target’s Will save. Success in the save is not a guarantee of safety, for the creatures must save every round they are inside the bard’s range. Failure means that the target hears all sort of obscene incantations in his mind and he suffers one point of Wisdom damage. The damage increases every round that the target fails to save, with the damage in Wisdom equal to the number of times the target has failed a save, so that in the second failure he suffers two points of damage, and the third time he suffers three for a total of six points of damage in three rounds. The damage need not be consecutive. In addition, every round that the target suffers Wisdom damage, he is affected by a confusion effect for that round only. If any target is reduced to 0 Wisdom at any point, it becomes insane and falls to the ground, babbling and useless.

6th Stage – Inspire Ruin (Su): The bard relishes in spreading ruin in the minds of his targets, painting such vivid pictures of misery that they cannot help but lose all hope that they will succeed. He can target a single creature within 30 feet. For every stage the character reaches beyond 6th, he can inspire ruin in one additional creature. To inspire ruin, a bard must sing and the target must hear him for a full round. A creature so discouraged suffers a –4 morale penalty on saving throws and a –4 penalty to AC. The effect lasts for as long as the target hears the bard sing and for up to five rounds thereafter.

7th Stage – Bedlam (Su): The amount of damage that the Songs of Despair can unleash is evident with its 7th stage ability. The bard must first use the torment ability before using bedlam. All creatures currently affected by torment are victims of the music’s maddening influence when the bard activates this ability. In addition to the torment penalties, they suffer the confusion effect and, due to their mad thrashing about, are denied their Dexterity bonus to AC.

Songs of the Wild

Skill: Any sound-dependant Perform skill.
Abilities: 1st stage – calm animals (Sp), counter fey (Su), gentle music +3 (Su); 2nd stage – song of friendship (Su); 3rd level – charm animal; 4th stage – song of capture (Sp); 5th stage – song of fury (Su); 6th stage – song of the protector (Su); 7th stage – mass charm animal (Sp)

To some bards, the roar of the crowd is not as pleasing as the gentle songs of the natural world. Some can even mimic such wild music in an attempt to encourage the world to be more responsive to him. The natural world offers the greatest tapestry of sounds and the bard who comes to understand the songs of the wild seeks only to enrich that fabric.

1st Stage – Calm Animals (Sp): The lyrical sound of birdsong has a soothing affect on all animals that hear the bard. Each creature to be calmed must be within 90 ft. of the bard and able to see and hear him. The bard must also be able to see the animals to be calmed. The bard may affect one animal whose HD does not exceed his level by more than his Charisma modifier. The affected animal remains where it is and does not flee or attack. It is not helpless and will defend itself if attacked. Any threat will break the effect immediately. For every three levels a bard attains beyond 1st, he can target one additional creature with a single use of the ability (two at 4th, three at 7th and so on). The effect lasts for as long as the bard continues to perform plus five rounds.

1st Stage - Counter Fey (Su): The music of the bard is so beautiful that it can overcome and negate any supernatural or spell-abilities within 30 ft. that is possessed by fey due to their magical nature, unnatural beauty, or artistic mastery. The bard makes a Perform check each round and this value can be used as a saving throw against the abilities of the fey by the bard and his allies. This ability can be sustained through concentration for a maximum of one round per level.

1st Stage – Gentle Music (Su): With a few quiet words and gentle music, a bard can make the animals within 60 ft. more responsive to him or one of his allies. The animals and the ally must be able to hear the bard’s performance. When the bard is using this ability the bard or his ally gains a +3 morale bonus to all handle animal and ride checks. This benefit lasts as long as the bard is able to continue performing. At 8th level this bonus increases to +6, and increases by an additional +3 for every six levels beyond 8th.

2nd Stage – Song of Friendship (Su): A bard performing the song of friendship attempts to make an animal have a more favourable attitude toward him. The bard makes a Perform check to affect the animal’s attitude just like a Diplomacy check made to improve the attitude of a person. This is a mind-affecting ability

3rd Stage – Charm Animal (Sp): A bard is able to use charm animal as per the spell on any animal that has previously fallen victim to the bard’s calm animal ability. Using this ability does not break the bard’s concentration on the calm animal ability. Attempting to charm animal does not count toward the bard’s daily uses of bardic music. A Will saving throw (DC 10 + ½ bard’s level + cha modifier) negates this affect. This ability only affects a single creature. This ability is a mind-affecting ability.

4th Stage – Song of Capture (Sp): This song of the bard does not reach out to the beating heart and wild emotions of the animal world, but instead to the tangled roots and gnarled bark of the plant kingdom. Through the gentle coercion of this song, plants with 120 ft. of the bard are encouraged to entangle opponents as per the spell. This effect will last for as long as the bard performs plus five rounds. The Reflex save DC to resist this effect is 10 + ½ bard level + Cha modifier.

5th Stage – Song of Fury (Su): This ability works exactly like the inspire greatness ability that is normally
possessed by bards except that it only affects animals and initial the bard can inspire greatness in two animals plus one additional animal every three levels. This is a mind-affecting ability.

6th Stage – Song of the Protector (Su): While the bard is playing this song, lasting a maximum of one round per level, the bard and all animal allies within 30ft. gain a +3 morale bonus to Armour Class, Fortitude saves and Will saves. This song is an inspirational tune that lets the animals know that no harm will come to them. This is a mind affecting ability.

7th Stage – Mass Charm Animal (Sp): This ability functions like the charm animal ability previously discussed however the bard may now affect all opponents that have fallen victim to the intimidating display. Mass charm animal is a mind-affecting ability.

Art Forms

Art forms differ greatly from styles in that they are not the ‘standard’ way that bards channel their inspiration and skill. Like their name says, art forms are expressions of the same talent that powers music abilities, given alternate forms through alternate arts that are no less inspiring and influential for the difference in their performance.

Blinding Blade

Skill: Perform (weapon display)
Abilities: 1st stage – counter form (Su), intimidating display (Sp), instructive display (Su); 2nd stage – disarming display (Su); 3rd stage – terrifying display (Sp); 4th stage – blinding display (Su); 5th stage – graceful display (Sp); 6th stage – rhythmic display (Su); 7th stage – mass terrifying display (Sp)

A weapon can be as beautiful as any music instrument with it movements fluid and precise. The blade master is an artist in the deadliest yet most beautiful manner, becoming one with their blade in a personal expression of skill. This performance alternative helps the bard gain insights into combat strategies that can be used to hamper opponents and strengthen allies.

1st Stage – Counter Form (Su): A bard can use his weapon display to hamper the combat effectiveness of opponents he threatens. Creatures threatened by the bard must make a Will save against the DC 10 + ½ class level + Cha modifier. If the save fails then the creature will be unable to make attacks of opportunity or cleave on any opponent while the display is being maintained and they are threatened by the bard. The bard also gains an additional +2 dodge bonus to AC when fighting defensively or with the total defence action while he is using the counter form ability. The bard may keep up a counter form for ten rounds.

1st Stage – Intimidating Display (Sp): A bard skilled in the intimidating display can cause one or more creatures to be intimidated by him. Each creature to be intimidated must be within 30 ft., and able to see the bard and pay attention to him. This ability works even if the creature is engaged in combat. For every three levels a bard attains beyond 1st, he can target one additional creature with a single use of the ability (two at 4th, three at 7th and so on). To use the ability, a bard makes a Perform (weapon display) check with the result as the DC for the affected creature’s Will save against the effect. If the creature’s saving throw succeeds, the bard cannot attempt to intimidate the creature again for 24 hours. If the saving throw fails, the creature begins to question its own prowess when compared to the skill demonstrated. The demoralized creature takes a –2 penalty to attack rolls, ability checks, and saving throws as long as the bard performs this display (maximum 1 round per bard level). Intimating display is a mind-affecting ability

1st Stage – Instructive Display (Su): A bard can use this display to instruct his allies to better defend themselves from injury. To be affected, the ally must be able to hear the bard’s instruction and the whirling of his blade. The effect lasts as long as the bard continues with the display and for 5 rounds afterwards. Both the bard and the affected ally receive a +1 morale bonus to all Reflex saves to avoid damage and a +1 competence bonus to their AC. At 8th level and every six levels thereafter this bonus increases by +1. (+2 at 8th, +3 at 14, +4 at 20th). Instructive Display is a mind-affecting ability.

2nd Stage – Disarming Display (Su): The speed and fluidity of the bard can inspire an ally to disarm an opponent. The ally must be within 30 ft. of the bard and be able to see and hear him. The bard must be able to see the ally in order to give him a quick demonstration that will allow him to disarm his opponent. Both the bard and the ally gain a +2 bonus to any attempts at disarming any opponent and do not draw an attack of opportunity doing so. This benefit lasts for five rounds.

3rd Stage – Terrifying Display (Sp): A bard is able to scare, as per the spell, any creature that has previously fallen victim to the intimidating display. Using this ability does not break the bard’s concentration on the intimidating display. Attempting to scare an opponent does not count toward the bard’s daily uses of bardic music. A Will saving throw (DC 10 + ½ bard’s level + Cha modifier) negates this affect. This ability only affects a single creature, and is a mind-affecting ability.

4th Stage – Blinding Display (Su): A bard can spin his blade so fast that an opponent is unable to detect the blade at all. The target creature must be able to see the bard for this ability to have any effect. The bard makes a perform check each round and the result become the DC against which the opponent must make a Will save. If the opponent fails the bard can make one attack, for which the opponent is considered blinded for the purpose of defending against it. The bard may continue the blinding display for one round per level. This is a mind-affecting ability.

5th Stage – Graceful Display (Sp): When the bard begins his weapon display he is grace personified to his allies. A single willing ally with 30 ft. who can see the bard gains the benefit of cat’s grace as per the spell. This benefit lasts as long as the bard concentrates on his graceful display plus five rounds.

6th Stage - Rhythmic Display (Su): The bard counts off a rhythm as he enters this display form. One ally within 30 ft. of the bard who can see his display and hear the rhythm gains a +1 morale bonus to attack and damage rolls against his opponents. This bonus increase by +1 for every two rounds as the tempo of the rhythm increases. (+1 for rounds one and two, +2 for rounds three and four, and so on). The bard can maintain the rhythm for one round per level. This is a mind-affecting ability.

7th Stage – Mass Terrifying Display (Sp): This ability functions like the terrifying display ability, except that the bard may now affect all opponents that have fallen victim to the intimidating display. Mass terrifying display is a mind-affecting ability.

Idle Hands

Skill: Perform (juggling) or Sleight of Hand
Abilities: 1st stage – juggling jumble (Su); dazzle (Sp), deflective juggle (Su); 2nd stage – juggling distraction (Su); 3rd stage – blindness (Sp); 4th stage – juggling disruption; 5th – juggling concealment; 6th stage – deflective juggling II; 7th stage – mass blindness (Sp)

Juggling is an ancient form of physical training and entertainment. In the hands of a bard, juggling balls
and clubs can be used to dazzle audiences, knock objects out of the air and even wield them as unexpected weapons. For the purposes of this power performance, it is assumed that a bard possessing any of the stages may juggle a number of items equal one plus his skill ranks in Perform (juggling) or half his number of Sleight of Hand ranks. The juggler must have at least one more object than hands used for juggling, and can juggle any light weapons and suitably small items (such as juggling balls, flaming torches or vials of alchemist’s fire). A bard with the Quick Draw feat is able to add or replace objects he is juggling with as a free action without stopping his juggling, provided he is carrying appropriate items on him. A bard may also catch items thrown to him by allies to replace lost items with a Dex check (DC 10), and this trick does not stop the bard from continuing to juggle.

1st Stage – Disorientate (Su): When a performer is juggling his simple clubs or balls, arcane spell-casters able to see the performance can become mesmerised and disorientated by the display and their own movements and gestures become a confused jumble. While the bard uses this ability, any arcane spell-caster who is trying to cast a spell with a somatic component who can see him must make a Will save opposed by the bard’s Perform check or be unable to cast the spell intended. The spellcaster loses his action for the round but not the spell. A bard may maintain this ability for one round per level. This is a mind affecting ability.

1st Stage – Dazzle (Sp): A bard who is juggling may attempt to dazzle one or more creatures with 90 ft. of him. The creature must be able to see the bard and the bard must be able to the creature. This ability works even if the creature is engaged in combat. For every three levels a bard attains beyond 1st, he can target one additional creature with a single use of the ability. (two at 4th, three at 7th and so on). To use the ability, a bard makes a Perform (juggling) or Sleight of Hand check with the result as the DC for the affected creature’s Will save against the effect. If its saving throw fails, the creature becomes dazzled and takes a –1 penalty to all attack rolls as well as Search and Spot checks as long as the bard performs plus five rounds. If the bard uses light-producing objects, such as flaming brands or daggers with the flaming enchantment, the Will save DC is increased by two due to the hypnotic and distracting effect of the moving lights. Dazzle is a mind-affecting ability.

1st Stage – Deflective Juggling (Su): While the bard is performing deflective juggling, once per round as a free action the bard may attempt to deflect one ranged attack that is directed at himself or an ally within 30 feet. To deflect an attack the bard opposes the attack roll with a Perform (juggling) or Sleight of Hand check and if successful the attack fails. At 8th level and each additional six level after that the bard may make one additional deflection per round. If the ranged attack is targeted against the bard and is a conventional missile of some form (such as a dagger, arrow or throwing axe), then the bard can snatch the weapon out of the air on a successful deflection and add it to the items he is juggling. If this occurs, the bard may immediately throw one item he is juggling straight back at the attacker as an attack of opportunity. This could quite possibly be the missile that was thrown at him in the first place (arrows, crossbow bolts and similar missiles are treated as daggers for the purpose of calculating range penalties, damage and suchlike). This ability can be used as long as the bard concentrates or until he runs out of objects to juggle.

2nd Stage – Juggling Distraction (Su): The bard juggles not only to entertain, but also to distract the attention of his patrons from the activities of his companions. While the bard is employing this performance (max one round/level) one ally with 60 ft of the bard gain a +4 morale bonus to Move Silently checks, Sleight of Hand checks and on checks made to Tumble through threatened or occupied squares. This is a mind-affecting ability.

3rd Stage – Blindness (Sp): A bard is able to use blindness as per the spell any creature that has previously fallen victim to the dazzle. Using this ability does not break the bard’s concentration on the dazzle. Attempting to inflict blindness on an opponent does not count toward the bard’s daily uses of bardic music. A Will saving throw (DC 10 + ½ bard’s level + cha modifier) negates this affect. This ability only affects a single creature. This ability is a mind-affecting ability.

4th Stage – Juggling Disruption (Su): While performing this juggling technique the bard threatens all creatures within 30 ft. Any action that would provoke an attack of opportunity allows the juggler to throw one of his juggled objects at the creature using a Perform (juggling) or Sleight of Hand check for his attack roll. This ability is often used to disrupt spell-casters. This ability lasts as long as the bard continues to juggle or until he runs out of objects to juggle.

5th Stage – Juggling Concealment (Su): The bard can provide himself or an ally with 5 ft. with 20% concealment while juggling. This benefit can be switched between people each round by the bard taking a move action to bring concealment to a new ally. This ability last as long as the bard is juggling up to one round per level.

6th Stage – Deflective Juggling II (Su): This ability works the same as deflective juggling and does not cost an additional bardic music to use. However once the bard has reached this level of mastery the bard may also deflect any spell or spell-like ability that requires an attack roll that falls under the same conditions as deflective juggling.

7th Stage – Mass blindness (Sp): This ability functions like the blindness ability previously discussed however the bard may now affect all opponents that have fallen victim to the intimidating display. Mass blindness is a mind-affecting ability.

Staged Magic

Skill: Perform (stage magic) or Sleight of Hand
Abilities: 1st stage – amaze (Sp), sway disposition (Su), the hand is quicker than the eye (Su); 2nd stage – where did it go? (Su); 3rd stage – colour spray (Sp), 4th stage – watch me pull a rabbit out of this hat (Su); 5th stage - unbreakable rings (Sp); 6th stage – swords into plowshares (Sp); 7th stage – mass colour spray (Sp).

The art form of prestidigitation is much more than a simple assortment of parlour tricks to the bard; it is a study into how the mind processes images and sound. Through the use of illusion and conjuring techniques the bard is able to trick the audience into believing the unlikely or even impossible. The performance elements of this bard can impress the common folk, amuse children and brighten dreary lives.

1st Stage – Amaze (Sp): When the bard is performing acts of legerdemain one or more creatures may become amazed by the performance. Each creature to be amazed must be within 90 ft. of the bard, able to see and hear the bard, and able to pay attention to him. The bard must also be able to see the creature. The distraction of nearby combat or other dangers prevents this ability from working. For every three levels the bard gains after 1st he can attempt to amaze one more creature with a single use of this ability (two at 4th, three at 7th and so on). To use this ability the bard makes a Perform or Sleight of Hand check. His check result is the DC for the affected creature’s Will save against the effect. If a creature’s saving throw succeeds, the bard cannot attempt to amaze the creature again for 24 hours. If the saving throw fails, the creature becomes enthralled by the tricks performed and has trouble concentrating on what they are doing as they try to figure out how the tricks work. While amazed the creature suffers a –4 penalty to Concentration and Sense Motive checks and is unable to complete any full round actions without making a concentration check of DC equal to the bard’s perform check. This effect lasts for as long as the bard performs to a maximum of one round per level.

1st Stage – Sway Disposition (Su): The prestidigitation show has a remarkable effect on all who see it. Each round of a performance to sway disposition, the bard makes a Perform check. Any creature within 30 ft. of the bard that can see and hear the bard and is not currently in a combat may find themselves entertained by the tricks. The Perform check that the bard made can be used by the bard to improve the attitude of the creatures in place of the traditional Diplomacy check. The bard can affect one creature each round with a use of this ability. The performance can be maintained for ten rounds. When the performance ends the creature’s attitude remains at its new level unless affected by other actions. This is a mind-affecting ability.

1st Stage – The Hand Is Quicker Than The Eye (Su): The bard using this performance is able to enhance the stealth abilities in his allies by drawing their opponents attention away. Any allies gain a +3 morale bonus to Bluff, Hide and Sleight of Hand checks against any opponents within 60 ft. of the bard who can see and hear his performance. This ability cannot be used while the allies or opponents are engaged in combat. This ability lasts as long as the opponents are within range and can see the bard perform as well as for five rounds after the performance ends. At 8th level and every six levels beyond that the bonus increases by +3. The hand is quicker than the eye is a mind-affecting ability.

2nd Stage – Where Did It Go? (Su): With the expenditure of one of the bard’s bardic music uses the bard is able to plant a small item on another creature within 30 ft. by making a Perform or Sleight of Hand check against DC 20. If successful the bard may place an object weighing no more than two pounds on another ally or opponent. If the target is not an ally the creature may make a Spot check opposed by the bard’s Perform or Sleight of Hand check to notice an item has been planted but not who planted it. This has many applications such as letting the bard pass a healing potion to an ally across a crowded battlefield, or planting a blood-stained dagger on an opponent then announcing to all that they are the real killer and even have the bloody knife to prove it.

3rd Stage - Colour Spray (Sp): At this stage of development the bard may use colour spray as per the spell, with minor modifications, on one creature that has already been amazed by the bard’s performance. Using this ability neither breaks the bard’s concentration on the amaze effect nor allow a second saving throw against that effect. Using colour spray does not count against the bard’s daily limit of bardic magic performances. A Will saving throw (DC 10 +½ bard level + Cha modifier) negates the effects. This ability will only affect a single creature, rather than the usual area effect of colour spray.

The other modifications to the spell are as follows:
1) A Creature with HD equal to or greater than the bard’s class level may be stunned for one round
2) A Creature with HD one or two lower than the bard’s class level may be blinded and stunned for 1d4 rounds and then stunned for an additional round.
3) A Creature with HD three or more lower than the bard’s class level is unconscious, blinded, and stunned for 2d4 rounds, then blinded and stunned for 1d4 rounds, and then stunned for an additional round.

4th Stage – Watch Me Pull A Rabbit Out of This Hat (Su): At this stage the bards skill at sleight of hand has improved to such a degree that he is ability to take a small object from another creature at a range of 30 ft. This performance takes a full round action for the bard as he reaches into a pouch, pocket, backpack or hat of his own and can take a item or items weighing less than two pounds from an ally or opponent. There are several conditions to this ability. First the bard must have a good idea what item he is interested in, such as a small glass vial from an ally’s backpack, not along the lines of rooting around to see whether there’s something interesting in an enemy’s pockets. Secondly the bard must make a successful Perform or Sleight of Hand check against DC 18 for items carried in containers on the person, a DC of 22 for items worn, or a DC of 30 held in extra-dimensional spaces such as bags of holding. Thirdly, unwilling targets may make a Spot check opposed by the bard’s Perform or Sleight of Hand check to notice that an object is missing. Magic items are often resistant to this ability and are allowed a saving throw using a bonus of ½ their caster level against a DC of 10 + ½ bard level + Cha modifier.

5th Stage – Unbreakable Rings (Sp): There is a common magic trick when a performer takes two or more solid metal rings perfect in all ways that even though unbroken they are able to pass through each other and become linked. A bard of this level has learned how to apply this technique to the battlefield and by performing for two full rounds he is able to join together the armour, clothing, weapons or hide of two adjacent creature within 60 ft. At the end of the two rounds the bard must make a ranged touch attack against each creature to be entangled. If the bard succeeds at these attacks the creatures become entangled as per the spell. The creatures can attempt to break free as per the spell description, however doing so damages their equipment. Any armour, clothing, or hide damaged inflicts a –2 circumstance penalty to armour class until the items are repaired or healed, or if weapons were joined together and then broken apart it inflicts a –2 circumstance penalty on attack rolls until repaired or healed. This effect lasts for five rounds after which the combatants clothing and armour return to their original shape unless they were damaged in escape attempts. At 15th level and every three levels after that the bard may affect one additional creature.

6th Stage – Swords into Plowshares (Sp): A bard at this stage has perfected the illusion of the bending of metal objects such as spoons. The bard makes it appear to a creature that the weapon they are wielding has been bent into an unusable and worthless shape. The opponent must be able to see the bard’s performance and hear his voice as well as being within 60 ft. The creature is allowed a Will saving throw (DC 10 + ½ bard level + Cha modifier) to resist this mind-affecting effect. If the save fails the creature will see his wielded weapon as a twisted and useless mass of metal and drops the weapon, refusing to use it. This effect lasts for as long as the bard concentrates (maximum one round / level). At the end of this time the illusionary change ceases and the creature may resume using the weapon as normal. The bard may affect one additional opponent for every two levels he gains beyond 15th.

7th Stage – Mass Colour Spray (Sp): This ability functions as the colour spray ability, except that the bard can make the colour spray simultaneously to any number of creatures that he has already amazed. This is a mind-affecting ability.

Touch of Thespis

Skill: Perform (acting) or Bluff (they do not stack).
Abilities: 1st stage – disguise self (Sp), mimic voice (Su), method acting (Su); 2nd stage – disguise others (Su); 3rd stage – cue (Sp); 4th stage – personification (Su); 5th stage – archetypal command (Su); 6th stage – mass personification (Su); 7th stage – immortal words (Su).

Acting is the art of becoming someone else, of immersing one’s self into the role of a character. A thespian can forget who he really is and assume not only the appearance, but the very nature of a new persona. The characters of a play are immortal, for they will never truly die, and a bard who specialises in acting draws upon the power of this eternal nature as well as from the artistic inspiration inside his heart.

1st Stage – Disguise Self (Sp): The bard can assume the guise of a different person as per the disguise self spell. To activate it, the bard spends one use of bardic music while assuming the role of the disguise. The character can maintain the disguise for as long as he acts in character. This requires a Perform check (base DC 10) to assume the disguise, plus another check made every hour, with the DC increasing by +1 for every hour after the first. If the bard acts out-of-character unintentionally, the disguise fades in five rounds, but voluntarily dropping it makes it disappear instantly.

1st Stage –Voice Mimic (Su): The bard’s acting takes on the ability to mimic voices and accents with almost perfect accuracy. The character activates this ability with a normal use of bardic music and a Perform check(DC 10 for members of his own species, 12 for creatures of the same type and 15 for creatures of a different type). Failure to activate the ability does not spend the daily use. He can maintain this performance for ten minutes, at which point he must roll another Perform check with a +1 to the DC. If he fails, he can maintain the performance with another use of his bardic music abilities. Success prolongs the duration for another ten minutes up to a maximum of ten minutes per character level. The bard imitates the voice of another creature perfectly, even if it belongs to a different gender or even species. He can make animal calls as well as sound as an ancient wyrm, although he does not gain knowledge of any different language. In practical terms, the character gains a +5 bonus to Disguise and Bluff checks that intend to fool others. A bard can use this ability at the same time as other bardic music abilities, and he can only imitate one voice at a time. If he wants to imitate another different voice, he must end the effect and activate it again. Also, when he speaks with his normal voice, the bard breaks the effect.

1st Stage – Method Acting (Su): A thespian’s craft has three elements: look like a persona, sound like a persona and think like a persona. With this basic ability, the thespian bard can now assume the personality of any character he assumes. The character activates this ability with a normal use of bardic music and a Perform check (DC 10). Failure to activate the ability does not spend the daily use. The bard can maintain this performance for one hour, at which point he must spend another use of bardic music. While this ability is in effect, the bard can feign that his alignment is other than what it really is. He registers as his new alignment to magic, including magic items that only function properly in the hands of a character of said alignment. He succeeds in all Bluff checks to convince others of false intentions related to his faked personality. At first, the bard can only affect himself, but for every stage he reaches after the 1st he can affect one other creature, although third parties only enjoy the benefits of alignment concealment, not recognition by magic items nor bonus to Bluff checks.

2nd Stage – Disguise Other (Sp): This ability works exactly as disguise self but the character can target
one other creature. The target creature does not roll a Perform check, but the disguise is assumed automatically and lasts for one hour per two bard levels. For every stage that the bard reaches after the 2nd, he can affect one additional target.

3rd Stage – Cue (Sp): During a play, it is as important to have some chemistry with the co-stars as it is to give a convincing performance. With a normal use of bardic music, the character can roll a Perform (acting) check, with the result becoming this ability’s save DC. The bard can affect one creature standing no further than ten feet away, plus one foot per character level. The target makes a Will save, success meaning that it cannot be affected by this ability for 24 hours. Failure means that the target complies with one short order from the bard. This order must be a short standard action and cannot be one that forces the target to injure or place himself in immediate danger. This ability is useful in battle to force an opponent to take an unwanted step backwards to get it out of range of an ally or stop it from launching a fullround attack, but in social situations it can be doubly useful, as it can force a target to say things in response to the actor’s ‘script’, potentially ruining negotiations or social standings.

4th Stage – Personification (Su): The bard that follows the path of the thespian can assume the looks and behaviour of another persona with flawless skill. Activating this ability costs three uses of bardic music, but the character need not roll a skill check. While under this ability, the bard looks, sounds and behaves exactly like another person, which can be of any alignment that registers as such. The bard has two choices when activating this ability: impersonate a specific, existing individual or create an entirely new persona. The bard can only impersonate creatures of his same type and size and it takes him ten minutes to assume such a guise. By using the personification ability to duplicate another particular creature, the character gains a +30 bonus to Disguise and Bluff checks, and gains minor insights that allow him to answer correctly questions that would prove him an impostor, but any knowledge gained by this does not remain with the character once he gives the answers. If the character’s true identity is tested by magical measures, he is entitled to a Will save at the DC the spell would normally have, even if it clearly states it cannot be saved against. The duration of this version of personification is one hour per character level.

To create a new persona, the bard must invest some energy into it. He decides the new persona’s race and class as if the player were creating a new character. The character spends a number of experience points equal to 100XP per the new persona’s character level, which cannot be higher than the bard’s class level. The player purchases the persona’s equipment according to the wealth by character level table in SRD, and can buy magical equipment provided the bard himself has magical equipment, but he cannot purchase mounts, familiars or other pets. When the bard assumes the new persona, he becomes it completely as per an alter self spell that also affects his equipment. Even divination magic will register him as a different person that bears no relation to the bard’s original self, since this ability also creates a false history and background for the persona. While in his different persona, the bard is dimly aware that this persona is just a character created by his original mind, so he does not gain any of the class abilities of the persona’s class. All his statistics remain the bard’s original. The bard can maintain this guise indefinitely. He must spend one bardic music use indefinitely. A bard can create as many as one persona per Charisma modifier and can become each one at will by paying the requisite three uses of bardic music. The bard can dismiss any persona to make room for another, but the experience points spent are lost.

5th Stage –Archetypal Command (Su): The bard’s acting ability grows to the point that he can fake having an ability his characters possess but that he lacks. When assuming a persona through the personification ability above, he can spend one use of bardic music and make a Perform (acting) check with a varying DC. Success means that the character gains one feature of the persona’s class or race. This faked ability is only good for one use and with a duration equal to the ability’s original duration or a number of minutes equal to the bard’s class level, whichever is less. The mimicked ability responds to the general archetypes that a persona conforms too, so it can only imitate skill checks, general feats and core class abilities. For spellcasting, the bard can imitate the spellcasting ability of another class, but
not cast or learn any of that class’s spells; he can only use spell trigger and spell completion spells normally as if he were a member of that class. When imitating core class abilities, the persona’s level must be high enough so that the persona can actually have it. For example, a bard creating a 12th level bard creating an 8th level druid persona can spend one use of bardic music for archetypal command to imitate the wild shape (Large) ability for 12 minutes while he assumes that persona, but he could not use it to imitate venom immunity (a 9th level druid ability).

Ability	Perform check DC
Skill	Equal to the task’s DC +5
Feat	15 + number of prerequisite feats
Base attack bonus	Bonus + 10
Base save bonus	Bonus +15
Class feature	Earliest class level +5
Arcane spellcasting	12
Divine spellcasting	15

6th Stage – Mass Personification (Sp): The character can extend his personification ability to several creatures, masking the true selves of an entire troupe with a number of targets equal to the half the bard’s class level, not including himself (although this effect does change the bard, he merely does not count against his limit). By spending two uses of bardic music, this ability gives targeted creatures a new appearance, voice and alignment but, unlike the normal personification ability, these are woven with shadow illusion magic instead of being a true transformation. Affected creatures gain a +10 bonus to Disguise and Bluff checks to pretend to be the people they are disguised as, and creatures that interact with them gain a Will save (DC 10 + bard levels + Charisma modifier) to notice the deception. The illusion lasts for ten minutes per bard level. The bard can spend three uses of bardic music so that he can assume one of his created personas or adopt a perfect disguise, but the personas of the other affected targets remains illusory.

7th Stage – Immortal Words (Su): A playwright once wrote that a character in a play is immortal, for he truly never dies as his story is performed again and again; a thespian bard definitely agrees. This ability is automatic and does not require the bard to spend any points nor use it actively. If the character is killed while under the guise of a created persona as per the personification ability, only the persona is dead, not the character. The bard drops to the ground and appears dead for all purposes except for turning him into an undead creature. He can remain ‘dead’ for as long as one day per Charisma modifier. At the time of the player’s choosing, the persona’s image vanishes and the bard’s original self awakens with one hit point and two points of damage to all abilities, which he can recover normally. He can no longer assume the guise of the dead persona unless he spends experience to create it again.

Vortex Dance

Skill: Perform (dance).
Abilities: 1st stage – quick step (Su), long routine (Su), mesmerise (Su); 2nd stage – choreography (Su); 3rd stage – follow (Su); 4th stage – primal urge (Su); 5th stage – dancing lead (Sp); 6th stage – unrestrained dance (Su); 7th stage – dimensional routine (Su).

Dance is the art whose instrument is the body itself. A dancer conveys subtle messages through the movements of his body, using the infinite positions that it can adopt along with the different ways that it can take. Sometimes music is part of the dance, other times the dancer needs no other rhythm than the beating of his heart. Dance is one of the oldest art forms as well, and it possesses a primal power that more refined art forms lack.

1st Stage – Quick Step (Su): Dancing through the floor has its own rhythm, and the bard can wilfully change that pace. When he activates this ability, the bard can quicken his step so that the distance he covers with a five-foot step doubles with a graceful half-jump. All the rules for five-foot steps remain in effect, the only thing that changes is that the bard covers ten feet. He can maintain this ability as a free action every round, but he cannot use other bardic music abilities while he does so. At 1st stage he can only affect himself, but for every stage he reaches beyond the 1st he can affect one additional creature with the same use of bardic music. This effect stops the moment that the bard stops performing it.

1st Stage – Long Routine (Su): Certain dance routines have the dancer crossing the floor from one point to the next through one rapid, fluid movement. When activating this ability, the bard’s movements are performed as a quick and fluid dance that weaves through the battlefield unimpeded. The character can do this for a number of movements (whether a single move action, a hustle or a run, provided he does not stop) equal to his Charisma modifier in a single encounter and with a single use of his bardic music ability. Every time that he provokes an attack of opportunity for moving through and out of threatened areas, the character can make a Perform (dance) check, using his result as his Armour Class for that attack if it is higher than his actual AC. While this might not always be enough to avoid being struck, it may well increases the bard’s chances of doing so.

1st Stage – Mesmerise (Su): This ability works like the fascinate ability of the Songs of Inspiration, but affected targets sway to the dance’s rhythm.

2nd Stage – Choreography (Su): A proficient dancer can adapt to the movements of even the most inept partner and, with his own sense of rhythm and stage presence, he can make others fall in step with him. The bard marks his movements with strong steps to be heard by all allies within 30 feet and then makes a Perform (dance) check against DC 15; for every point that the check result surpasses the DC, the dancer gains a dance point (maximum of ten). He can distribute dance points amongst allies that can hear or see him and that he can see in return. During the same round during which he received the points, an ally can translate a dance point into one of the following bonuses:

• +2 to initiative place
• +1 to attack
• +2 to AC
• +1 to Reflex saves
• +5 feet to movement

The bard must make a new Perform check every round and he can maintain this choreography for a maximum of ten rounds. He can keep and use dance points that hedoes not distribute.

3rd Stage – Follow (Su): The bard gains a keen sense of the rhythm by which creatures move, adapting his own to match theirs. By spending one use of bardic music outside his turn, the character can move up to five feet per Charisma modifier either away or in the same direction as a designated target. The bard makes a Perform (dance) check (DC 10 + target’s Ref bonus) and, if he succeeds, he moves at the same time as a target. He can use this ability to avoid engaging in melee combat or to keep a target from escaping. This extra movement does not affect the character’s normal movement options, but it is performed as an attack of opportunity (a character may not perform more than one attack of opportunity per round, unless he has the Combat Expertise feat). The use of bardic music is only spent on a successful movement.

4th Stage – Primal Urge (Sp): Dancing awakens something in everyone who participates and even on those who only watch. A bard that has reached the 4th stage in the Vortex Dance can awaken such feelings in one target. He can only try to affect a creature that is already suffering from his mesmerise ability. He does not spend another use of bardic music, but the targeted creature can make a second Will save against the standard DC). Failure means that the target begins dancing and is affected by one of the following effects as if cast by a sorcerer of half the character’s level: good hope, irresistible dance or rage at the bard’s choice. The condition lasts for as long as the dancer keeps performing and stops immediately when he ceases to dance. For every stage that the character gains beyond the 4th, the bard can affect one additional victim with the same use of bardic music. He affects all targets with the same effect; if he wishes to affect one target with a different ability, he must perform either dance with the
new effect, but interrupting the previous one.

5th Stage – Dancing Lead (Sp): Just as he can adapt to follow a dancing lead, a bard that knows the Vortex Dance can turn the tables and become the lead. He spends one use of bardic music and targets one creature that is no further than 30 feet. He then makes a Perform (dance) check opposed by his target’s Strength check. If successful, the target is pushed back or pulled forward five feet plus another foot for every point that the Perform check exceeds the Strength check. The bard must move with his target either forward or backwards, maintaining the same distance to the target, and limited to his normal movement.

6th Stage – Unrestrained Dance (Su): Mastery of the Vortex Dance grants a bard with superhuman agility. The character moves in mystical patterns that seem to touch upon the basic structure of the world. Once he spends one use of bardic music, the dancer doubles his move speed and is under the effects of the spider climb spell except that he does not need to have his hands free. In addition, he gains a +4 circumstance bonus to AC against ranged attacks due to his rapid and confusing dancing routine. He can maintain this ability for ten minutes per bard level.

7th Stage – Dimensional Routine (Su): A master dancer not only dominates his own body, but also dominates the space through which he moves it. When he spends a bardic music use for this ability, the bard’s dancing takes his next step to another location without really crossing the space between. He makes a Perform (dance) check and takes a step outside space, disappearing from his location and appearing at any destination up to five feet away for every point in the Perform check result. If he spends five uses of bardic music, his step does not cross space, it crosses the planar barriers into the Ethereal Plane. He can dance into the Astral Plane by spending ten uses of bardic music. He can make the return trip from those planes to the Material Plane by spending the same number of bardic music uses that would take him there.

Words of the Wise

Skill: Perform (oratory)
Abilities: 1st stage – counter charlatan (Su), interrogation (Sp), a word of caution (Su); 2nd stage – a time to act (Su); 3rd stage – zone of truth (Sp); 4th stage – tale of the righteous (Su); 5th stage – rally the troops (Su); 6th stage – wisdom of the planes (Sp); 7th stage – mass zone of truth (Sp).

Throughout the backrooms of courts and the halls of power a successful leader will often surround themselves with educated men to provide wise counsel in times of uncertainty. A wizard well studied and rich in years occupies this role in most kingdoms but amongst some fortunate few the position is filled by a bard skilled in the art of oratory. A skilled orator can discern hidden truths, uncover strange secrets and rally troops to their banner.

1st Stage – Counter Charlatan (Su): As a counsellor, the bard endeavours to protect his allies from being misled. As such he has developed the ability to listen and analyse to such an extent that even small flaws in a person’s story shine out as huge errors to be exploited. The bard can begin to cross-examine creatures that are engaged in the telling of a story by making a Perform check each round. This result can be used by any ally within 90 ft. who can hear the bard’s questions and the creature’s responses in place of any Diplomacy check or Sense motive check that is required to negotiate with the creature or detect the presence of lies. This ability can be maintained as long as the bard is able to continue to concentrate on his cross-examination. This is a language-dependent ability.

1st Stage – Interrogation (Sp): The interrogative drive of the bard can have a debilitating effect on creatures. This speech can cause one of more creatures to become befuddled. Each creature to be affected must be within 90 ft. of the bard and able to hear his questions. The bard must also be able to see the creature and communicate with it. The distraction of nearby combat or other dangers prevents the interrogation from affecting the creature. For every three levels beyond 1st the bard may affect one additional creature (two at 4th, three at 7th and so on). To use this ability, a bard makes a Perform check, the result of which becomes the DC for each affected creature’s Will Save. If a creature’s saving throw succeeds, the bard cannot attempt to interrogate the creature again for 24 hours. If the saving throw fails, the creature becomes befuddled. While befuddled the creature has a –4 penalty to all Bluff, Diplomacy and Gather information checks. This effect lasts for as long as the bard performs to a maximum of one round per level. This is a mind-affecting, language-dependent ability.

1st Stage – A Word of Caution (Su): The skill and experience that any bard possesses could fill many libraries, but bards rarely stop in one place to write it all down. Such wisdom is not lost to the sands of time though, because a bard skilled in oratory can bolster his allies with tales of danger from his past. To be affected by this ability the allies must be within 30 ft. of the bard and able to hear him recount his dangerous exploits. All allies who meet these criteria take his words to heart gaining a +2 morale bonus to Listen, Search and Spot checks needed to find traps or be on guard against surprise. This bonus increases by +2 at 8th level and every six levels beyond. The effect lasts for as long as the bard can recount dangerous adventures plus an additional five rounds.

2nd Stage – A Time to Act (Su): There is a time to talk and a time to act. This truism is known and accepted by bards across the world. If the bard has the undivided attention of an ally for one full round he can offer practical combat suggestion to that character, granting them a +1 morale bonus to attack and damage rolls and a +4 morale bonus to confirm critical hits. This benefit lasts for ten rounds and is a mind-affecting ability.

3rd Stage – Zone of Truth (Sp): A bard with this level or oratory skill is able to affect a creature with a zone of truth as per the spell, provided the creature has fallen under his interrogation. Unlike the spell, this ability only affects the creature targeted rather than an area. Using this ability does not break the bard’s concentration on the interrogation effect. Affecting a creature with the zone of truth does not count toward the bard’s daily limit of performances. A Will saving throw (DC 10 + ½ bard level + Cha modifier) negates the affect. This ability will last as long as the interrogation is maintained.

4th Stage - Tale of the Righteous (Su): This speech by the bard can inspire greatness in an ally to end the ways of those likely to break their word or conceal their true intentions. This ability functions in as inspire greatness does in the Songs of Inspiration, although with two changes. The first is that the effect only works if the allies are fighting creatures with a chaotic or evil component to their alignment, and the second is that the effect will last for as long as the bard continues his speech plus eight rounds.

5th Stage – Rally the Troops (Su): While the bard’s allies are engaged in combat the bard may recount events that happen in the party’s favour to emphasise their ability to overcome. Any ally within 30 ft. will be rallied by this good news and strive to top their previous exploits. This benefit allows allies to gain a +1 bonus to attack and damage rolls against opponents that they have previously damaged. This bonus will increase by one in each round when they damaged an opponent in the previous round. If they did not damage an opponent in the previous round this bonus remains at its current level. The bard may continue to rally the troops for one round per level. At the end of the duration all allies affected and the bard become fatigued. This is a mindaffecting ability

6th Stage – Wisdom of the Planes (Sp): By spending a bardic performance, once per day the bard may contact other plane as per the spell to gather information that he needs.

7th Stage – Mass Zone of Truth (Sp): This ability functions as the zone of truth ability, except that the bard can affect any number of creatures that he has already befuddled. This is a mind-affecting, languagedependent ability.