Female Human (Taldan) swashbuckler 2 / bard 6
CG Medium humanoid (human)
Str 12, Dex 16, Con 15, Int 16, Wis 14, Cha 20,
Base Atk +6; CMB +7; CMD 23
Init +5, Senses Perception +11
AC 22, touch 16, flat-footed 17 (+4 armor, +1 deflection, +5 Dex, +2 shield, )
Fort +5, Ref +14, Will +8, +4 vs. Bardic Performance, sonic, and language-dependent effects
Speed 40 ft.
Melee rapier +2 (mithral) +14/+9 (1d6+3/18-20)
Ranged alchemist’s fire (flask) +11/+6 (1d6)
Ranged holy water (flask) +11/+6 (2d4)
Ranged acid (flask) +11/+6 (1d6)
Melee dagger +11/+6 (1d4+1/19-20)
Ranged dagger (thrown) +15/+10 (1d4+1/19-20)
|Acrobatics (Perform (Dance)) +18
Bluff (Perform (Sing)) +18
Diplomacy (Potentially Sexually Attracted) +17
Escape Artist +11
Fly (Perform (Dance)) +18
Knowledge (Arcana) +10
Knowledge (History) +13
Knowledge (Local) +16
Knowledge (Religion) +11
|Linguistics (Celestial, Draconic, Skald) +9
Perform (Dance) +18
Perform (Oratory) +16
Perform (Sing) +18
Perform (String Instruments) +17
Profession (Courtesan) +6
Sense Motive +10
Sense Motive (Perform (Sing)) +18
Sleight of Hand +11
Use Magic Device +18
Languages Celestial, Common, Chelaxian, Draconic, Skald, Sylvan, Varisian
Calistrian Prostitute (Calistria) (Sense Motive): You worked in one of Calistria’s temples as a sacred prostitute, and you know how to flatter, please, and (most of all) listen. You gain a +1 trait bonus on Sense Motive checks and Diplomacy checks to gather information, and one of these skills (your choice) is always a class skill for you.
Charming: Blessed with good looks, you’ve come to depend on the fact that others find you attractive. You gain a +1 trait bonus when you use Bluff or Diplomacy on a character that is (or could be) sexually attracted to you, and a +1 trait bonus to the save DC of any language-dependent spell you cast on such characters or creatures.
Bardic Knowledge (Ex) You add +3 to all Knowledge checks and may make all Knowledge skill checks untrained.
Bardic Performance You are trained to use the Perform skill to create magical effects on those around you, including yourself if desired. You are trained to use the Perform skill to create magical effects on those around you, including yourself if desired. You can use this ability for 21 rounds per day. Each round, you can produce any one of the types of bardic performance that you have mastered. Starting a bardic performance is a standard action, but it can be maintained each round as a free action. Changing a bardic performance from one effect to another requires the bard to stop the previous performance and start a new one as a standard action. A bardic performance cannot be disrupted, but it ends immediately if you are killed, paralyzed, stunned, knocked unconscious, or otherwise prevented from taking a free action to maintain it each round. You cannot have more than one bardic performance in effect at one time.
- Countersong (Su) You can counter magic effects that depend on sound (but not spells that have verbal components). Each round of the countersong you make a Perform (keyboard, percussion, wind, string, or sing) skill check. Any creature within 30 feet (including yourself) that is affected by a sonic or language-dependent magical attack may use your Perform check result in place of its saving throw if, after the saving throw is rolled, the Perform check result proves to be higher. If a creature within range of the countersong is already under the effect of a noninstantaneous sonic or language-dependent magical attack, it gains another saving throw against the effect each round it hears the countersong, but it must use your Perform skill check result for the save. Countersong does not work on effects that don’t allow saves. Countersong relies on audible components.
- Distraction (Su) You can use your performance to counter magic effects that depend on sight. Each round of the distraction, make a Perform (act, comedy, dance, or oratory) skill check. Any creature within 30 feet (including yourself) that is affected by an illusion (pattern) or illusion (figment) magical attack may use your Perform check result in place of its saving throw if, after the saving throw is rolled, the Perform skill check proves to be higher. If a creature within range of the distraction is already under the effect of a noninstantaneous illusion (pattern) or illusion (figment) magical attack, it gains another saving throw against the effect each round it sees the distraction, but it must use your Perform skill check result for the save. Distraction does not work on effects that don’t allow saves. Distraction relies on visual components.
- Fascinate (Su) You can use your performance to cause up to 2 creatures to become fascinated with you. Each creature to be fascinated must be within 90 feet, able to see and hear you, and capable of paying attention to you. You must also be able to see the creatures affected. The distraction of a nearby combat or other dangers prevents this ability from working. Each creature within range receives a Will save (DC 20) to negate the effect. If a creature’s saving throw succeeds, you cannot attempt to fascinate that creature again for 24 hours. If its saving throw fails, the creature sits quietly and observes your performance for as long as you continue to maintain it. While fascinated, a target takes a -4 penalty on all skill checks made as reactions, such as Perception checks. Any potential threat to the target allows the target to make a new saving throw against the effect. Any obvious threat, such as someone drawing a weapon, casting a spell, or aiming a weapon at the target, automatically breaks the effect. Fascinate is an enchantment (compulsion), mind-affecting ability. Fascinate relies on audible and visual components in order to function.
- Inspire Competence (Su) You can use your performance to help an ally succeed at a task. That ally must be within 30 feet and be able to hear you. The ally gets a +2 competence bonus on skill checks with a particular skill as long as she continues to hear your performance. Certain uses of this ability are infeasible, such as Stealth, and may be disallowed at the GM’s discretion. A bard can’t inspire competence in himself. Inspire competence relies on audible components.
- Inspire Courage (Su) You can use your performance to inspire courage in your allies (including yourself), bolstering them against fear and improving their combat abilities. To be affected, an ally must be able to perceive your performance. An affected ally receives a +2 morale bonus on saving throws against charm and fear effects and a +2 competence bonus on attack and weapon damage rolls. Inspire courage is a mind-affecting ability. Inspire courage can use audible or visual components. The bard must choose which component to use when starting his performance.
- Suggestion (Sp) You use your performance to make a Suggestion (as per the spell) to a creature you have already fascinated. Using this ability does not disrupt the Fascinate effect, but it does require a standard action to activate (in addition to the free action to continue the Fascinate effect). You can use this ability more than once against an individual creature during an individual performance. Making a Suggestion does not count against your daily use of Bardic Performance. A Will saving throw (DC 20) negates the effect. This ability affects only a single creature. Suggestion is an enchantment (compulsion), mind affecting, language-dependent ability and relies on audible components.
Lore Master (Ex): You have become a master of lore and can take 10 on any Knowledge skill check that you have ranks in. You can choose not to take 10 and can instead roll normally. In addition, 1 times per day, you can take 20 on any Knowledge skill check as a standard action.
- (Dance) (Ex) You can use your bonus in the Perform (Dance) skill in place of your bonus in the Acrobatics or Fly skills. When substituting in this way, you use your total Perform (Dance) skill bonus, including class skill bonus, in place of your Acrobatics or Fly skill bonus, whether or not you have ranks in that skill or if it is a class skill.
- (Sing) (Ex) You can use your bonus in the Perform (Sing) skill in place of your bonus in the Bluff or Sense Motive skills. When substituting in this way, you use your total Perform (Sing) skill bonus, including class skill bonus, in place of your Bluff or Disguise skill bonus, whether or not you have ranks in that skill or if it is a class skill.
Well-Versed (Ex) You have becomes resistant to the Bardic Performance of others, and to sonic effects in general. You gain a +4 bonus on saving throws made against Bardic Performance, sonic, and language-dependent effects.
Swashbuckler Finesse (Ex) A swashbuckler gains the benefits of the Weapon Finesse feat with light or one-handed piercing melee weapons, and she can use her Charisma score in place of Intelligence as a prerequisite for combat feats. This ability counts as having the Weapon Finesse feat for purposes of meeting feat prerequisites.
Charmed Life (Ex) The swashbuckler gains a knack for getting out of trouble. 3 times per day as an immediate action before attempting a saving throw, she can add 7 to the result of the save. She must choose to do this before the roll is made.
Panache (Ex) More than just a lightly armored warrior, a swashbuckler is a daring combatant. She fights with panache: a fluctuating measure of a swashbuckler’s ability to perform amazing actions in combat. At the start of each day, a swashbuckler gains a number of panache points equal to her Charisma modifier (minimum 1). Her panache goes up or down throughout the day, but usually cannot go higher than her Charisma modifier (minimum 1), though feats and magic items can affect this maximum. A swashbuckler spends panache to accomplish deeds (see below), and regains panache in the following ways:
- Critical Hit with a Light or One-Handed Piercing Melee Weapon: Each time the swashbuckler confirms a critical hit with a light or one-handed piercing melee weapon, she regains 1 panache point. Confirming a critical hit on a helpless or unaware creature or a creature that has fewer Hit Dice than half the swashbuckler’s character level doesn’t restore panache.
- Killing Blow with a Light or One-Handed Piercing Melee Weapon: When the swashbuckler reduces a creature to 0 or fewer hit points with a light or one-handed piercing melee weapon attack while in combat, she regains 1 panache point. Destroying an unattended object, reducing a helpless or unaware creature to 0 or fewer hit points, or reducing a creature that has fewer Hit Dice than half the swashbuckler’s character level to 0 or fewer hit points doesn’t restore any panache.
Swashbucklers spend panache points to accomplish deeds. Most deeds grant the swashbuckler a momentary bonus or effect, but some provide longer-lasting effects. Some deeds remain in effect while the swashbuckler has at least 1 panache point, but do not require expending panache to be maintained. A swashbuckler can only perform deeds of her level or lower. Unless otherwise noted, a deed can be performed multiple successive times, as long as the swashbuckler has or spends the required number of panache points to perform the deed.
- Derring-Do (Ex) At 1st level, a swashbuckler can spend 1 panache point when she makes an Acrobatics, Climb, Escape Artist, Fly, Ride, or Swim check to roll 1d6 and add the result to the check. She can do this after she makes the check but before the result is revealed. If the result of the d6 roll is a natural 6, she rolls another 1d6 and adds it to the check. She can continue to do this as long as she rolls natural 6s, up to 5 times.
- Dodging Panache (Ex) At 1st level, when an opponent attempts a melee attack against the swashbuckler, the swashbuckler can as an immediate action spend 1 panache point to move 5 feet; doing so grants the swashbuckler a dodge bonus to AC equal to her Charisma modifier (minimum 0) against the triggering attack. This movement doesn’t negate the attack, which is still resolved as if the swashbuckler had not moved from the original square. This movement is not a 5-foot step; it provokes attacks of opportunity from creatures other than the one who triggered this deed. The swashbuckler can only perform this deed while wearing light or no armor, and while carrying no heavier than a light load. This deed’s cost cannot be reduced by any ability or effect that reduces the number of panache points a deed costs.
- Opportune Parry and Riposte (Ex) At 1st level, when an opponent makes a melee attack against the swashbuckler, she can spend 1 panache point and expend a use of an attack of opportunity to attempt to parry that attack. The swashbuckler makes an attack roll as if she were making an attack of opportunity; for each size category the attacking creature is larger than the swashbuckler, the swashbuckler takes a -2 penalty on this roll. If her result is greater than the attacking creature’s result, the creature’s attack automatically misses. The swashbuckler must declare the use of this ability after the creature’s attack is announced, but before its attack roll is made. Upon performing a successful parry and if she has at least 1 panache point, the swashbuckler can as an immediate action make an attack against the creature whose attack she parried, provided that creature is within her reach. This deed’s cost cannot be reduced by any ability or effect that reduces the number of panache points a deed costs.
Fencing Grace: When wielding a rapier one-handed, you can add your Dexterity modifier instead of your Strength modifier to that weapon’s damage. The rapier must be one appropriate for your size. You do not gain this benefit while fighting with two weapons or using flurry of blows, or anytime another hand is otherwise occupied. In addition, if you have the panache class feature, you gain a +2 bonus to your CMD against attempts to disarm you of your rapier while you have at least 1 panache point.
Weapon Focus (Rapier): You gain a +1 bonus on all attack rolls you make using the selected weapon.
Harmonic Spell: Whenever you cast a 1st or higher level spell while you are maintaining a bardic performance, you can maintain the bardic performance for that round without expending one of your rounds of performance for the day. In addition, you can switch from one bardic performance to another as a swift action when you cast a spell while maintaining a bardic performance.
Lingering Performance: The bonuses and penalties from your bardic performance continue for 2 rounds after you cease performing. Any other requirement, such as range or specific conditions, must still be met for the effect to continue. If you begin a new bardic performance during this time, the effects of the previous performance immediately cease.
Spellsong: You can combine your bardic performance and your spellcasting in two ways. First, you can conceal the activity of casting a bard spell by masking it in a performance. As a swift action, you may combine your casting time of a spell with a Perform check. Observers must make a Perception or Sense Motive check opposed by your Perform check to realize you are also casting a spell. This uses 1 round of your bardic performance ability, regardless of the spell’s casting time. Second, as a move action, you can use 1 round of bardic performance to maintain a bard spell with a duration of concentration. You can cast another spell in the same round you are using bardic magic to maintain concentration; if you do this, your concentration on the maintained spell ends when you end the bardic performance the spell is part of.
Bard Spells Known (CL 6th; concentration +13)
2nd(5/day): build trust(DC 19), cat’s grace(DC 19), eagle’s splendor(DC 19), hypnotic pattern(DC 19)
1st(6/day): charm person(DC 18), chord of shards(DC 18), hypnotism(DC 18), unseen servant
0th(at will): dancing lights, detect magic, mage hand, mending(DC 17), prestidigitation(DC 17), read magic
Combat Gear torch (10), rations (trail/per day) (5), holy weapon balm (3), alchemist’s fire (flask) (3), holy water (flask) (2), acid (flask) (2), alchemist’s kindness (3),
Other Gear rapier +2 (mithral), ring of protection +1, leather +2, cloak of resistance +1, boots of striding and springing, handy haversack, gear maintenance kit, grooming kit, courtesan’s kit, bedroll, soap (1 lb.), ink (1 oz. vial), waterskin, inkpen, pot (iron), journal, mess kit, mirror (small/steel), rope (hemp/50 ft.), musical instrument (fiddle), bandolier, pouch (belt), flint and steel, dagger, noble’s outfit with jewelry, two entertainer’s outfits, one traveler’s outfit, one courtier’s outfit with jewelry, one fancy ball gown, one set of Calistrian robes, 4133.5 gp
In the country of Galt, the Revolution that started after the Chelaxian rulers were thrown out, and the Chelaxian nobility killed, never ended. Forty years have passed, and still, each Citizen’s Committee finds enemies to have beheaded, their souls trapped in the Final Blades that whisper down to sever heads. Even as a First Citizen is thrown down, his own neck under a Blade, another rises, keeping the bloody Eternal Revolution going, finding a new scapegoat. There are some who say this madness, this chaos, is unnatural… and that some creature wishes it to continue, a bloody wound in Golarion. The people starve with no one willing to farm, lest they be declared reaching above their station and sent to the guillotine; the current First Citizen stokes the fires of nationalism and blames the surrounding countries for the troubles of the nation, never admitting that it might be self-inflicted pain.
Juliette d’Aubigniy is one who believes this. She is a proud daughter of Galt, and her parents were forced servants of a Chelaxian noble. Her mother, Mathilde, escaped just before a maddened crowd, led by a demagogue who found her parents names in a ledger from that noble, burst into the small town they lived peacefully in to have them executed. Her father, Henri, was not so lucky, and his soul is trapped in a Final Bladean enchanted guillotine that keeps the soul of the executed, so they cannot be brought back to life.
Her mother, who had begin teaching her the art of song, and her father, once a swordsman for Baron Telmach, had started training her in their arts, and she took to them quickly. Her mother, seeking to escape the mob, left her daughter, only seven, in the town of Gralton in the River Kingdoms, then fled, hoping to draw away the mob. Juliette has no idea what happened to her mother, but would dearly like to know.
She grew up as a fosterling of the church of Calistria, and spent some time working as a sacred prostitute of the goddess, finding her skills as listener and lover, and her insight into people that she learned from her mother, to be excellent at helping with that. She was a most assiduous worshipper of the goddess in that manner, but the way of the clergy was not for her.
She took to the open road soon after, with the goodwill of some in the temple, and one man wanting her dead for his ruination. Her studies in the temple had convinced her that there was more to the Red Revolution that burned her homeland than simple madness – she believed in demons, especially with the advent of the Worldwound – and believes that one of them is secretly controlling the Revolutionary Councils as they rise and fall.
Someone, she feels, needs to do something. She is going to find people to help her save her nation from the demons – real or metaphorical – that possess it. If they are real, they’ll be slain or sent back to the Abyss. If metaphorical… she’ll work out what to do instead.
Juliette was raised in a temple of Calistria, the goddess of lust, revenge, and trickery. She has in her way taken the beliefs quite seriously – she never lets a slight go unpassed, even if it’s with a cutting remark or, in one case, a song that drove the man who insulted her body (he said she was too buxom to be a proper Calistrian temple-worker) to financial ruin by composing a song about his, er, sexual lack of prowess, and then paying to have it sung in a dozen taverns. (He has sworn to kill her, but has been unsuccessful, mostly due to losing most of his money and being unable to pay anyone to kill her, and not being a skilled combatant himself.) The way she managed to do this got her a number of complements in the temple – all three of the Sacred Sting’s interests in a single complex act.
She does have a very sybaritic nature, and believes in the idea of “Lead me not into temptation – point the way and I’ll go there myself” as a guiding principle. But when she hears about more information about demons, she will move to find it and ignore her tendency towards self-interest. She’s also a sucker for a sob story, and always willing to buy someone down on their luck a meal or a drink, and a child beggar gets some coin every time.
If there’s a phrase for her behavior, it would probably be “wielder of tactical sexuality”. She has no issues with the idea of using her sexuality in a way that distracts an opponent or in some other way gives her an advantage. She lost her virginity at 15 to manipulate a man, and found she didn’t miss it at all. She’s a good listener, excellent at comforting, but also able to be quite ruthless. In that, she’s learned the lessons of Calistra quite well.
|Pragmatism.||The Ballad of Master Three-Inch.|
- Ellie King, “Good Girls Don’t”
Juliette doesn’t really give a damn about your ideas about sex. She’s not a ‘conventional’ good girl, and she’ll smack you around if you try to look down on her.
- Saga, “On The Loose”
No one can stop her or tell her how, tonight she’s on the loose.
- Ricky Martin, “Living La Vida Loca”
Juliette is a hedonist and a sybarite, she’s been an ecdysiast when it seemed like a good idea, and she loves every day of it.
- Queen, “Seven Seas of Rhye”
A bit of bragging about herself.
- Berlin, “Sex (I’m A…)”
A lot of her identity is centered around sex, to the point it’s as much a weapon for her as her sword or her magic. She’s a lot of things, and know how to be even more.
- Lindsey Stirling, “Dragon Age”
She’s a excellent dancer and a fiddler – this is the kind of thing she’d play.
- Little Boots, “Remedy”
A bard believes in the healing, the spiritual, the magical power of music, and of everything it can do. Music is her remedy for just about everything.
- The Like, “Fair Game”
It’s all the kind of crazy stuff that goes on, and when you’re looking for love or revenge, just about anything is fair game anyway.
- Ellie King, “Good Girls Don’t”
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