TEXT:  
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
  2: 
  Editorial 
   
   
   
   
   
   
  R. E. B. Tongue 
  3: 
  Legendary Items: A Herol Follow-up 
   
   
   
  Carl Quaif 
  5: 
  War Paintings in D&D  
   
   
   
   
  Tosatt Earp 
  8: 
  Some Enchanted Item - Greywand 
   
   
   
  Erin D. Smale 
  10: 
  Deadly Wounds and Balanced Combat  
   
   
  Erin D. Smale 
  15: 
  The Bard: A Revitalized Class for the OD&D Game 
   
  Geoff Gander, Marco Dalmonte,  
  and Carl Quaif 
  27: 
  Luigi's Symphony 
   
   
   
   
   
  Geoff Gander 
  30: 
  The Immortal Game 
   
   
   
   
   
  Jesse Walker 
  33: 
  Secondary Skills for OD&D 
   
   
   
   
  Mike Stewart 
   
  Editor: R.E. B. Tongue 
  Publisher: R. E. B. Tongue 
   
  
   
  2 
   
   
  Interestingly enough, this is the third editorial I have had occasion to write for this issue. Getting this 
  one out has been a long, hard slog – not because of shortage of material, but because of other problems. 
  As far as I am concerned, these are now over, and I intend to make OD&DITIES my primary focus once 
  again. In short, all will now be as it was, I hope. A little house news, first – OD&DITIES Twelve is 
  scheduled for April, with a March release possible if I get material in. As well as the normal range of 
  material that is found in OD&DITIES, there will be two themes in the next issue. The first will be, 
  ‘Classes and Races’ – an assortment of new classes and races for OD&D. I had quite a bit of material of 
  this type in, enough that I’ve decided to make a special based on this. The second will be ‘Your Keep’. 
  This will be a collection of variations on the ‘Keep on the Borderlands’ that have been created over the 
  years by various people – let’s get these in. I’ve been doing a bit of modifying myself recently, now that 
  I’m running the module (for the first time), so I know that almost everybody must be doing something 
  along these lines. 
   
  News on the OD&D front. Troll Lord Games is producing a new rules system, a light version that 
  apparently will use the D20 as its system but will simplify it in a similar way to OD&D. The rumours of 
  those involved in the project are flying around – the word is that Gary Gygax and Rob Kuntz are 
  involved in producing material for the new system. Could it be that the long awaited Castle Greyhawk 
  will finally be here? Only time will tell. They may not be the only one working on such a project. More 
  rumours of Hackmaster Lite are coming up again – and if any company can be trusted to do OD&D 
  justice, I suspect that it is Kenzer (though I must admit that Troll Lord runs a very near second). Other 
  companies are thinking about such works, also – and I believe that it is at least partly due to the efforts 
  of people in the Guild of OD&D (check it out if you have not done so!), Dragonsfoot, Mortality.net, and 
  other places to keep the spirit of the old games alive. Let us keep up the pressure, and one day we might 
  just get OD&D back again. Already it has been made available for purchase once more in pdf form, 
  along with a large number of the old modules – could this even have been conceived three years ago, 
  back when OD&DITIES was in its early days? 
   
  So, this is a time for triumph. In my opinion, though, it is not a time for complacency. Let us keep 
  working for OD&D, and let us keep the flame burning, brighter than ever. To this end, there are a few 
  new things in the works. The more eagle-eyed will have noticed that ‘Getting Started’ is no longer a 
  feature of the magazine. There is a reason for that – I have of late been penning a supplement entitled 
  ‘Getting Started in OD&D’, a forty-page PDF – and it is almost finished. Expect it out later in the 
  month. It takes a lot of the material in the original column, but introduces some new material as well, 
  including adventures, floorplans, sample characters, and everything needed bar the rulebooks (and it 
  contains new details on how to pick those up). Know anyone interested in roleplaying? Send them this 
  PDF, or direct them to it.  
   
  What else is in the works? Well, we have the D&D Player Registry, the first edition of which is available 
  now, both through the Guild list and on the OD&DITIES website. Only six entries at the moment, so 
  everyone please get your lists in! I intend to update this weekly, as long as sufficient new entries are in. 
  If you are looking to set up a game, send the details in as well – but please update me as to its success. 
  Well, that’s all for this issue. Please, please get your submissions in to Methuslah@tongue.fsnet.co.uk, 
  send in any thoughts, ideas, or comments. 
   
   
  My Thanks, 
   
   
   
  Richard Tongue 
   
   
  
   
  3 
   
   
  Despite the fact that Herol’s Age of Legends 
  ended 
  cataclysmically 
  nearly 
  a 
  thousand 
  centuries ago, certain relics of that age have 
  managed to survive through the intervening 
  millennia – either because they were well-
  protected, or through sheerest fluke. This article 
  provides a smattering of those surviving items, 
  which provide a tantalising glimpse of life in 
  Herol’s lost past.  
   
  Memory Globes: These are 3”-diameter globes of 
  flawless crystal. They are surprisingly sturdy and 
  heavy for their size (roughly five pounds), 
  although dropping one from a height of 10’ will 
  smash it as easily as if it were blown glass.  
   
  If placed on a stand, or low table, and commanded 
  to function, a Memory Globe records a three-
  dimensional-image (including sound, if desired) of 
  anything within a 10’ radius, until commanded to 
  stop. Another command will replay the image as a 
  remarkably lifelike Phantasmal Force, filling the 
  same area with a non-dispellable illusion – the 
  observer will be able to walk through the image 
  without affecting it in any way. A further 
  command can erase an image, ready for re-
  recording. 
   
  A Globe can store a total of three hours of images, 
  either continuously or broken up into segments, 
  and replay them indefinitely. Memory Globes 
  were employed in the Age of Legends primarily 
  for entertainment purposes – a few have been 
  recovered from archaeological digs and their 
  command words deciphered, revealing fascinating 
  glimpses of everyday life in the distant past, but 
  little useful information. An occasional Globe 
  might be discovered which was used for magical 
  or combat training  – some Wizards encoded spell-
  teaching demonstrations into the Globes, while 
  others contain displays of fighting techniques. It 
  is theorised that these items were used by 
  masters to provide training to their apprentices 
  without the need for the masters to attend; one 
  historian has even suggested that such Globes 
  were 
  made 
  commercially 
  available, 
  for 
  independent study!   
   
  Spell-Knives: 
  These 
  items 
  resemble 
  small, 
  gripless throwing-knives, made apparently of 
  unbreakable glass. They are perfectly balanced 
  for throwing, and radiate variable levels of 
  dweomer if a Detect Magic spell is cast on them. 
   
  In fact, Spell-Knives are actually low-level attack-
  spells, enchanted into the form of a knife for the 
  use of non-mage users. The metamagic used to 
  make the spells permanent is long lost, perhaps 
  irretrievably so. Designed to activate when a 
  Spell-Knife is thrown at a target, the spell is 
  released only on a successful hit – if it misses, the 
  Knife can be retrieved for later reuse. A 
  successful strike causes 1hp damage from the 
  sharp blade, at which point the Knife explodes in 
  a flash of multicoloured light, releasing the 
  attack-spell to affect only the target (no saving 
  throw). 
   
  Suitable spells for this enchantment – or at least, 
  those that have been uncovered to date - are 
  Fireball (which affects those around the target as 
  normal), Lightning Bolt, Hold Person, and Charm 
  Person. Other, perhaps long-lost spells may be 
  contained in unused Knives, but there is no way 
  of discovering what spell is preserved in an 
  individual 
  Knife. 
  Present-day 
  magic 
  can 
  determine the rough level of spell in a particular 
  Knife, but the only way to know for certain is to 
  use the item in combat.  
   
  Only a very few Spell-Knives have been found, 
  despite their indestructible nature. As they are an 
  irreplaceable resource, they are rarely used in 
  combat, although the occasional Spell-Knife has 
  been seen in battle – often to good effect, as a 
  person struck by one of these weapons does not 
  receive a saving throw versus its effects. 
   
  Cadiram’s 
  Travel-Platform: 
  Named 
  for 
  the 
  discoverer of the first such item, this is a 6’ wide, 
  6” thick circular platform made of an unknown 
  metal alloy, with a horizontal bar of the same 
  alloy supported by vertical struts at a height of 3’ 
  around the entire circumference (for holding onto 
  when the craft is in motion). The Travel-Platform 
  can hold up to ten standing passengers in relative 
  comfort. 
   
  When a command word is spoken, the Travel-
  Platform rises in to the air and moves about like a 
  Flying Carpet; however, this item can also be 
  used to travel underwater (by casting Water 
  Breathing on the passengers), in extremely hot or 
  cold climes (Fire/Cold Resistance), or in thin 
  atmospheres – perhaps even outer space (Create 
  Air)! These spells are cast automatically, and the 
  
   
  4 
  Travel-Platform activates as many as are needed 
  at one time (for example, in deep oceans, both 
  Water Breathing and Cold Resistance would be 
  cast at once).  
   
  Further command words may be used to generate 
  powerful beams of Continual Light from the 
  Travel-Platform’s edge, to render the craft 
  Invisible, or to protect passengers from harm with 
  a Force-Field, but these must be discovered; they 
  are not automatic. Some examples, it seems, were 
  also fitted with weapons systems; Magic Missile 
  or Lightning Bolt-firing Wands deploy from the 
  underside 
  of 
  the 
  Travel-Platform, 
  and 
  automatically track the offending target. There 
  may be other useful features incorporated in to a 
  Travel-Platform, but these are the only ones so 
  far discovered.  
   
  Only two Travel-Platforms have ever been 
  recovered. Cadiram unearthed his a century ago, 
  from deep within the solidified lava-plug of an 
  extinct volcano on the continent of Gileme – the 
  device was protected by its still-functioning Force 
  Field, although its luckless passengers were by 
  then no more than dust on the Platform’s surface. 
  The other crash-landed in the Northwestern 
  Territories 20 years ago, having been in orbit 
  about the planet for many millennia – again, it 
  was protected from serious harm by its powerful 
  Force Field; it is currently the prize of the 
  Dorinwarf Dwarf Clan. 
       
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
  
   
  5 
   
   
  It is an old custom, especially amongst the 
  warriors of less civilized humanoid tribes, to paint 
  body and face before entering in battle. This is an 
  extremely old usage that probably dates from the 
  first savage Trolls at the beginning of their racial 
  history. This practice quickly spread through 
  other humanoid races (like Orcs, Kobolds, 
  Goblins, Bugbears, Gnolls, and even Ogres), and 
  it was adopted even by many primitive human 
  and demi-human tribes. So, after some decades, 
  warriors of any human-like sentient kin almost 
  universally used the war paintings. 
   
  Even if many other races used those colors, it is 
  important to remember that it was originally 
  created 
  by 
  Trolls, 
  so 
  its 
  meanings 
  and 
  representations are strictly related to trollish 
  view of the world and racial folklore. Today, it is 
  fairly uncommon to find “civilized” warriors who 
  deeply knows this old ritual, that is nearly 
  forgotten by all but a few of savage humanoid 
  tribes scattered across the vast world. Despite 
  this, the combatants who still practice this ritual 
  painting regard at it as a great sign of power and 
  prowess. Savage warriors often paint themselves 
  with ritual drawings before entering in war with 
  their enemies or engaging in battle. Only a few 
  mundane fighters still knows and practice the 
  war paint in this days, and so it is quite rare to 
  encounter warriors painted in such manner 
  during the conventional adventures. 
   
  ORIGINS OF THE WAR PAINTINGS 
  The descent of this paints is lost in the spires of 
  Time and it’s probably old as the fiery trollish 
  race. 
  It is said that the first to use war paintings was 
  some tribes of warriors who dwelled deep in 
  luxuriant forests or near the shores of rivers and 
  lakes. It seems that was habit amongst them to 
  distinguish the bravest and fearless fighters with 
  ritual drawings, traced on their bodies and faces 
  with vegetable colored inks, following a mystic 
  ritual known only by the tribe shaman. 
  The war paintings, which are called Trurrgâr in 
  the trollish language, were considered a sign of 
  great honour and the highest reward conquerable 
  in battle. The Krurrgâr (“Painted Warriors” in the 
  trollish language) were a high-status social class, 
  respected by their own tribal companions and 
  feared by enemies in battle. With the passing of 
  time, the paintings almost completely lost their 
  distinguishing value, and merely became ritual 
  decorations used both to scare the enemies and 
  invoke help in battle upon their wearer. 
   
  As such, they were traced either by the tribe 
  shaman or by the more expert tribal warriors, but 
  it is still considered sacrilegious and unlucky to 
  use it without the proper drawing ceremony. 
  Actually their use is confined to few uncivilized 
  humanoid tribes, and to those warriors more 
  faithful to their ancient traditions. Between such 
  (uncommon) individuals, it is still possible to find 
  some adventurers who walk the many ways of the 
  world. 
   
  MEANING OF RITUAL PAINTING COLORS 
  As said before, all the colors used for war 
  paintings are obtained from vegetable essences, 
  through various processes handed down over 
  millenniums and still unchanged.  
  The ritual colors are the following: 
  • 
  Red (or Orange): it means rage and blood. Is 
  used to represent the battle wrath by which 
  the warrior is pervaded with, and his 
  uncontrollable desire to spill the enemy’s 
  blood. 
  • 
  Ochre (or Yellow): it symbolizes the baneful 
  essence of the sunbursts, that can directly 
  transform even the mightiest Troll warrior in 
  cold stone. It is rarely used and only by those 
  delvers who actively seeks the death in battle, 
  fighting like berserkers to the extremes 
  consequences, to cleanse a previous act of 
  cowardice or shame. 
  • 
  Blue: it means night, darkness and night sky. 
  Is primarily used by those warriors who are 
  used 
  as 
  skirmishers, 
  explorers 
  or 
  commandoes, and must use stealth more than 
  brute force. 
  • 
  Indigo (or Azure): it symbolizes the endurance 
  and persistence proper of all trollish race. 
  Many warriors have achieved this color due to 
  their great resistance to pain or fatigue of for 
  their attitude to be tireless even in the most 
  stressful situations. 
  • 
  Green (or Pale Green): it means bravery and 
  ardour. Is one of the most utilized war colors, 
  often in conjunction with the Red. The 
  tradition imposes that it can never be used in 
  combination 
  with 
  Ochre, 
  because 
  a 
  dishonoured warrior cannot be considered 
  courageous at the same time. 
  • 
  White: it symbolizes physical strength and 
  brute force. Only the strongest and mightiest 
  
   
  6 
  warriors use this color in battle. They are 
  exceptionally 
  strong 
  (even 
  for 
  trollish 
  standards) and are able to wield melee 
  weapons that will normally require the use of 
  two hands with only one hand, thus allowing 
  them to be awesome foes in hand-to-hand 
  combat. 
  • 
  Black (or Grey): it means death and is one of 
  the unusual colors to be seen. The warrior is 
  determined to fulfil his duties at any cost and 
  will go to any distance before surrendering. It 
  is primarily used by those delvers who 
  pronounce solemn oaths of vengeance. 
  • 
  Brown: it symbolizes the Earth, both intended 
  as the Creator of Life and as the Bones of the 
  World. Is the more mystical color and is often 
  used by shamans. It is also intended as the 
  endurance that a warrior must have to 
  withstand adversities, and in such sense is 
  frequently associated with Indigo paintings. 
  • 
  Purple (or Violet): it means the swiftness and 
  smartness in combat. Is reserved primarily to 
  tribal chiefs or warlords and is never used 
  alone or in conjunction with the Ochre color. 
  Generally, it is believed that has the power to 
  inspire his wearer to conduct his army or 
  tribe, and as a rule is traced exclusively by 
  shamans or tribal chiefs. 
   
  RITUAL PAINTINGS AND THEIR SHAPES 
  The war paints have a well-defined range of 
  possible shapes, depending on the body location 
  upon which it is traced. On the forehead can be 
  drawn only circles or horizontal stripes. The 
  latter are used for the most experienced warriors. 
  The eyes can be circled with rounded, oval or 
  (rarely) squared outlines. The latter are used only 
  for young or inexperienced warriors, while 
  spherical shapes are used indifferently from all 
  other combatants. On nose and cheeks can be 
  traced horizontal or vertical stripes, and this is 
  also true for the chin, which can also be entirely 
  painted of one color. Alternatively to those said 
  above, the entire face could be painted on one 
  color or two. In this second case there can be 
  three different options: one color for the upper 
  half and another color for the lower half; or one 
  color for the left half and another color for the 
  right half; or alternated stripes (either horizontal 
  or vertical) made from the two different colors. 
   
  The war paint is principally applied on the 
  warrior face and a fighter will never go into battle 
  without having painted his face. The facial tints 
  represent the warrior attitudes and personality 
  and are considered the most important of all. On 
  arms and legs can be painted vertical or 
  horizontal stripes, or circles, or ovals, or squares, 
  or the limbs can even be painted entirely of one 
  color. No more than one color can be combined 
  when painting limbs. Also hands and feet are only 
  wholly painted of a single color. This tint can be 
  the same color of those applied on face or a 
  different 
  one, 
  and 
  symbolize 
  the 
  warrior 
  capability of battling. They are used infrequently 
  and only by the most proud or bully combatants, 
  especially for those applied to hands and feet. The 
  chest, abdomen and back are painted exactly as 
  the limbs and represent the warrior durability 
  and persistence. Only the wisest or mightiest 
  fighters are allowed to use it. Other than the few 
  rules and significance seen above, there no special 
  rules to be followed when applying war paints 
  and their disposal is entirely left up to the warrior 
  creativity. 
   
  WAR PAINTINGS IN D&D  
  If you decide to use the war paints in your D&D 
  game, keep in mind that it are seldom used by 
  mundane civilized warriors and are reserved only 
  for those fighters (especially humanoids) who 
  came from savage or isolated tribes, or are 
  particularly tied to their ancestral origins. 
  Savage tribes guards with suspicious and dislike 
  (at best) any non-fighter character that uses their 
  war paintings. The tribesmen may decide to 
  harshly punish or even kill those who wear their 
  drawings without being entitled to do so. The 
  warriors who put on war paints are considered 
  exceptionally savage and bloody, even by those of 
  their own race. Humans, Elves and Hobbits often 
  judge them as sanguinary and incapable of mercy, 
  and so they don’t deserve clemency to them. 
  Dwarves are sworn enemies of painted enemies of 
  other races, and fight them to death, maybe 
  remembering 
  their 
  ancestral 
  wars 
  at 
  the 
  beginning of Time. 
   
  On the other side, tribal warriors beat, mutilate 
  or even kill any member of another Class who is 
  so brave or crazy to put on their ritual paintings. 
  This is done without exceptions and the colors are 
  never applied to whoever isn’t a fiery warrior. The 
  various effects of the war paints are efficacious 
  only if inscribed by a warrior on another fighter 
  (or by a warrior on himself), by using the 
  appropriate ritual known only by shamans, expert 
  warriors or savage fighters (is up to the DM to 
  decide if one delver can have this mystical 
  knowledge). This ritual is called Rutziggrarr (the 
  trollish word that stands for “Mystical War 
  Color”) and it requires about one hour to be 
  completed. 
   
  The wearer of the war colors must concentrate for 
  2-12 minutes, filling his mind and spirit with 
  images of battle and courage – this is done by 
  making a test on Int. The person who drew the 
  paintings must make the same test. If the wearer 
  and the drawer are the same person, he must 
  
   
  7 
  make a single test on Int with a –2 penalty. If 
  even one of these tests fails, the ritual has no 
  practical effects in game terms, but must be 
  completed anyway. After having purified their 
  spirits, the drawer and the wearer may decide 
  which colors paint – with the limitations seen 
  above in the color description. The maximum 
  number of different colors that can be painted are 
  determined as follows: 
   
  Wearer Int+Wis+Cha Max # Colors 
  15 or less 
  1 
  16 – 36 
  2 
  37 – 50 
  3 
  51 or higher 
  4* 
  * In addition to any limitation seen above, the 
  war paintings must be traced by a tribal shaman 
  or by a warrior of at least 15th level. Also, the 
  warrior who gets painted must be at least of 12th 
  level. If these requirements are not meet, the 
  maximum number of different colors is limited to 
  3. 
   
  Here follows the description of the various game 
  effects keyed to the war colors. Always remember 
  that these effects are cumulative (except for the 
  duration) if more than one color is used and are 
  independent of the shape the war paintings are 
  outlined. Also keep in mind that all effects are 
  useful only if the paintings are traced on a 
  Fighter.
   
   
  • 
  Red/Orange: double the warrior bonus to hit 
  and damage due to Str for the duration of an 
  entire combat. 
  • 
  Ochre/Yellow: double the warrior bonus to hit 
  and damage due to Str, temporary doubles his 
  HP, but halve his Wis; the effects lasts for an 
  entire combat. The fighter cannot retreat from 
  the melee and if the wearer is still alive at the 
  end of the fight, he must succeed in a ST vs. 
  Death Ray or permanently lose 1 points of 
  Con, Wis or Cha (randomly determined). 
  • 
  Blue: the warrior reduce gains a 90% chance 
  in hiding and/or stealth. He also inflicts 1 
  extra point of damage in melee combat for 
  every level of experience. This bonus lasts 
  from dusk to dawn. 
  • 
  Indigo/Azure: the warrior’s HP are doubled 
  for the duration of an entire combat. 
  Alternatively, 
  the 
  fighter 
  can 
  sustain 
  exceptional physical efforts (like running, 
  swimming, going without sleep or food and 
  water, etc.) without suffering any penalty for 
  double of normal time. The desired effect must 
  be specifically chosen when the painting are 
  traced and, if the latter outcome is chosen, at 
  the end of the time period the warrior must 
  succeed in a ST vs. Death Ray or permanently 
  lose 1 point of Con. 
  • 
  Green/Pale 
  Green: 
  the 
  warrior 
  becomes 
  immune 
  to 
  any 
  type 
  of 
  fear 
  or 
  discouragement, 
  even 
  of 
  magical 
  or 
  supernatural origin, for a number of turns 
  equal to hi Cha score. He also gains a special 
  +2 bonus to any ST vs. mind-influencing 
  Spells that he must make during this time 
  period. 
  • 
  White: the warrior ‘to hit and damage’ 
  bonuses due to Str are multiplied by four for 
  an entire combat. During this fight he can use 
  melee weapons that normally requires two 
  hands to wield it with only one hand, thus 
  using two of them at the same time in combat. 
  If he desires to do this combat feat, at the end 
  of melee he must succeed in a ST vs. Death 
  ray with a +4 bonus, or permanently reduce 
  his Str by 1 point. 
  • 
  Black/Grey: the effects of this war painting 
  lasts until the color is washed away or 
  otherwise removed from the warrior skin. All 
  fighters’ ST gains a +4 special bonus, and he 
  gains a +1 bonus to hit and damage rolls per 
  experience level. When the warrior quest is 
  fulfilled or the paintings are removed, the 
  wearer must reduce all his attributes by 1 
  point. 
  • 
  Brown: doubles the warrior’s HP and make 
  him automatically succeed in any Strength 
  and Constitution Tests. This lasts for a 
  number of turns equal to the warrior’s 
  original Con. 
  • 
  Violet/Purple: the warrior gains a bonus of +2 
  to hit and damage rolls for every experience 
  level, and his AC is lowered by 1 for every 3 
  points of Con (round fractions down). He also 
  gains a +1 bonus to any ST and can double his 
  Cha for purpose of commanding or influencing 
  and army or warband. The above effects lasts 
  for a number of hours equal to the wearer’s 
  experience level or the double of his Cha score 
  – whichever is lesser. 
   
  LIMITATIONS TO USE OF WAR PAINTINGS 
  As said previously, the war paintings have effect 
  only if traced on a fighter by a shaman or warrior 
  by following the appropriate Rutziggrarr ritual. 
  Moreover, the colors can be painted only one time 
  per month. Specifically, Trolls says that war 
  paints do not have any effect if are tinted again 
  on the same fighter before the moon has 
  completed a full cycle. 
  
   
   
  Some Enchanted Item features a unique magic 
  item in each issue of OD&DITIES, complete with 
  a loose historical context that may be adapted 
  easily to any OD&D campaign and adventure 
  hooks wherein the item itself can be central to 
  game play. Our third instalment introduces 
  Greywand, a sword forged against the power of 
  humanoids in general and orcs in particular.  
   
  History 
  Six centuries ago, the now-sundered kingdom of 
  Leodwored stood as the most influential nation of 
  mannish peoples united under one banner. Along 
  the kingdom’s northern border, the Duchy of 
  Esobran was home to The Esteemed Order of the 
  Protectors of the Northern Havens. This knightly 
  brotherhood was charged, as it is today, with 
  protecting the kingdom from humanoid raiding by 
  the orc tribes beyond Leodwored’s northern 
  frontier. After ten years of successful defensive 
  campaigns 
  against 
  the 
  orcs, 
  the 
  Order’s 
  Champion and First Sword, Marhared, struck 
  north into orcish territory. Chroniclers of the 
  invasion noted that Marhared bore an enchanted 
  sword 
  named 
  Greywand 
  and 
  the 
  shield 
  Quiverbane1 as proof against any orcish arrow. 
  Sadly, Marhared was to lead his 100-strong cadre 
  of elite knights to its doom. When Marhared’s 
  dismembered body was found, no trace remained 
  of his magicked arms. 
   
  As 
  is 
  common 
  amongst 
  mortals, 
  rampant 
  speculation exists as to their whereabouts. That 
  Quiverbane was taken by the orcs has been 
  divined through spell-craft. The fate of Greywand, 
  however, has escaped revelation, prompting much 
  research into Leodwored’s forgotten lore for clues 
  as its location. The knowledge found has been a 
  cause for celebration, inspired fervour, non-
  secular debate, secular devotion, and arduous 
  questing. The first allusion to Greywand appears 
  in the Leodwor Book, a collection of historical 
  writings that predates the kingdom itself by some 
  250 years. In this tome, the blade is referred to as 
  “Ormdall’s Lancet,” described as “a divine-
  wrought 
  anelace 
  of 
  retribution 
  against 
  Blackspawn [orcs], fashioned in the Law-Forge of 
  Jorg.”2 Other sources assert that while Greywand 
                                                   
  1 The shield Quiverbane is described in last issue’s 
  instalment of Some Enchanted Item. 
  2 In the Nord pantheon, Ormdall the Warrior is the 
  Lawful champion of men against orcs; Jorg, the 
  Greysmith, is the Armourer of the Gods. The 
  was a gift from the Immortal Ormdall, it was 
  periodically lost to the keeping of Men. Indeed, 
  there are long chronologies of Leodwored’s 
  frequent orc wars wherein no mention of the 
  weapon’s use is made. Whether “lost” means 
  physically misplaced or recalled by its divine 
  master is not clear. 
   
  Thus, the common belief is that Greywand was 
  reclaimed by Ormdall, supposedly to be returned 
  when again it was needed. Though this theory 
  accounts for the blade’s absence, it does not 
  explain its non-appearance during the violent orc 
  wars 
  of 
  Esobran’s 
  immediately 
  subsequent 
  history. Few challenge this belief, however, 
  believing that such is the will of the Immortals.  
   
  Appearance and Powers 
  Greywand is a normal sword +0, +2 vs. orcs 
  fashioned from a dull steel alloy. The weapon’s 
  double blade keeps its edge magically, while the 
  hilt, wrapped in cloth of deep azure, moulds itself 
  to the hand of the wielder (Greywand cannot be 
  fumbled). The silvered pommel is capped with a 
  sapphire inside of which the tiny figure of a 
  hawk—the animal companion of Ormdall—may 
  be seen. To any Lawful bearer, the Keen-Blade 
  grants Alertness (as the General Skill; RC/82; if 
  General Skills are not used, allow a +1 to any 
  Surprise roll (RC/92) vs. humanoids). Greywand 
  is also capable of loosing a non-rebounding, two-
  dice (2d6) Lightning Bolt (RC/49) to orcish 
  combatants, up to thrice per day. 
  If the bearer is an adherent of Ormdall, the 
  effectiveness of the Lightning Bolt is increased to 
  four dice (4d6). Further, the wielder may summon 
  and control a normal hawk (CC (1986)/16; CC 
  (1993)/52) that can communicate with the bearer 
  empathically. This hunting bird remains for one 
  turn per level of the wielder and may be 
  summoned once per day. If slain, the hawk 
  disappears and regenerates inside the blade’s 
  sapphire pommel within one week’s time. 
   
  Adventure Hooks 
  Greywand, the Keen-Blade, may spawn any of the 
  following adventures: 
  • 
  The various chapters of The Esteemed Order 
  of 
  Protectors, 
  found 
  throughout 
  the 
  independent kingdoms that represent the 
  vestiges of fallen Leodwored, do not despair of 
                                                                                 
  Esteemed Order of the Protectors, formed into 
  numerous chapters, is the fighting order of Ormdall, 
  based throughout the Leodwored territories. 
  
   
  9 
  reclaiming the divine blade. Each year, on the 
  anniversary of Marhared’s invasion into 
  orcish territory, the Order sponsors The Blade 
  Seek, a quest launched to recover the 
  Greywand. Initially, the quest’s participants 
  were limited to knights of the Order. 
  However, within the last century, anyone 
  with allegiance to the Nord Pantheon may 
  join the hunt. Thus, in addition to knights of 
  the Order, the quest is engaged by nobles, 
  adventuring parties, secular and non-secular 
  elements 
  of 
  Ormdall’s 
  following, 
  glory-
  seekers, and mercenary bands. Within any 
  kingdom that was once part of Leodwored, the 
  PCs surely hear of The Blade Seek and may 
  opt to participate. If the DM wishes to 
  incorporate 
  The 
  Blade 
  Seek 
  into 
  his 
  campaign, he must fabricate clues as to the 
  blade’s 
  possible 
  whereabouts, 
  what 
  encounters occur during the quest, and 
  possible outcomes if the blade is found (if, 
  indeed, it can be found). 
  • 
  The Leodwar Book’s account of Greywand is, 
  in reality, a cock-and-bull story, either 
  written by zealous clerics of Ormdall or 
  contrived to bolster worship of the Nord 
  Warrior. In truth, the northern orc tribes 
  ward the blade. In this respect, it may be 
  secured simply as a spoil of war or as 
  insurance against its further use by Men. 
  Either way, the PCs, caught up in the 
  pageantry of The Blade Seek or merely at the 
  right place at the right time, discover 
  Greywand nestled within the orc warrens of 
  the north. The orc complex, its defenders, and 
  the security surrounding the blade are up to 
  the DM. Regardless, if the party returns to 
  civilisation 
  with 
  Greywand, 
  it 
  will 
  be 
  heralded as heroes of a new age of conquest 
  over the orc foe. 
  • 
  One (or more) of the PCs is an adherent of 
  Ormdall, visited by the Immortal in a dream 
  that reveals the location of Greywand. If the 
  PC is a member of The Esteemed Order, 
  assume that he has been handpicked to 
  recover the blade. Otherwise, it may be 
  speculated that Ormdall has, for whatever 
  reason, deemed the Order unworthy, instead 
  selecting an unaffiliated worshipper to bear 
  his divinely wrought sword. The DM must 
  determine the blade’s location, the encounters 
  that present during its recovery, and the 
  nature of the Keen-Blade’s keeping. When the 
  party returns to civilisation, it is challenged 
  by the envy of the Order, but nevertheless 
  compelled to somehow lead a major campaign 
  against the orcs. 
  • 
  A series of orc raids have escalated into full-
  out 
  war, 
  and 
  Greywand’s 
  recovery 
  is 
  necessary to combat the humanoid host. The 
  PCs may seek the blade either on earthly 
  ground or amongst the planes of multiverse, 
  where Ormdall has perhaps hidden Greywand 
  against discovery by the unworthy. The DM 
  can create an epic adventure across worlds, 
  essentially providing an opportunity for the 
  party to save civilisation from unstoppable orc 
  marauders. 
  • 
  The party, entirely ignorant of The Blade 
  Seek, Leodwared, or Esobran, discovers 
  Greywand in some treasure hoard. With the 
  Keen-Blade in its possession, the party 
  encounters participants of The Blade Seek, 
  who either attempt to wrest possession of the 
  blade from the party or compel the PCs to 
  return to Esobran where the blade can be 
  used against the orcs (who, naturally, are 
  massing raiding bands along the kingdom’s 
  northern border). Eventually, the party learns 
  of Greywand’s history, and it may elect to 
  journey to the defence of a kingdom it’s never 
  heard of. Alternately, the party might 
  continue on its way, equipped with the 
  priceless blade (of course, Ormdall may have 
  other 
  plans 
  for 
  the 
  PCs. 
  . 
  .).
   
   
   
   
   
   
   
   
   
   
   
   
  
   
  10 
   
   
  Introduction 
  Since the inception of OD&D, players have 
  created probably dozens of "critical hit" systems 
  to enhance the experience of game combat. Unlike 
  combat in the official rules, wherein opponents 
  simply whack at each other in a literal battle of 
  hit point attrition, combat with critical hit 
  systems attempts to simulate the quality and 
  effect of the weapon blows exchanged. Such 
  systems run the gamut from simply applying 
  extra damage to detailing graphic breaks and 
  sprains, internal bleeding, and the horrible squish 
  of important body parts.  
   
  As might be imagined, some critical hit systems 
  are deemed better than others, whether for 
  playability, realism, fairness, their compatibility 
  with the rest of the rules, or simply their effect on 
  the campaign. Given these factors, and their 
  varying weights within different playing groups, 
  it's difficult for any single critical hit system to 
  satisfy everyone's tastes. That said, this article 
  offers some advice regarding what a critical hit 
  system is supposed to do, what makes a critical 
  hit system work within the OD&D game context, 
  and finally, an actual critical hit system itself. 
   
  The Critical Hit System: What Is It Good For? 
  The job of any critical hit system is to make 
  combat more interesting, more realistic, or both. 
  Unlike "official" combat, where successful blows 
  simply chip away at a combatant's hit point total, 
  critical hit combat explains how those hit points 
  are lost through descriptions of where the victim 
  was struck and how the resulting injury 
  manifests.  
   
  Most critical hit systems go a step further by 
  connecting the type of hit described to a 
  corresponding amount of damage. As a by-
  product, blows to vital areas can mean instant or 
  near-instant death for the victim, while non-
  lethal 
  hits 
  impose 
  other, 
  lesser-yet-nasty 
  limitations. For example, a brilliant sword blow to 
  the target's head might signify decapitation, 
  while a slice of the victim's hamstring might only 
  reduce the target's movement rate. 
   
  The results of such outcomes are far-reaching. 
  First and foremost, combat is often far deadlier, 
  since a single critical hit can slay a combatant 
  instantly. Second, 
  critical 
  hits can 
  impose 
  significant realism in the campaign because the 
  results, instead of merely subtracting "intangible" 
  hit points, impose specific and detailed wounds. 
  Third, the results of critical hits can provide role-
  playing opportunities for afflicted characters, as 
  certain abilities and skills are degraded, and 
  various means of healing are sought. Given these 
  qualities, it's fair to say that a workable critical 
  hit system has the potential to truly enhance any 
  OD&D campaign; that's the attractive part. But 
  developing that workable system is harder than 
  most believe—that's where things can get ugly. 
   
  Critical Hit System Checklist 
  While the critical hit outcomes described above 
  certainly make for interesting combat, details are 
  subject to interpretation. For example, how does a 
  blow to the leg or a sliced hamstring manifest? 
  Reduced movement? If so, how much of a 
  reduction? Should movement even be permitted? 
  Is weapon damage applied as well? What of 
  bleeding or shock? How is the damage healed and 
  how long does it take? 
   
  Such questions reveal the subjective element that 
  dooms many critical hit systems. No two OD&D 
  campaigns are identical, and the degree of 
  realism within each is a distinguishing factor. In 
  practice, then, a critical hit system that works 
  well in Group A's campaign is not guaranteed—or 
  even likely—to work well in Group B's campaign. 
  Given this, it would seem impossible to create a 
  critical hit system suitable for general OD&D use. 
  Yet if the concept of a critical hit system is broken 
  down into the components that affect the 
  campaign in general and combat in particular, it 
  is possible to view those individual factors and 
  perhaps devise a workable variant. To this end, 
  I've identified five game areas in which a critical 
  hit system's affects are felt: 
   
  Playability 
  Is the critical hit system easy to use? Does it 
  disrupt the flow of the game or make combat 
  unnecessarily complex? If the system requires 
  extra die rolls, frequent consultation of charts and 
  tables, or anything above the simplest addition 
  and subtraction, it may be too cumbersome to be 
  useful. If combat takes twice as long to resolve, 
  the system is definitely too cumbersome.  
   
  Another aspect of playability is the system's 
  learning 
  curve. 
  For 
  some 
  OD&D 
  players, 
  especially novices, combat resolution can be 
  
   
  11 
  confusing. Knowing what options are available, 
  when to attack, which dice to roll, and how to 
  interpret the results can be daunting for any 
  player; even experienced gamers are sometimes 
  overwhelmed when resolving fights between large 
  numbers of combatants. If the critical hit system 
  is harder to grasp than the official combat rules, 
  it's not likely to be popular or even fun to use. In 
  terms of playability, then, the ideal critical hit 
  system would provide results without using too 
  many factors external to official OD&D combat. 
   
  Realism 
  Do the results of critical hits make sense? Could 
  the wounds described actually occur? Almost 
  every critical hit system allows for some sort of 
  "instant kill," whether by decapitation, an arrow 
  to the heart, a crushed skull, et. al. However, 
  even within the context of heroic fantasy, it's 
  probably quite difficult to land such a telling 
  blow. For example, prisoners slated for the 
  mediaeval chopping block often bribed their 
  executioners to ensure that the deed was done 
  with a single hit. If it was hard for an 
  executioner, prepared with a sharpened sword or 
  axe, to decapitate an unprotected, stationary 
  prisoner, how likely is it for Ragnar the Fighter to 
  slice through an armoured ogre's thick neck 
  during the chaotic press of combat? 
   
  On the other end of the spectrum, are the results 
  too realistic? If the system imposes a "to-hit" 
  modifier for a wrist sprain or requires a saving 
  throw to stave off infection or shock, it may be too 
  heavy on detail. When realism impinges on ease 
  of use, the system is probably attempting to 
  simulate too much. Frequently, realism and 
  playability 
  have 
  an 
  inversely 
  proportional 
  relationship: the more playable a system, the less 
  realistic it tends to be. Conversely, the more 
  realism a system attempts to capture, the harder 
  it is to play. The ideal critical hit system would 
  balance realism and playability to the campaign 
  group's satisfaction. 
   
  Fairness 
  Is the critical hit system fair and balanced? Are 
  critical results merely lucky rolls that point to 
  instant death? Do they occur with such frequency 
  so as to be mundane and expected? If critical hits 
  are equivalent to death warrants, and they occur 
  more often than not, the system is likely neither 
  fair nor balanced. 
   
  The best way to find out for sure is to rule that, as 
  long as characters can inflict critical wounds on 
  opponents, those opponents can inflict critical 
  wounds on them. After all, if PCs were immune to 
  critical hits, they would have an unfair advantage 
  over their foes. See how the player of Ragnar the 
  Fighter's face goes white when he realises that 
  his beloved warrior could turn into a headless 
  corpse with one lucky blow?  
   
  As a rule, if players blanch at being on the 
  business end of a critical hit, the system isn't fair 
  or balanced; fixing it probably means toning down 
  the frequency and ferocity of dire and fatal 
  results. The ideal critical hit system won't 
  promote the intensity of the damage over the 
  comfort level of the players adopting it. 
   
  Mechanics 
  How does the critical hit system affect other game 
  conventions? Does it mesh well with the existing 
  rules, or does its use "break" things? For example, 
  consider the popular "natural 20" critical hit 
  system, wherein a critical hit—often double 
  damage—occurs on an attack roll result of a 
  natural 20. This simple system has high 
  playability and is realistic enough to make a 
  critical 
  hit 
  memorable 
  without 
  too 
  much 
  suspension of disbelief or too much detail. Since it 
  represents only 5% of all combat rolls, it seems 
  fair in terms of frequency and impact.  
   
  However, this simple system is badly flawed. The 
  most glaring problem is its lack of balance—the 
  static 5% chance of inflicting a critical should be 
  offset by a similar chance of catastrophe. So, if a 
  natural 20 indicates an expert strike, it's only fair 
  that a natural 1 signifies a bungled blow—the so-
  called "critical fumble." Even assuming that the 
  critical fumble doesn't result in the patently 
  absurd "the attacker damages himself with his 
  own weapon" outcome, the system is saddled with 
  an 
  arbitrary 
  mechanic 
  whose 
  existence 
  is 
  rationalised only as a balance against the 
  possibility of landing a critical hit. Further, the 
  frequency of critical results has increased from 
  5% of all combat rolls to 10%. In one fell swoop, 
  each of playability, realism, and fairness has been 
  compromised. 
   
  Let's further assume that, instead of merely 
  doubling damage, critical hits result in broken 
  bones, sprains, bleeding wounds, severed limbs, 
  etc. At first glance, this system doesn't seem bad. 
  Such results, dire as they are, could certainly 
  occur in a fantasy setting, so there is an attempt 
  at realism, and even though they probably derive 
  from a separate table, playability isn't seriously 
  derailed. Finally, to help make it fair, the system 
  allows for certain curative measures to restrict or 
  reverse the damage caused by critical hits (e.g., 
  setting broken bones, packing bleeding wounds, 
  and regenerating severed limbs). 
   
  Unfortunately, while this looks good on paper, it 
  is destined to be a logistical headache as the 
  
   
  12 
  campaign progresses. Why? Because the OD&D 
  rules weren't designed to deal with broken bones, 
  sprains, bleeding wounds, or severed limbs. To 
  make the system "work," the DM has to apply a 
  whole new model to damage and healing, as well 
  as determine how critical results impact other 
  areas of play. For example, what is the movement 
  rate of a character with a broken leg? Can he 
  move at all? What if the leg is merely sprained? If 
  a thief's abdominal laceration were sewn up, but 
  not completely healed, would it affect his Climb 
  Walls ability? Would a severed finger mitigate his 
  skill at Picking Locks or Removing Traps? How 
  long does it take for a broken arm to heal? What 
  is the DEX or STR modification during this 
  period? Does CON affect healing? 
    
  With a seemingly innocuous addition to the 
  critical hit system, realism has given way to 
  potential confusion and bogged-down playability. 
  Even assuming that players deem the system fair 
  to their characters, one must wonder if the results 
  are compatible with the heroic spirit of OD&D—
  after all, do players really want to run characters 
  suffering from broken bones, crushed rib cages, 
  and deep, debilitating wounds that prove difficult 
  to heal? 
   
  Finally, the system has another, subtler, flaw: 
  any opponent that requires a 20 to hit becomes 
  essentially invulnerable to all but critical strikes. 
  Put another way, when an attacker needs a 20 to 
  hit, any successful blow has to be a critical hit. 
  For example, a 4th-level thief with a STR 8 
  attacking an AC 0 foe requires a "to-hit" roll of 20. 
  Therefore, every successful strike is a critical hit, 
  though it is mathematically impossible for the 
  character to land a "normal" non-critical blow.  
  To confuse matters, if the required "to-hit" roll is 
  greater than 20 (e.g., a 6th-level fighter attacking 
  an AC -1 foe in the dark needs a roll of 22), and a 
  natural 20 is rolled, the DM needs to decide if a 
  critical hit has been made. On one hand, it's 
  reasonable to allow it, since a natural 20 was 
  rolled. On the other hand, it doesn't quite make 
  sense—if a critical hit represents a superb attack, 
  how could one result from an attack that missed? 
   
  This short example illustrates two common 
  pitfalls 
  in 
  critical 
  hit 
  system 
  design: 
  the 
  introduction of new rules and rule exceptions that 
  have 
  to 
  potential 
  to 
  "break" 
  other 
  game 
  mechanics, and the rapidity with which simple 
  systems can become complex and unwieldy as a 
  consequence. 
  The 
  ideal 
  critical hit 
  system 
  seamlessly blends with the existing mechanics 
  and accepted conventions of the OD&D game. 
   
  Balance 
  How does the critical hit system affect the 
  campaign as a whole? Are the critical hit results 
  too powerful? Most importantly, do they "fit" into 
  the overall context of the milieu? If a 1st-level 
  fighter can dispatch a large red dragon or a 10th-
  level fighter with a single blow, the system isn’t 
  balanced. This is an important warning, for even 
  if the system passes the four previous tests, when 
  it leads to PC domination over the campaign, it is 
  unsuitable for play. Consider an example from 
  this author's campaign: 
   
  A low-level party, consisting of two elves, two 
  fighters, and an NPC cleric, was returning from a 
  hard-fought victory over the local goblin king. I 
  devised an octet of humanoid bandits—four 
  goblins, three orcs, and an ogre—to challenge 
  them on the way home. The encounter wasn't 
  supposed to turn into a fight—I figured that the 
  bandits would divest the PCs of some booty in 
  exchange for free passage. The party, I assumed, 
  would parley instead of fight, weakened as they 
  were from their recent foray, nor could they win if 
  they did. In fact, I had specifically detailed the 
  ogre—a fearsome challenge, with maximum hit 
  points, plate mail armour, a wicked-looking pole 
  arm, and a STR adjustment of +3 "to-hit" and 
  damage—to dissuade the PCs from combat. 
  The bandits were in a small gully, where the 
  goblins were posted as sentries, the orcs were 
  cooking dinner, and the ogre was casting about 
  for something to smash. As luck had it, the party 
  scouted the bandits undetected quickly devised a 
  plan of attack: wherein the elves would pepper 
  the ogre with arrows, as the rest of the party 
  closed to engage the remaining humanoids.  
   
  The first elf archer made the best of all possible 
  rolls, not only shooting the ogre, but also scoring a 
  critical hit. According to the critical hit table I 
  had devised, his single arrow had ripped through 
  the ogre's throat, killing him instantly. The orcs 
  raised a cry whilst diving for cover, while the 
  goblins failed their morale checks and (prudently) 
  ran away. The party made short work of the orcs, 
  having lost not a copper and, in fact, gained 
  another 100sp or so for their trouble. 
   
  It was a lucky shot, certainly, and an even luckier 
  roll on the critical hit table. As a DM, I'll admit to 
  some disappointment that the encounter hadn't 
  worked out as planned.3 But what surprised me 
  the most was that the critical hit had done so 
  much damage. This ogre had 33 hit points; a long 
  bow does 1d6 points of damage. Yet, a single 
                                                   
  3 OK, actually I was irked that my carefully crafted ogre hadn't 
  the chance to even notice the PCs. 
  
   
  13 
  arrow obliterated the humanoid completely and 
  instantly. 
   
  Of course, I could have overruled the roll, but that 
  would have been heavy-handed and unfair to the 
  player. I could have introduced a few more 
  previously unseen humanoids to enforce my 
  expectations for the encounter, but that would 
  have been railroading the party. I probably could 
  have done a lot of things, but, more than 
  anything, I didn't want to appear as if I were 
  throwing a tantrum in response. Yet, what if that 
  ogre had been a huge dragon or a 15th-level 
  magic-user—either of which might have been the 
  uber-villain at the climax of some epic-level 
  campaign?  
   
  When a critical hit system makes it too easy to 
  overcome foes, the challenge they represent is 
  seriously dulled. While this may seem fun or 
  ultra-heroic or even reasonable to the group, it 
  spells 
  eventual 
  doom 
  for 
  the 
  campaign. 
  Ultimately, the DM will become frustrated at his 
  inability to challenge the PCs, and the PCs will 
  become bored from lack of challenge. The ideal 
  critical hit system maintains campaign balance 
  by preventing PCs from overcoming challenges 
  too easily. 
   
  Critical Hit System 
  With the criteria above in mind, I developed the 
  critical hit system included herein. In practice, 
  the system is more accurately one of critical 
  damage, and it reflects the additional hit point 
  loss suffered by the recipient from an extremely 
  well placed strike. Every attack is a potential 
  critical hit; the determining factor is the result of 
  the attacker's "to-hit" roll and it works like this: 
  For every five points of the modified attack roll 
  result greater than the minimum "to-hit" number, 
  the attacker may roll an extra die of damage 
  (round all fractions down). A single damage die is 
  equal to a weapon's base damage.4 For example, a 
  normal sword does 1-8 points of damage, so an 
  extra damage die equals 1d8. At Expert Mastery, 
  however, sword damage is 2-16, so an extra 
  damage die equals 2d8. Ability score adjustments, 
  weapon enchantment, or any other “to-hit” 
  modifiers do not modify additional damage dice—
  extra dice are strictly extra damage rolls.  
   
  As with normal damage, critical damage is 
  applied immediately, though the DM should 
  describe the wound with some imaginative 
  description appropriate to the amount of damage 
  inflicted. It doesn't matter if the DM mentions a 
                                                   
  4 Use RC/62 for weapon damage dice; if the optional weapon 
  mastery rules are used, consult RC/78-9 for damage dice at 
  various mastery levels. 
  hit to the leg, the arm, or the chest—in game 
  terms, all that matters is the quantity of hit 
  points lost, but in role playing terms, describing a 
  piercing wound to the neck or a deep cut across 
  the combatant's torso makes for high tension and 
  good storytelling. Please note that this system is 
  compatible not only with the official OD&D 
  combat rules, but also the revised armour class 
  and THMod guidelines described in the article 
  "Combat sans Matrix" (OD&DITIES #9), which 
  are used in the following example: 
   
  A fighter with AC 12 and Expert mastery in the 
  dagger strikes at an orc who has an AC of 14 and 
  Basic mastery of the short sword. Circumstances 
  dictate the fighter's THMod is +3 and, because of 
  his mastery level, base damage dice are 2d4. The 
  fighter's first "to-hit" roll is 12, modified by +3 for 
  a total of 15, which hits the orc for 2d4 points of 
  damage (RC/785). The orc swings with his short 
  sword and successfully hits with a 17. His short 
  sword does base damage of 1d6, but the result of 
  17—five points greater than the 12 he needed—
  allows one extra damage die (+1d6) so total 
  damage is 2d6. The fighter, with his arm 
  bleeding, makes a desperate stab and rolls an 
  amazing total of 25. This is 11 points greater than 
  the 14 he needed, so he inflicts a critical hit 
  consisting of two extra damage dice. His dagger's 
  base damage is 2d4, so with the extra dice, his 
  total damage is 6d4. The orc, his throat punctured 
  by the dagger's point, falls gasping to the ground. 
   
  Conclusion 
  The critical hit system provided above is simple, 
  and I believe it satisfies each of the criterion set 
  forth in the preceding section. It would be 
  incorrect for me to presume this model as the 
  "best" possible OD&D critical hit system, since it 
  clearly won't capture every group's style of play. 
  However, I think it provides a number of 
  advantages: 
  • 
  Critical hits are indicated using the 
  normal OD&D attack die, so no additional 
  die rolls are required, nor is the learning 
  curve more than a gentle slope (it's really 
  just simple addition). 
  • 
  Critical damage is applied in hit points, so 
  while the graphic element of decapitations 
  and broken bones is absent, there are 
  neither the corresponding problems of too 
  much or too little realism. Nevertheless, 
  DMs are encouraged to freely interpret 
  and describe the critical hit's result, and 
  the system still allows for the infamous 
  "killer blow."  
                                                   
  5 Rules Cyclopedia, 1991, TSR, Inc. 
  
   
  14 
  • 
  Critical results occur in connection to an 
  attacker's total of "to-hit" modifiers and 
  the defender's armour class, so they 
  manifest with some degree of logic. Yet 
  because the system's foundation is the 
  random result of a d20 attack roll, the 
  occurrence of critical results cannot be 
  predicted with static frequency.  
  • 
  Critical damage is significant enough to 
  give attackers some satisfaction, but not 
  so dire that players would consider it 
  unfair if they suffered critical damage 
  themselves. 
  • 
  Critical results dovetail nicely with other 
  rules, 
  principally 
  because 
  they 
  are 
  determined through existing modifiers to 
  the 
  existing 
  attack 
  roll. 
  No 
  new 
  mechanics need be injected. 
  • 
  Critical damage, similarly, has no effect 
  on other mechanics, because it is reflected 
  in hit points, an existing game convention 
  used to determine a combatant's overall 
  health. 
  • 
  Critical results are not likely to slay 
  powerful opponents with single blows, so 
  campaign challenges are not unfairly 
  toppled through the use of this system, 
  especially through the occurrence of lucky 
  rolls. 
   
  With that, I encourage you to give this system a 
  try in your campaign. In the context of OD&D 
  combat, it provides the excitement and results 
  expected of any critical hit system, without 
  unbalancing the game or sacrificing playability.  
   
  Enjoy! 
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
  
   
  15 
   
  This article presents the bard as a full character 
  class for use in the D&D® game.  It is based in 
  part on the work of Bruce Heard, who presented 
  the bard as a modification of the thief class in 
  issue 177 of Dragon® magazine.  Some of his 
  original ideas have been incorporated into this 
  document, and as such the authors thank and 
  give credit to him appropriately. 
   
  Bard 
   
  Prime Requisite:  Dexterity and Charisma.  
  Other Requirements:  Dexterity and Charisma 
  scores of 9 or higher.  
  Experience Bonus:  5% for Dexterity and 
  Charisma 13-15; 10% for Dexterity and Charisma 
  16-18.  
  Hit Dice: 1d6 per level up to 9th level. Starting at 
  10th level, +1 hit point per level, and Constitution 
  adjustments no longer apply.  
  Maximum Level:  36.  
  Armour:  Up to chain mail; shield permitted if 
  less than large-sized.  
  Weapons:  Any one-handed.  
  Special Abilities:  Bard spell-songs, charm ability, 
  some Thief abilities (see below).  
  Saving Throws:  As Thief of same level.  
  THAC0:  As Thief of same level.  
  Thief Abilities:  Any bard can use the following 
  abilities as a thief of the same level - Climb Walls, 
  Hear Noise, Hide in Shadows, Move Silently, 
  subject to penalties for wearing heavier armour.  
    Weapon Mastery:  Begin with two weapon 
  choices; additional choices as per other non-
  fighter classes.  An extra choice per 200,000 xp 
  gained after level 36. 
   
  From the earliest days of prehistory, there have 
  been people whose calling it has been to sing the 
  songs of others’ deeds, to contribute to the lore of 
  a people.  In many cultures, the bard is the 
  individual who serves this purpose.  He or she 
  would often travel the land, learning of great 
  events by witnessing them, or by hearing of them 
  from other travellers.  In many ways, bards were 
  the only source of news the average person had, 
  and they were often the means by which cultural 
  lore was passed down through the generations.  
  In the D&D® system, bards fill this role, but they 
  also possess a unique talent – the ability to sing 
  what are known as “spell-songs”. 
   
  In a typical adventuring party, a bard is a 
  competent fighter and an adequate scout – he or 
  she will not need to be protected at all times.  
  They can wield most weapons, and wear light and 
  medium armour, and their prowess is bolstered 
  by their spell-songs.  Additionally, bards can be 
  good information gatherers through their skills 
  and charisma, thus helping the rest of the party 
  acquire important clues over the course of their 
  adventures. 
   
  The level advancement chart for the bard is:
   
  
   
  16 
  Bard Experience Table 
   
   
   
   
  Spell Songs/Level 
  Level 
  XP 
  Title 
  1 
  2 
  3 
  4 
  5 
  1 
  0 
  Apprentice 
  1 
  - 
  - 
  - 
  - 
  2 
  1,925 
  Musician 
  2 
  - 
  - 
  - 
  - 
  3 
  3,850 
  Performer 
  2 
  1 
  - 
  - 
  - 
  4 
  7,700 
  Lyrist 
  2 
  2 
  - 
  - 
  - 
  5 
  15,400 
  Poet 
  2 
  2 
  1 
  - 
  - 
  6 
  30,000 
  Sonneteer 
  2 
  2 
  2 
  - 
  - 
  7 
  60,000 
  Troubadour 
  3 
  2 
  2 
  - 
  - 
  8 
  120,000 
  Minstrel 
  3 
  3 
  2 
  1 
  - 
  9 
  240,000 
  Bard 
  3 
  3 
  2 
  2 
  - 
  10 
  360,000 
  “ 
  3 
  3 
  3 
  2 
  - 
  11 
  480,000 
  “ 
  3 
  3 
  3 
  2 
  1 
  12 
  600,000 
  “ 
  4 
  3 
  3 
  3 
  2 
  13 
  720,000 
  “ 
  4 
  4 
  3 
  3 
  3 
  14 
  840,000 
  “ 
  4 
  4 
  4 
  3 
  3 
  15 
  960,000 
  “ 
  4 
  4 
  4 
  4 
  3 
  16 
  1,080,000 
  “ 
  5 
  4 
  4 
  4 
  4 
  17 
  1,200,000 
  “ 
  5 
  5 
  4 
  4 
  4 
  18 
  1,320,000 
  “ 
  5 
  5 
  5 
  4 
  4 
  19 
  1,440,000 
  “ 
  5 
  5 
  5 
  5 
  4 
  20 
  1,560,000 
  “ 
  5 
  5 
  5 
  5 
  5 
  21 
  1,680,000 
  “ 
  5 
  5 
  5 
  5 
  5 
  22 
  1,800,000 
  “ 
  5 
  5 
  5 
  5 
  5 
  23 
  1,920,000 
  “ 
  5 
  5 
  5 
  5 
  5 
  24 
  2,040,000 
  “ 
  5 
  5 
  5 
  5 
  5 
  25 
  2,160,000 
  “ 
  5 
  5 
  5 
  5 
  5 
  26 
  2,280,000 
  “ 
  5 
  5 
  5 
  5 
  5 
  27 
  2,400,000 
  “ 
  5 
  5 
  5 
  5 
  5 
  28 
  2,520,000 
  “ 
  5 
  5 
  5 
  5 
  5 
  29 
  2,640,000 
  “ 
  5 
  5 
  5 
  5 
  5 
  30 
  2,760,000 
  “ 
  5 
  5 
  5 
  5 
  5 
  31 
  2,880,000 
  “ 
  5 
  5 
  5 
  5 
  5 
  32 
  3,000,000 
  “ 
  5 
  5 
  5 
  5 
  5 
  33 
  3,120,000 
  “ 
  5 
  5 
  5 
  5 
  5 
  34 
  3,240,000 
  “ 
  5 
  5 
  5 
  5 
  5 
  35 
  3,360,000 
  “ 
  5 
  5 
  5 
  5 
  5 
  36 
  3,480,000 
  Master Bard 
  5 
  5 
  5 
  5 
  5 
   
  Class Details 
   
  Prime Requisite: 
   
  The bardic profession is one that requires 
  considerable charisma – a performer must be able 
  to encourage his or her audience to pay attention 
  to them for a prolonged period.  It also helps if the 
  performer is found to be interesting, or likeable.  
  Bards must also be able to communicate with 
  others, empathise with them, and gain their trust 
  whenever possible.  In addition to this, bards 
  must have good co-ordination if they are to be 
  good performers.  Thus, a bard’s prime requisites 
  are Charisma and Dexterity.  If both of these 
  attributes are between 13 and 15, the bard earns 
  a 5% bonus to earned experience points; if they 
  are both between 16 and 18, the bonus is 10%. 
   
  Hit Dice: 
   
  Owing to their more combat-oriented nature, 
  compared to other roguish characters, bards roll 
  1d6 to determine their hit points (plus any 
  Constitution bonus).  This reflects the greater 
  need for them to be in the heat of battle. 
   
  Armour: 
   
  Although a bard was wear any armour type up to, 
  and 
  including, 
  chain 
  mail, 
  it 
  should 
  be 
  remembered that their thief abilities can be 
  affected whenever a bard employing these skills is 
  wearing armour heavier than leather.  The table 
  below presents the various penalties to be applied 
  by the DM against a bard’s thief skills whenever 
  he or she employs them while wearing scale or 
  chain mail. 
  
   
  17 
   
  Bardic Thief Skill Penalties 
  Armour Type 
  Hide in Shadows 
  Move Silently 
  Hear Noise 
  Climb Surfaces 
  Scale Mail 
  -5% 
  -15% 
  -5% 
  -15% 
  Chain Mail 
  -10% 
  -20%* 
  -10% 
  -20% 
   
  *This should be halved if the bard is wearing 
  elven chain mail. 
   
  Bards may also use shields of medium size or 
  smaller, although this will make it impossible for 
  them to play any two-handed musical instrument. 
   
  Weapons: 
   
  Looking 
  at 
  how 
  bards 
  are 
  portrayed 
  in 
  conventional literature, it is clear that they are 
  people often versed in the art of combat as well as 
  music and song; although, as with the primary 
  focus of their careers, a bard’s combat talents 
  tend to focus more on style, rather than brute 
  force.  It is not a bard’s job to skulk about in the 
  shadows and gain information or treasure, either 
  - though he or she may wish to rely on those 
  talents as needed.  A bard’s primary purpose is to 
  inspire his or her fellows to greater heights and 
  bolder deeds, and assisting them in combat where 
  possible.  They may not wield two-handed 
  weapons, either, as these interfere too much with 
  the bard’s style and way of life, which revolves 
  around freedom of movement, and such weapons 
  tend to be cumbersome. 
   
  Skills: 
   
  A bard must take the following skills when he or 
  she is created:  Singing, Music (instrument), and 
  Storytelling.  The thief skills possessed by the 
  bard are Climb Walls, Hear Noise, Hide in 
  Shadows, and Move Silently.  These develop at a 
  rate identical to those of a thief of the same level.  
  Bards also receive the Gather Information skill 
  for free.  This skill is described below: 
   
  Gather Information (CHA):  This skill allows a PC 
  to use his or her savoir-faire and connections to 
  gain another person’s trust, and thereby gather 
  information about a particular topic.  The player 
  must specify before making the skill check what 
  sort of information is sought, and the DM assigns 
  modifiers according to the specificity of the 
  information required, and its obscurity.  Penalties 
  may also be assigned if the PC is trying to gather 
  information from someone whose culture or 
  native language differs from their own.    
   
   
   
   
  Special Abilities 
   
   
   
  A bard has two special abilities – charm, and the 
  ability to perform spell-songs. 
   
  The Charm Ability: 
   
  Starting at 3rd level, the bard gains the ability to 
  charm once per day, as per the magic-user spell 
  charm person.  He or she can affect a number of 
  Hit Dice or levels equal to one-third his or her 
  own level, rounded down.  The bard must sing, 
  recite poetry, or play an instrument for three 
  rounds, and then make a skill check in the 
  weakest of his or her mandatory skills (singing, 
  storytelling, or playing a musical instrument).  If 
  the skill check fails, the victim saves vs. Spells at 
  +3.  The charm ability can also be used to negate 
  another bard’s charm attempt.  If the bard is 
  injured or interrupted while attempting to charm, 
  the effect is ruined, and the victim(s) may become 
  hostile. 
   
  At 9th level, the bard’s charm ability extends to 
  intelligent monsters (but not undead), as per the 
  charm monster magic-user spell.  A successful 
  save vs. Spells negates this effect. 
   
  At 15th level, the bard’s charm ability is extended 
  again to plants, as per the magic-user spell charm 
  plant.  This ability is negated if the target 
  successfully saves vs. Spells. 
   
  At 21st level, the bard’s charm ability is extended 
  once more to large crowds, as per the magic user 
  spell mass charm.  A successful save vs. Spells 
  will negate the charm effect. 
   
  Spell-Songs: 
   
  Spell-songs are musical compositions that draw 
  upon and shape the ambient magical energies of 
  the world; they neither rely on symbols (as runic 
  magic does), nor do they depend on magical 
  formulae and complex invocations.  As such, 
  bardic magic does not actually “create” anything – 
  it can only manipulate what already exists, and 
  in so doing evoke sounds, sights, sensations, 
  smells, and feelings – in other words, the bard 
  works more on the level of illusions and influence.  
  Nevertheless, the performance of a spell-song can 
  influence the recipient to do, feel, or think many 
  things.  As such, spell-songs that affect the senses 
  
   
  18 
  or perceptions do not affect undead, or those 
  immune to sensory attacks (such as constructs). 
   
  The means by which spell-songs can be obtained 
  differ considerably from the spells used by magic 
  users or clerics.  As bardic lore is predominantly 
  oral in nature, if a bard wishes to increase the 
  number of spell-songs he or she knows, they will 
  have to learn them from a bard of higher level.  
  Often, the senior bard will require a favour of the 
  seeker – essentially a quest – in exchange for the 
  spell-song.  When the spell is obtained, the 
  younger bard must spend at least one week in 
  intense study with his or her teacher. 
   
  Spell-songs may also be written on scrolls, but 
  this is quite rare, and they are often found only in 
  bardic conservatories (more on this below).  Even 
  so, such scrolls are closely guarded by their 
  owners, as they are usually intended to remain as 
  a record of a particular bard’s achievements long 
  after his or her passing, so that their music need 
  not be lost to the community of bards.  Therefore, 
  an adventuring party would seldom find a bard 
  scroll in a treasure hoard.  If and when they are 
  found, bard scrolls resemble complicated sheet 
  music – the notes to be played are written down, 
  and supplementary notes concerning the timing of 
  lyrics (if any) and other relevant information are 
  written in code, such that they resemble musical 
  notes, as well.  This bardic code is a closely 
  guarded secret, much like the meanings of the 
  words intoned by magic-users, or thieves’ cant.  
  As with thieves’ cant, the bardic code can also be 
  used to convey simple messages or ideas; these 
  are often written into mundane songs, and thus 
  are detectable only by other bards. 
   
  As a bard advances in level, his or her repertoire 
  of spell-songs - those that have been committed to 
  memory, and the complexity of the songs that 
  may be sung - will increase, as shown on the level 
  advancement chart.  Each spell-song may be sung 
  only once per day, and all of them are committed 
  to memory (except in the case of powerful mental 
  attacks, such as feebleminding).  This differs 
  considerably 
  from 
  magic-users, 
  who 
  must 
  memorise their spells, and clerics, who must pray 
  for them.  When singing a spell-song, the bard 
  may choose whether or not to call forth the 
  magical potential of the song itself.  In this way, 
  he or she may simply sing them for entertainment 
  purposes, with no magical side effects on the 
  patrons.  It should be noted that the bard’s spell-
  song repertoire increases only until 20th level, 
  after which no further improvements are possible. 
   
  DMs should also note that the number of spell-
  songs listed on this chart indicates how many 
  songs of each level a bard may sing per day, and 
  still be able to use their magical effects.  Any 
  magical song may be sung any number of times 
  after its magic has been triggered, but it will 
  possess no power until the next day.  Until then, 
  it is a mundane song, but still beautiful, 
  nonetheless.  Prior to singing any spell-song, a 
  bard must decide whether or not to invoke its 
  magical powers. 
   
  Once a bard reaches 9th level, he or she can write 
  their own spell-songs, due to their accumulated 
  knowledge and experience.  The rules governing 
  the creation of spell-songs are the same as those 
  which apply to magic-users, and, assuming the 
  spell-song was created successfully, the bard’s 
  repertoire will be increased, but he or she will 
  still not be able to exceed the maximum number 
  of spell-songs for that level each day. 
   
  Instruments: 
   
  In order for most spell-songs to have any effect, a 
  bard must have a magical musical instrument in 
  his or her possession.  This can be of any sort 
  appropriate to the bard’s native culture, but it 
  must be enchanted.  A simple enchant item cast 
  by a magic-user would be sufficient, or a wish.  
  Once an instrument has been enchanted, it may 
  be used to play spell-songs.  A bard’s instrument 
  is likely his or her most prized possession, and he 
  or she would be loath to part with it.  The DM 
  may decide to allow a starting bard PC to have 
  his or her own magical instrument, much as 
  magic-users have their own spell books at the 
  start.  If not, it would be easy to add one to any 
  reasonably sized treasure hoard. 
   
  Singing and Playing: 
   
  For spell-songs of levels 1-2, the bard only needs 
  to play an instrument, or sing (this will be noted 
  in the spell description), for one round prior to 
  invoking the effects of the spell-song itself.  Spell-
  songs of levels 3-5 generally require the bard to 
  both sing and play an instrument for that one 
  round (hence, woodwind instruments, such as 
  flutes, are often unsuitable for such spell-songs, 
  unless the song’s description notes otherwise).  
  Spell-songs that are more combat-oriented (these 
  are marked in italics on the chart below) often 
  require the bard to sing and/or play an 
  instrument for the spell-song’s duration, which is 
  limited only by the bard’s Constitution.  If for any 
  reason the spell-song itself is interrupted, that 
  attempt is ruined and cannot be tried again until 
  the next day.  It should also be mentioned that a 
  bard may not employ the effects of more than one 
  spell-song at a time - both will cancel each other 
  out. 
   
  
   
  19 
  Bards may also ply their trade for money.  If a 
  bard is singing a mundane song, telling a story, or 
  playing an instrument, he or she may earn up to 5 
  cp per person (5 gp per person if the audience 
  consists of nobles).  If the skill check is successful, 
  the amount earned is 1 cp per person, plus an 
  extra cp for every point scored under the skill.  
  For example, if the bard’s singing skill is 14, and 
  a 12 is rolled, then the amount earned will be 3 cp 
  per person (1 cp plus an extra 2 cp for the two 
  points rolled under 14).  If a spell-song is played 
  without invoking its magical effects, the amount 
  earned for playing in front of a commoner 
  audience should be in silver pieces instead of 
  copper (for a maximum of 5 sp per person), while 
  nobles might provide an additional 10-20% tip, in 
  recognition of the fact that such songs are of 
  exquisite beauty.  In any case, a failed skill roll 
  could result in a hostile audience. 
   
  Spell-Song List: 
   
  Having discussed the basic rules for magical bard 
  songs, it is now necessary to present a list of 
  spell-songs for use in any D&D® campaign.  
  Please note that this list is by no means an 
  exhaustive one.  The names given are the titles of 
  the songs.  As with spells, each spell-song is 
  described according to its duration, its range, and 
  a brief description. 
   
   
   
  First Level 
  Second Level 
  Third Level 
  Fourth Level 
  Fifth Level 
  Eternal Wanderer 
  Bellow 
  Epic Battle 
  Breathstealer 
  Dance With Me 
  Faerie Lights 
  Flight Be True 
  Requiem Melody 
  Magic’s End 
  Fantasy 
  Lullaby 
  Guardian 
  Angels 
  Song of Binding 
  Mind Render 
  Forgotten 
  Thoughts 
  Moonlight 
  Shadow 
  Hero’s Chant 
  Song of Freedom 
  Tempest 
  Rolls Of Thunder 
  Seeker of Magic 
  Tireless Hero 
  View From Afar 
  Truthtell 
  Satire 
   
  First Level Spell-Songs: 
   
  Eternal Wanderer: 
  Range:  10’ +2’/level of bard 
  Duration:  4 hours +1 hour/level of bard 
  Effect:  Increases the movement rates of the 
  recipients of this spell-song. 
   
  When performed, this spell-song allows the bard 
  and anyone within his or her immediate vicinity 
  to enjoy effects similar to that of the longstride 
  spell known to the Shadow Elves.  While the spell 
  is in effect, the recipients’ movement rates are 
  tripled, and they do not tire.  In this way, many 
  miles may be covered in a matter of hours, with 
  no ill effects on the travellers.  After singing this 
  song, the travellers must spend an equivalent 
  number of hours resting as were spent travelling. 
   
  Faerie Lights: 
  Range:  10’ + 10’/level of bard 
  Duration:  6 turns 
  Effect:  Creates floating lights that provide a 30’ 
  radius illumination. 
   
  This spell-song creates a series of shimmering 
  lights that dance around any target, organic or 
  not.  They provide the same amount of light as a 
  conventional light spell, providing enough light to 
  illuminate an area with a radius of 30’.  The 
  lights themselves dance and flicker, seeming to 
  have lives of their own.  Apart from dazzling any 
  creatures with animal intelligence or lower (save 
  vs. paralysis or be stunned for 1d6 rounds), this 
  song has no other effects. 
   
  Lullaby: 
  Range:  40’ 
  Duration:  1d4 hours 
  Effect:  Makes creatures within range fall asleep. 
   
  When sung, this spell-song puts a number of Hit 
  Dice worth of living, sentient creatures equal to 
  his or level, within range, fall asleep.  Creatures 
  whose Hit Dice is less than half of the bard’s level 
  receive no saving throw; others may make a 
  saving throw vs. Spells to avoid this spell-song’s 
  effect.  When performing this spell-song, the bard 
  may choose which creatures will be affected, as 
  long as the Hit Dice limit has not yet been 
  reached, and as long as the target creatures 
  remain within range.  This means that if some 
  creatures make their saving throws one round, 
  they may succumb the following round if they 
  remain within range, until the bard has sung a 
  number of rounds equal to his or her Constitution 
  score, after which no other creatures may be 
  affected.  Those who fall asleep can be awakened 
  by shaking or poking them for 1d4 rounds, but 
  otherwise will remain asleep for 1d4 hours.  Only 
  creatures of man-size or smaller may be affected 
  by this spell-song. 
   
   
   
   
  
   
  20 
  Moonlight Shadow: 
  Range:  50'  
  Duration:  1d4 turns 
  Effect:  Deepens surrounding shadows. 
   
  This spell-song may only be cast on a moonlit 
  night, or in daytime in an area with considerable 
  shadow.  The bard calls to the shadows y singing 
  or quietly playing this spell-song, causing them to 
  appear to deepen and thicken over a period of 1d6 
  rounds.  The spell-song affects an area of roughly 
  30' diameter.  Once complete, the shadowy area 
  grants the bard (or a thief or rake) a +25% bonus 
  to his or her Hide in Shadows roll, or provides a 
  flat 25% chance for non-thief classes to Hide in 
  Shadows.  The area of effect for this spell 
  increases by 5' diameter, and the Hide roll bonus 
  by 5%, for every three levels of the bard, to a 
  maximum of 60' diameter and 55% bonus at 19th 
  level.  The range, duration, and casting time are 
  unchanged. 
   
  Seeker of Magic: 
  Range:  0’ (bard only) 
  Duration:  6 turns 
  Effect:  Detects magic within a 20’ x 20’ x 20’ area. 
   
  When sung, thus song reveals the magical nature 
  of all magical items within the area of effect.  All 
  magical items, including those worn, will have a 
  soft blue halo about them for the duration of the 
  spell.  There is a 3% chance per level that the 
  bard can identify correctly the exact nature of the 
  magical object(s) examined, as per the magic-
  user’s analyse spell - though he or she will not be 
  able to find out the number of charges (if any). 
   
  Second Level Spell-Songs: 
   
  Bellow: 
  Range:  50’ + 5’/level of bard 
  Duration:  1 round 
  Effect:  Creates a blasting cone of sound. 
   
  After singing this spell-song for one round, the 
  bard may shout the next round, creating a cone of 
  sonic force 40’ wide at its far end, which inflicts 
  2d6 damage on everyone within the area of effect.  
  In addition, those within the cone must save vs. 
  Death Ray or be deafened for six turns.  Every 
  three levels after 3rd level, the bard will inflict an 
  additional 1d6 damage with this spell-song, such 
  that a 6th level bard’s bellow will do 3d6 damage, 
  up to a maximum of 13d6 damage at 36th level. 
   
  Flight Be True: 
  Range:  20’ + 10’/level of bard 
  Duration:  Special 
  Effect:  Temporarily enchants one arrow, quarrel, 
  or sling stone each round. 
   
  This spell-song allows the bard to temporarily 
  enchant one missile weapon attack each round, as 
  long as he or she is singing and playing his or her 
  instrument, and is succeeding in all required 
  checks.  That attack gains an extra +4 to hit, as 
  well as the ability to injure creatures that would 
  normally be immune to non-silvered or non-
  magical attacks, provided the creature is alive.  
  The bard may sing this song for a number of 
  rounds equal to his or her Constitution score, 
  after which time he or she will pass out for 1d4 
  hours.  If the spell-song is stopped before then, no 
  ill effects result. 
   
  Guardian Angels: 
  Range:  15’ +5’/level of bard 
  Duration:  10 rounds 
  Effect:  Improves the armour classes of the 
  recipients temporarily. 
   
  Once sung, this spell-song emboldens the bard 
  and other recipients, providing them with a bonus 
  of -2 to their armour classes for the duration of 
  the spell-song’s effect.  This bonus is applied 
  against all attacks made by opponents.  This 
  spell-song also renders the recipients, for its 
  duration, immune to all effects from other spell-
  songs. 
   
  Hero’s Chant: 
  Range:  10’ +2’/level of bard 
  Duration:  Special 
  Area of Effect:  Inspires one’s allies to fight with 
  renewed vigour. 
   
  This spell-song invigorates and inspires friendly 
  combatants within range, conferring a bonus of 
  +1 on all attack and damage rolls against 
  opponents, a +1 to saving throws, and a +1 bonus 
  to morale.  Unlike other combat-oriented spell-
  songs, this one must be sung continuously in 
  order for its effects to be enjoyed.  The bard may 
  sing this song for a length of time in rounds 
  equivalent to his or her Constitution, after which 
  he or she will fall unconscious for 1d4 turns.  If he 
  or she stops singing before this point, there are no 
  ill effects.   
   
  Tireless Hero: 
  Range:  10’ 
  Duration:  Eight hours 
  Effect:  Bard and anyone within 10’ may go 
  without rest for eight hours. 
   
  When this song is sung, all within its area of 
  effect will instantly feel as though they have just 
  had a full night’s sleep.  Any penalties for fatigue 
  are eliminated, and parties otherwise needing to 
  sleep for the night will be able to go without rest.  
  
   
  21 
  The effects of this spell-song may not be utilised 
  for more than three days in a row, nor may this 
  song be sung more than four times a week.  
  Otherwise, the bard and his or her companions 
  will suffer penalties for fatigue as per the normal 
  rules - the body can go without sleep only for a 
  short while.  After the spell-song’s duration 
  expires, the recipients must rest for at least six 
  hours, though a second casting will obviate this 
  need.  If this is done, the rest requirement would 
  then be 12 hours, and this cannot be avoided by a 
  third invocation of this spell-song. 
   
  Third Level Spell-Songs: 
   
  Epic Battle: 
  Range: 10’ +5’/level of bard 
  Duration:  12 rounds 
  Effect:  Creates an illusory battle scene up to 20’ x 
  20’ x 20’ in size. 
   
  This spell-song allows the bard to create, from his 
  or her imagination, any battle scene up to 20 feet 
  cubed in size.  The scene will be realistic, and is 
  capable of moving with the bard - all those seeing 
  it must save vs. Spells in order to recognise it as 
  an illusion, otherwise they will be awed by what 
  they see, and be stunned for 1d6 rounds.  Most 
  often, the scene is of an epic battle, or of a great 
  hero defeating his foes.  The images can be placed 
  anywhere within range by the bard, such that the 
  party can appear to be bolstered by several 
  powerful-looking warriors or wizards.  In any 
  case, all images have an armour class of 9, and if 
  touched will disappear.  As with magic-user 
  phantasmal force spell, those “killed” by an 
  illusion will fall unconscious, but only for 1d6 
  rounds. 
   
  Requiem Melody: 
  Range:  120' 
  Duration:  Special 
  Effect:  Saddens 4d4 Hit Dice worth of creatures. 
   
  When the bard begins to sing this requiem, 4d4 
  Hit Dice worth of creatures, ogre-sized or smaller, 
  become overcome with sorrow (-1 to attacks and 
  damage, no save) and must make a saving throw 
  vs. Spells in order to avoid the other effects of the 
  spell-song.  If the saving throw is successful, the 
  penalty lasts only as long as the bard continues to 
  play the song, which is a maximum of one round 
  per Constitution point.  If the saving throw fails, 
  the victim falls into despair, mourning his or her 
  ill fortune (real or imaginary), and unable to 
  perform any action.  This bout of depression can 
  last for a maximum number of rounds equal the 
  bard's Constitution (see rules above).  The spell-
  song only works against intelligent (i.e., those 
  with an Intelligence of 3 or higher) creatures.  
  Whether or not the bard stops singing before a 
  number of rounds equal to his or her Constitution 
  has passed, he or she must make a Wisdom check 
  to hold off the negative emotional energies that 
  were summoned with the spell-song.  If the save 
  succeeds, the bard is stunned for 1d4 rounds; if it 
  fails, the bard passes out for one round per round 
  spent singing. 
   
  Song of Binding: 
  Range:  30' + 10'/level of bard 
  Duration:  1 round/level of bard 
  Effect:  Paralyses up to four creatures. 
   
  This spell-song is similar to the magic user spell 
  hold person. The bard can paralyse up to four 
  creatures of Medium size (up to 7' tall), two 
  creatures of Large size (7+' to 12' tall), or one 
  creature of Huge size (12+' to 25' tall); it has no 
  effect on creatures greater than 25' in height 
  (Gargantuan size).  The victims must be within 
  the range of the spell-song and must listen to the 
  song for at least one round in order to be affected.  
  Each victim can avoid the effects by making a 
  successful saving throw vs. Paralysis, otherwise 
  they are convinced that they are paralysed.  The 
  paralysis lasts for one round per level of the bard 
  and can be dispelled in the normal ways (such as 
  the spell free person), or by the reverse of this 
  song (see below). 
   
  Song of Freedom: 
  Range:  30' + 10'/level of bard 
  Duration:  1 round/level of bard 
  Effect:  Frees up to four creatures within range 
  from the effects of paralysis. 
   
  This spell is the opposite of the spell-song called 
  Song of Binding.  It has the same range and 
  characteristics of that spell-song, and can be used 
  to permanently negate all paralysing effects in 
  the area (from spells such as hold person, as well 
  as ghouls’ touches).  As long as the duration lasts, 
  all paralysed creatures within range are filled 
  with nefound energy, and are allowed a new 
  saving throw vs. Paralysis each round to free 
  themselves of any paralysing effect that is holding 
  them. 
   
  View From Afar: 
  Range:  0’ (bard only) 
  Duration:  3 turns 
  Effect:  Allows the bard to see places up to five 
  miles away. 
   
  The effects of this spell-song are much like that of 
  a crystal ball.  Upon singing the song, the bard 
  can see any location up to five miles away.  He or 
  she only needs to know the name of the place, and 
  a brief description, in order to see it.  His or her 
  
   
  22 
  point of view of this location can rotate up to 360 
  degrees at will, but cannot move.  The bard may 
  look at different locations within the duration by 
  naming different places and descriptions, and so 
  may obtain a form of “movement” in this way, 
  though far less accurate than that of a wizard eye 
  spell.  This spell-song cannot allow the bard to see 
  through solid objects, or at any place shielded by 
  magical wards or enchantments.  Also, while the 
  spell-song is in effect, the bard is in a trance-like 
  state; there is no awareness of surroundings or 
  events.  Should the bard be injured in any way, 
  his or her concentration is broken, and the spell-
  song is ruined. 
   
  Fourth Level Spell-Songs: 
   
  Breathstealer: 
  Range:  20' + 10'/level of bard 
  Duration:  Special 
  Effect:  Suffocates anyone within an area 
  measuring 30'x30'x30'. 
   
  When sung by the bard, anyone within a 30’ cube 
  within range must save vs. Spells at -2, for each 
  round in which the spell-song is in effect, or think 
  they are beginning to suffocate.  As long as the 
  bard sings, the victims must make a save every 
  round, 
  losing 
  three 
  points 
  of 
  Constitution 
  temporarily if they fail, losing nothing if they 
  make it.  In either case they are able to move 
  normally, though those failing their save must 
  make a Constitution check (at the reduced score if 
  they failed a saving throw) in order to do so while 
  they are within the area of effect.  Every time the 
  victim fails the saving throw, another three points 
  of Constitution is lost.  Victims within the area of 
  effect who have failed their saving throw also 
  have their movement rates halved as long as they 
  are suffocating.  In addition to this, suffocating 
  victims cannot cast spells, speak, or make any 
  attacks, and death will result if their Constitution 
  score reaches zero.  The bard may sing this song 
  for as many rounds as he or she has Constitution 
  points.  Should the bard sing until his or her 
  Constitution reaches zero, he or she will pass out 
  for 2d6 rounds.  It should be noted that everyone 
  within the area of effect (including a bard’s 
  friends!) will be affected by this spell-song.  Lost 
  points of Constitution are regained at 1d3 points 
  per full day of rest. 
   
  Magic’s End: 
  Range:  60’ 
  Duration:  Permanent 
  Effect:  Nullifies magical effects within a cube 
  measuring 20’x20’x20’ in size. 
   
  When sung or played by the bard, this spell-song 
  will instantly dispel all spells and spell effects 
  within a 20’ cubed area up to 60’ away.  Unlike 
  the mage spell dispel magic, there is always a 
  chance that the target(s) of this spell-song may 
  resist this effect.  The base chance is 20% for all 
  spells and spell effects of a level equal to or lower 
  than that of the bard performing this spell-song.  
  This chance increases by 5% for every level of 
  difference between the spell and the bard.  For 
  example, an 8th level bard wishes to dispel a 
  cloudkill spell cast by a 12th level mage.  The spell 
  has a 40% chance of resisting the spell-song’s 
  dispelling effect (base 20% chance, plus 20% for 
  four levels of difference).  The same rules apply 
  for dispelling spell-like effects - except that the 
  DM must estimate the level of the mage who 
  crafted the item in order to determine its 
  resistance factor. 
   
  Mind Render: 
  Range:  50’ 
  Duration:  Special 
  Effect:  Induces primal fear in anyone within 
  range. 
   
  This spell-song, when sung or played, induces in 
  every sentient being within the area of effect an 
  insane fear of all that is around them, unless they 
  make a saving throw vs. Spells at a -2 penalty 
  each round they are in the area of effect.  Those 
  who make this save each round, or who leave the 
  area, are unaffected.  Those who fail any save 
  while in the area instantly become delusional - 
  fearing that everyone around them is out to get 
  them.  There is a 50% chance each round 
  thereafter that they will launch into a frenzied 
  assault on the nearest person, regardless of 
  whether they are friend or foe.  All such attacks 
  are made at an additional +1 to hit and damage, 
  on top of regular Strength bonuses.  This effect 
  will occur even if the victim who failed his or her 
  saving throw leaves the area of effect, and will 
  last for a number of hours equal to the level of the 
  bard.  This effect may be removed by a normal 
  remove curse spell, a wish, or any other magical 
  means of removing enchantments.  The bard may 
  perform this spell-song for a number of rounds 
  equal to his or her Constitution score.  If he or she 
  does not stop playing before then, the bard may 
  maintain this spell-song, but must make a save 
  vs. Spells each round, or fall under the same 
  effects as the intended victims.  It should be noted 
  that this spell-song is indiscriminate, affecting 
  everyone within the area of effect - even a bard’s 
  friends. 
   
   
   
   
   
   
  
   
  23 
   
  Tempest: 
  Range:  0’ (bard only) 
  Duration:  Special 
  Effect:  Creates illusory weather conditions 
  within 120 yards. 
   
  When performed, this spell-song allows the bard 
  to create illusory weather conditions in a 120-
  yard area, centred on him- or herself.  This spell-
  song must be performed outdoors, and the effect 
  may move with the bard as long as he or she 
  continues performing.  In many ways, this spell-
  song works in much the same way as the druidic 
  weather control spell.  The bard may select a 
  weather pattern with which he or she is familiar, 
  and create a realistic illusion of it.  Those caught 
  within the effect (except the bard’s companions) 
  must make a save vs. Spells to see through the 
  illusion, otherwise they will believe it is real, and 
  will suffer its effects.  Typical weather conditions, 
  and their effects on those who fail the save, could 
  include the following: 
   
  • 
  Rain:  All missile fire within the area of effect 
  is penalised by –2, the ground appears to 
  become muddy after 12 rounds (all those 
  affected by the illusion move at half normal 
  rates); 
  • 
  Fog:  Visibility is reduced to 20’, movement 
  rates are effectively halved, and people may 
  get lost; 
  • 
  High winds:  Missile fire and flying is 
  impossible, movement rates are halved; and 
  • 
  Snow:  Visibility is reduced to 20’, movement 
  rates are halved.  
   
  The bard may perform this spell-song for a 
  number of rounds equal to his or her Constitution 
  score, after which he or she may continue the 
  spell-song, but must save vs. Spells each round or 
  pass out for 1d6 rounds due to the exertion.  If the 
  bard stops performing before that time, no ill 
  effects result. 
   
  Truthtell: 
  Range:  50’ 
  Duration:  5 questions 
  Effect:  Makes one person provide information 
  freely. 
   
  After being performed for one round, this spell-
  song allows the bard to select one individual 
  within range, and compel him or her to answer up 
  to five questions truthfully.  The victim of this 
  spell is not charmed, but he or she cannot disobey 
  the bard.  The answer to each question will be 
  given as fully as possible, including the victim’s 
  opinions and inner thoughts on the subject matter 
  – nothing can be held back.  Details that the 
  victim does not remember, or of which he or she 
  was unaware, cannot be obtained by this spell-
  song.  Once the questioning is over, the victim 
  will not remember the experience, and will return 
  to “reality” in another three rounds, after which 
  he or she will be slightly disoriented.  At the DM’s 
  discretion, victims may be allowed a save vs. 
  Spells every week to recall the questioning. 
   
  Fifth Level Spell Songs: 
   
  Dance With Me: 
  Range:  0’ (bard only) 
  Duration:  Up to one round per Constitution point 
  Effect:  Makes people within 30’ of the bard dance 
  wildly. 
   
  This spell-song is very similar to the magic-user 
  spell dance.  In this case, the bard plays his or her 
  instrument and all those who are within 30' of the 
  bard, and who fail their save vs. Spells, begin to 
  dance uncontrollably following the rhythm of the 
  song.  While they dance they cannot cast spells, 
  fight or dodge, and cannot activate magical 
  objects.  They are totally caught up in the dance 
  and do not pay attention to anything else around 
  them.  They move following the source of the 
  sounds and cannot thus exit the area of effect of 
  the spell-song, unless somebody pulls them away 
  by force (a Strength check is required).  If they 
  are somehow hurt while dancing, they ignore the 
  pain and keep on dancing.  The victims of this 
  spell suffer the following penalties:  -4 to their 
  saving throws; -4 to every skill check; and their 
  armour class is calculated using only their 
  magical bonuses and without the shield (if any).  
  The bard may continue playing this wild spell-
  song for a number of rounds equal to his or her 
  Constitution score; if he or she stops, the whole 
  effect ends.  The effect can be cancelled also via a 
  Magic's End spell-song or a silence spell; dispel 
  magic has no effect whatsoever. 
   
  Fantasy: 
  Range:  120’ 
  Duration:  Special 
  Effect:  Induces hallucinations in up to 15 Hit 
  Dice of creatures within range. 
   
  When invoking this spell-song, the bard can affect 
  up to 25 Hit Dice worth of creatures (i.e., one 25 
  HD creature, five 5 HD creatures, 25 1 HD 
  creatures, or any other combination).  The player 
  indicates which creature(s) he or she wishes the 
  bard to target, and the DM secretly determines 
  how many of those creatures are affected.  From 
  the 25 Hit Dice maximum, the DM should first 
  subtract the larger Hit Die creatures, and then 
  apportion the remainder (if any) among the 
  weaker creatures.  If any Hit Dice are left over, 
  
   
  24 
  either because all of the creatures have been 
  affected, or because there are not enough to affect 
  the remainder, they are lost.  Once the creatures 
  have been chosen, they must save vs. Spells or 
  succumb to a vivid combination of audio and 
  visual hallucinations.  So intense are these 
  sensations that the affected creature(s) cannot 
  interact with the outside world in any way; they 
  will literally believe they are in another world, 
  devised by the bard through his or her singing 
  and playing.  As such, the bard can create almost 
  any experience desired for those affected by the 
  spell-song, though violent hallucinations may 
  result in the victims striking out wildly with their 
  weapons (the DM should determine whether such 
  attacks might hit anyone).  This effect may be 
  maintained for a number of rounds equal to the 
  bard’s Constitution score.  If the number of 
  rounds equal to that score have passed, the bard 
  may maintain the spell-song, but he or she must 
  make a save vs. Spells every round to avoid 
  experiencing a sensory overload, which will stun 
  the bard for 2d6 rounds.  There are no ill effects if 
  the bard ends the spell-song before his or her 
  Constitution 
  limit 
  is 
  reached, 
  though 
  the 
  creatures affected by the spell will be stunned for 
  1d6 rounds due to the sudden shift back to 
  reality. 
   
  Forgotten Thoughts: 
  Range:  30' 
  Duration:  Permanent 
  Effect:  Makes one victim forget something. 
   
  By playing this spell-song, the bard hypnotises 
  the victim and makes him or her forget something 
  stored in their memory.  The victim who fails 
  their save vs. Spells finds themselves staring 
  blankly at the bard who continues playing while 
  whispering to him or her to forget a specific thing.  
  In order for this power to function correctly, three 
  things are needed: 
   
  a) the victim must understand the bard's 
  language and hear him/her; 
  b) the bard must know what to erase from the 
  victim's memory; and 
  c) the victim must have an Intelligence score of 
  17 or lower (it does not affect geniuses). 
    
  The bard can erase from the victim's mind a 
  single memory (for example the name of a person 
  or the location of a hideout or even a spell stored 
  in his or her mind), or they can erase a brief 
  period of the victim’s memory, up to one hour per 
  level (for example, a 11th level bard could say: 
  "You will forget everything you did yesterday 
  from 7:00 am to 6:00 pm" or "on Ambyrmont the 
  23rd" or "on Nuwmont the 4th of AC 989").  There 
  is no limitation to the point in the past the 
  memory can go.   
   
  This spell-song does not make a spellcasting 
  victim forget all of his or her spells; only one 
  (chosen by the bard, provided he or she knows 
  what spells the victim memorised).  Memory lost 
  as a result of this spell-song can only be regained 
  via a wish, a psychic surgery or a restoration spell 
  cast by a cleric of higher level than the bard. 
   
  Rolls Of Thunder: 
  Range:  120’ 
  Duration:  1 round 
  Effect:  Creates a thunderous wave of sonic force. 
   
  This spell-song produces a great blast of sound 
  from the bard’s instrument at the end of the 
  round in which it is played, which affects all 
  creatures standing in front of the bard, in a cone 
  120’ long and 60’ wide at its far end.  Those 
  within the cone are buffeted by the sonic wave, 
  and receive 2d8 points of damage (they may save 
  vs. Dragon Breath for half damage).  In addition, 
  all victims must save vs. Death Ray or be blown 
  over by the blast.  No additional damage is taken 
  if the save fails, but victims will be stunned for 
  1d6 rounds.  Every five levels after 11th level, the 
  bard will inflict an additional 1d8 damage per 
  victim with this spell-song, up to a maximum of 
  7d8 damage at 36th level (although victims may 
  still save for half damage). 
   
  Satire: 
  Range:  Special 
  Duration:  Special 
  Effect:  Curses one being. 
   
  This spell-song is one of the most potent weapons 
  in a bard’s armoury; it enables the bard to place a 
  form of curse on a single individual who has 
  wronged him or her, or those whose side he or she 
  takes.  Each use of this spell requires the bard to 
  compose and write a new song (a process that 
  takes at least one week), lambasting the chosen 
  target in a particular way; the song should 
  generate derision, contempt, or dislike for the 
  target in those who hear it.  A skill roll (using the 
  lowest score of the bard’s three required skills) is 
  required at its completion, to see if it succeeds in 
  evoking the effect the bard wants; failing this roll 
  means that the bard must start again, with -1 
  penalty on the next skill roll.  If the attempt fails 
  three times (cumulative penalty), the bard may 
  not Satirise that individual until he or she gains 
  at least two more levels. 
   
  If the attempt succeeds, the bard may cast the 
  spell by playing the song in front of an audience of 
  no less than 20 people.  The target need not be in 
  
   
  25 
  the audience, or even in the same country, but 
  must nevertheless make a Saving Throw vs. 
  Spells (with -1 on the roll for each 10 people who 
  hear the Satire’s debut performance) or be 
  affected by the curse.  This may be anything from 
  a penalty to saving throws, to a reduction in one 
  characteristic (no more than two points), to some 
  physical effect - an obscenely long nose, for 
  instance, or the sound of a donkey braying when 
  the cursed person speaks; anything which makes 
  a suitable punishment for the target’s "crime". 
   
  The effect of the curse lasts for as long as people 
  remember, and continue to sing, the satirical 
  song; if no further performances are given, the 
  effect fades in about a week.  A wronged bard is a 
  vengeful creature, however, and is likely to 
  perform the Satire as often as necessary, and to 
  as many people as possible, to keep it going.  The 
  task may be made easier if fellow bards and 
  minstrels can be convinced to take up the Satire - 
  two (or ten, or twenty) bards can spread a song 
  much more effectively than one, after all.  No 
  bard may have more than one Satire in operation 
  at once; this includes those relaying another 
  bard’s Satire. 
   
  The subject of the Satire is entitled to an 
  additional save once per month, for as long as the 
  curse continues; if successful, he or she is freed 
  from its effects forever.  The power to Satirise 
  someone is the most important ability, and most 
  sacred trust, held by the bards; they never use it 
  for frivolous or trivial purposes.  If a bard should 
  ever stoop to such an act (DM’s judgement), he or 
  she may find the effects of the curse rebounding 
  threefold. 
   
  Higher Experience Levels 
   
  Upon reaching 9th level – or Name level, as it is 
  sometimes called – a bard has the option of 
  building a stronghold, or of becoming a traveling 
  bard, as per the guidelines below. 
    
  Land-Owning Bards:   
   
  Name level bards may construct a conservatory 
  (which can be in any form, such as a building in a 
  town, a tower, or anything that strikes the bard’s 
  fancy 
  - 
  but 
  the 
  bard 
  must 
  finance 
  the 
  construction), which will attract 1d8 first level 
  bards, who wish to commence training or add to 
  their repertoires.  They will be loyal, but will not 
  sacrifice themselves for the PC, who will have to 
  replace them if they leave or are killed.  At a 
  conservatory a Name-level bard may teach 
  novices, research new spell-songs, store the lore of 
  heroes, or learn of unsung epic deeds from 
  travelling bards (see below).  For many smaller 
  towns, conservatories are a source of information 
  on great historical events and people, as well as 
  legends. 
   
  Land-owning bards are also required, by the 
  unspoken code of their trade, to provide shelter to 
  any travelling bard who requests it, as well as 
  allow such visitors to avail themselves of any 
  historical lore that is available.  In most cases 
  this is beneficial to both bards - the traveller gets 
  a temporary place to stay, and the host obtains 
  news of the outside world and can provide his or 
  her students with another teacher for a while. 
   
  Travelling Bards:   
   
  If a Name level bard chooses to become a 
  travelling bard, they may never decide to 
  construct a conservatory afterwards.  Travelling 
  bards have a chance (once per month, at the DM’s 
  discretion) of learning of epic deeds for which no 
  song has been written.  This is in the form of 
  rumours or chance encounters, and this provides 
  opportunities for them to meet great heroes and 
  travel with them for a while, earning some 
  experience along the way while composing an 
  appropriate tribute.  This sort of information is of 
  a greater depth or obscurity than could otherwise 
  be obtained with the Gather Information skill.  
  Travelling bards may also take refuge in any 
  conservatory they find, and use the resources 
  therein to further their own studies, but they 
  must repay the hospitality by offering to assist in 
  the teaching of any students that might be there. 
   
  Further Advancement: 
   
  As the bardic profession is rather small and 
  tightly knit, with its secrets guarded jealously, 
  there are very few high-level bards, who are 
  known as Meistersingers (those of 21st level or 
  greater).  To attain this rank, a 20th level bard 
  must make their way, once they have enough 
  experience points to advance to the next level, to 
  one of the greater conservatories, and undergo a 
  test 
  to 
  determine 
  their 
  suitability 
  for 
  advancement.  This test can take many forms, but 
  often 
  consists 
  of 
  displays 
  of musical 
  and 
  storytelling talent, and possibly a duel.  The 
  aspirant will be matched with a Meistersinger of 
  one level higher than him- or herself, who will 
  administer the test.  If the applicant succeeds (the 
  DM is encouraged to run the test as a roleplaying 
  opportunity), he or she will be able to advance to 
  the next level.  Those who fail must wait one 
  month before trying again.  In the meantime, they 
  may continue to gain experience points through 
  adventuring, but they will not advance in level 
  until they pass the test.  This process must be 
  undertaken each time the bard wishes to advance 
  
   
  26 
  in level beyond 20th, until they reach 36th level, 
  after which they will become one of the six Master 
  Bards. 
   
  Demihuman Bards: 
   
  As with certain other classes, demihumans (elves, 
  dwarves, halflings, and the like) may become 
  bards.  The notes below discuss the rules 
  associated with each race in terms of their 
  advancement and saving throws. 
   
  Dwarves:  Dwarven bards advance and save as 
  dwarves equal to their level.  A dwarven bard 
  cannot also be a cleric.  Upon reaching 10th level, 
  the dwarf may choose either to continue 
  advancing as a dwarf (and thereby he or she will 
  gain the dwarven fighter options and abilities, but 
  will not progress further as a bard), or as a bard 
  (and thereby will continue to improve his or her 
  bardic abilities, but will not gain the fighting 
  abilities normally available to dwarves at higher 
  levels).  If the latter option is chosen, use the 
  expanded demihuman experience table provided 
  in the Rules Encyclopaedia, and continue spell-
  song progression according to the table provided 
  in this supplement, equating dwarven level with 
  bardic level for spell-song progression purposes. 
   
  Elves:  Elven bards advance and save as normal 
  elves until 10th level, after which they may, as per 
  the rules from the Elves of Alfheim Gazetteer, 
  advance as an elf mage (and increase their 
  magical powers, but not their bardic or fighting 
  abilities), an elf lord (improving their fighting 
  skills while their bardic and magical powers do 
  not advance), or as an elf bard (bardic abilities 
  continue to improve, but fighting and magical 
  abilities do not).  As with dwarves, elves should 
  follow the expanded demihuman level progression 
  table given in the Rules Encyclopaedia, and 
  continue spell-song progression according to the 
  table provided in this document. 
   
  Halflings:  Halfling bards advance and save as 
  regular bards, and will gain the racial immunities 
  normally available to halflings at higher levels, 
  when their experience point total is the amount 
  required for obtaining them.  They will not gain 
  the special fighter abilities normally available to 
  halflings. 
   
  Lupins and Rakastas:  These two races can also 
  be bards; in fact, there are several good kits to use 
  with these races if you use the AD&D™ rules 
  system.  If you are using the D&D® rules, then 
  both of these races advance and save as regular 
  bards, and start game play as 2 HD creatures, as 
  per the rules in Dragon® magazine.  Racial 
  abilities, such as the lupin’s perception sense and 
  detect invisible ability, and the rakasta’s 
  infravision, are retained.  The one-time penalties 
  for these races (-2,000 XP for lupins, and -2,200 
  XP for rakasta) must still be overcome before the 
  character can progress to 2nd level.  
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
  
   
  27 
   
   
  History: 
   
  Luigi Antonio Qualizza was a renowned bard 
  from the Glantrian principality of Caurenze, who 
  travelled across much of Mystara’s Known World 
  region in the late 9th century AC, treating 
  audiences of all social classes to his unique 
  musical compositions, and joining parties of 
  adventurers in order to record their deeds – and 
  to gain some treasure, too.  So powerful were 
  some of his songs in their raw emotion and 
  imagery, it was not unheard-of for some members 
  of the audience to faint during his performances, 
  or to become overwhelmed by their emotions.  
  Eventually, Luigi grew tired of wandering, and 
  settled 
  in 
  northern 
  Kerendas, 
  where 
  he 
  established a conservatory. 
   
  Over the following years, many aspiring bards 
  sought his tutelage, thinking that they, too, could 
  become as famous as Luigi Qualizza.  Although he 
  was an excellent teacher, he would never reveal, 
  even to his most trusted students, the inspiration 
  for many of his greatest songs, both mundane and 
  magical.  Soon, his students came to understand 
  that, when he disappeared for days on end, and 
  then returned to the conservatory, looking 
  dishevelled, without a word of explanation as to 
  where he was, Luigi had crafted yet another 
  masterpiece.  Some of these he recorded in a 
  green leather folio, which he never let out of his 
  sight, and which he never let others peruse. 
   
  Over time, his compositions became ever more 
  bittersweet, and one day, Luigi announced his 
  departure, and appointed his most senior student 
  to take his place as master of the conservatory, 
  saying to her, “I have imparted to you all the 
  knowledge that I can share.  Your future path will 
  be one of your own choosing.”  Although no one 
  ever saw him again, some students later recalled, 
  as Luigi embarked on his journey, that he 
  muttered the name, “Marlena,” softly under his 
  breath.  Although most of Luigi’s personal effects 
  were left behind - some of which remain on 
  display at the conservatory today - the green folio 
  disappeared with its owner.  To this day, some 
  bards still wonder what Luigi kept in that folio, 
  and whether it still exists. 
   
  “Marlena” was, in fact, Marlena de Boer, Luigi’s 
  secret love.  Descended from an old Flaemish 
  family, she was expected to marry into another 
  family of similar background.  Luigi, although a 
  respected bard in his own right, was deemed 
  unsuitable by Marlena’s conservative family, and 
  the two were forbidden from meeting.  They kept 
  meeting in secret, and Luigi began to compose his 
  symphony, which he intended to dedicate formally 
  to Marlena once it was completed.  Eventually, 
  their private trysts were discovered, and Luigi 
  was banned from the de Boer estate, under the 
  threat of death if he was discovered there again.  
  Frustrated, Luigi tried to elope with Marlena one 
  day, but was discovered by her father, Willem de 
  Boer, who cast offensive magic at the bard, 
  forcing him to flee.  Only days later Marlena was 
  married off to a young Bergdhovian wizard, and 
  Luigi left Glantri a broken man.  It was then that 
  he began his career as a travelling bard, during 
  which he completed his symphony, which was 
  never performed.   
   
  Description: 
   
  Luigi’s Symphony is a collection of 98 loose leaves 
  of parchment, kept within a green leather folio, 
  measuring 15” long, 9” wide, and 1” thick.  There 
  is nothing written on the outside, and the folio 
  can be buckled shut.  At first glance, the 
  parchment appears to contain nothing but sheet 
  music, and, if played, will produce a lovely, 
  evocative piece of music that tells the story of a 
  lonely composer who sees a young girl, a veritable 
  vision of beauty, late one night, and who later 
  falls in love with her.  The woman reciprocates 
  the musician’s affections, and love blossoms.  
  Towards the end, something comes between the 
  lovers, and the bard is denied the fulfillment of 
  his love.  He feels cold and lifeless ever 
  afterwards, mourning the love that has been lost. 
   
  To a bard, however, it becomes clear that Luigi’s 
  Symphony is not one, but five distinct songs – the 
  opening, and four spell-songs that comprise the 
  body of the symphony.  If the bard makes a 
  successful Intelligence check, he or she will be 
  able to discern one distinct spell-song; four 
  successful checks are required to identify all of 
  them. 
   
  Also 
  identifiable, 
  with 
  a 
  halved 
  Intelligence check, is a brief dedication in bardic 
  code at the very end, which reads, “To Marlena de 
  Boer, the fairest flower of Bergdhoven, lost to me 
  these many years.”  Luigi’s Symphony contains 
  the following spell-songs: 
   
   
  
   
  28 
  Still Night: 
  Level:  1 
  Range:  0’ (bard only) 
  Duration:  6 turns 
  Effect:  Creates a 10’ radius area of silence around 
  the bard. 
   
  This spell-song has the effect of creating a sphere 
  of silence 20 feet wide, centring on the bard - not 
  unlike the cleric spell silence 15’ radius.  This 
  sphere moves with the bard while the spell effect 
  lasts, and no sounds whatsoever may escape from 
  within it, although those within the sphere may 
  hear every sound on the outside.  Any spells being 
  cast are nullified if the caster finds him or herself 
  within this sphere. 
   
  All Good Things: 
  Level:  3  
  Range:  0’ (bard only) 
  Duration:  Up to 1 turn per Constitution point 
  Effect:  Creates a protective circle 30’ around the 
  bard. 
   
  With this spell-song, the bard evokes all things 
  good and pure that exist in the world, and creates 
  a veritable circle of protection with a radius of 30 
  feet around him- or herself that works in a 
  manner identical to the spell protection from evil.  
  To maintain the circle of protection the bard must 
  go on playing or singing, and can do so for up to 
  one turn per Constitution point.  This spell-song 
  can be dispelled only by the Magic's End spell-
  song, or by incapacitating or interrupting the 
  bard for at least one round; a silence spell may 
  also work.  
   
  The Miracle of Love: 
  Level:  4 
  Range:  80' 
  Duration:  24 hours 
  Effect:  Makes people fall in love. 
   
  This most powerful spell-song requires the bard 
  to play his or her instrument for at least one 
  minute to touch the heart of the intended victim 
  and make him or her feel love for another person 
  (not an animal or a monster).  The victim who 
  fails his or her save vs. Spells (at a –3 penalty) 
  will 
  love 
  the 
  subject 
  of 
  the 
  spell-song 
  passionately, for a period of 24 hours from the 
  time of the failed saving throw.  They cannot 
  refrain from showing their love.  In game terms, 
  this means the "bewitched" victim of this spell-
  song is treated as though they were charmed by 
  the "lover" for the whole day, at the end of which 
  the song's effects expire, and their original 
  feelings resurface.  This effect can only be 
  dispelled by performing the Magic's End spell-
  song, or by a remove curse spell cast by a cleric of 
  15th level or higher. 
   
  I Am Become Death: 
  Level:  5 
  Range:  Touch 
  Duration:  Up to 1 round per Constitution point 
  Effect:  Makes people within 50’ fall into a coma. 
   
  One of the most powerful and deadliest spell-
  songs of the bard, this is normally used against 
  evil creatures or in very dire situations.  By 
  playing this song, the bard makes all those within 
  50 feet of the bard who fail their saving throw vs. 
  Spells believe that the bard is death incarnate.  
  They start seeing him as a dark, cloaked grim 
  reaper armed with a silver scythe and fear him to 
  the point of avoiding any contact with him (this 
  means they will not engage in melee combat with 
  him).  All the others who make their saving throw 
  are simply unnerved by the bard's presence and 
  make all attacks against him or her at -2.  
   
  The bard must play for two rounds before the 
  effects of the spell-song take place, then they last 
  for up to one round per Constitution point of the 
  bard without any need for him or her to go on 
  playing; the bard must however keep on singing.  
  All the people who failed their saving throw who 
  are touched by the bard (normal hit roll) faint 
  instantly and remain comatose for 20 rounds 
  minus their Wisdom score; at the end of this 
  period, they awake and realize it has all been an 
  illusion.  If the bard touches a person who was 
  inside the spell-song’s area of effect when he or 
  she first played the spell-song, but made their 
  saving throw, nothing happens.  This power can 
  be dispelled with a Magic's End spell-song or by 
  casting dispel magic. 
   
  Use in a Campaign: 
   
  The most obvious use for Luigi’s Symphony is to 
  include it in a reasonably sized treasure hoard, 
  preferably one that is guarded by a powerful 
  monster that has inspired local legends - but this 
  is not essential.  It is up to the DM to determine 
  whether or not Luigi’s remains are also located in 
  the same area, perhaps as a result of a fateful 
  decision to accompany a now-dead adventuring 
  party in its quest to slay a feared monster in its 
  lair.  Regardless of how it is inserted into a 
  campaign, the symphony is a magic item intended 
  for the use of any bards in an adventuring party, 
  as a means of increasing their repertoire of spell-
  songs, and possibly to provide them with an 
  inspiration to compose their own. 
   
  An alternative way of introducing this item is to 
  have an NPC, possibly a renowned bard, hire the 
  
   
  29 
  PCs to track down this elusive compilation.  If the 
  DM goes this route, it would be advisable to have 
  at least one PC in the party be a bard, who may 
  have some knowledge of the history of the 
  symphony, or at the very least have a personal 
  interest in ensuring that it is recovered.  Needless 
  to say, finding Luigi’s Symphony should be the 
  culmination of a difficult quest.  
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
  
   
  30 
   
   
   
  Have you ever run or played in a D&D® 
  Immortals only campaign? If your answer is yes, 
  then I suspect that you would be in a very small 
  minority of D&D® players who have. Recently, 
  one wet and gloomy Sunday, I pulled out my old, 
  battered copy of the 'gold box' Immortals Set and 
  started to reread through the rules for the first 
  time since I bought the set from a secondhand 
  book shop some years ago. I have never run or 
  played in such a campaign and I had to ask 
  myself, why not?  
   
  The answer for me was twofold. Firstly, none of 
  the campaigns that I've been involved with have 
  ever reached the uniformly lofty levels needed for 
  the entire party of heroes to become Immortals. 
  The second problem, from a DM's point of view, 
  was the daunting prospect of creating interesting 
  'Immortal only' adventures that would both 
  challenge the players' imaginations and could be 
  sustained through an entire campaign.  
   
  The first problem can, of course, be solved 
  relatively simply; instead of the players waiting 
  for their PCs to reach the 36th level, they either 
  roll up an Immortal from scratch, or assume 
  control of an Immortal pre-generated by the DM. 
  Two of the only three official Immortal level 
  adventures produced by TSR, IM2 The Wrath of 
  Olympus and IM3 The Best of Intentions, (but 
  frustratingly not the first in the series, IM1 The 
  Immortal 
  Storm), 
  provide 
  pre-generated 
  Immortal PCs ready for the players to run.  
   
  The second reason is a little more problematic. 
  What sort of adventures would challenge a god? 
  The Immortals Set published in 1989 does give 
  some limited guidance on constructing and 
  running 
  Immortal 
  only 
  adventures 
  and 
  campaigns. But, as the author Frank Mentzer 
  acknowledges, the boxed set "opens many doors 
  without entering them". Perhaps The Wrath of 
  the Immortals, the boxed set companion to the 
  D&D® Rules Cyclopedia that replaced the old 
  Immortals Set in the early 90s, provides some of 
  these answers? Unfortunately, I do not have 
  access to this product so that question, for the 
  purposes of this article, will have to remain 
  unanswered. The three previously mentioned 
  official Immortal adventures might also provide 
  campaign ideas and adventure seeds beyond the 
  adventures set out in the modules, but I'll also 
  leave those products to some other author to 
  review at some future date. 
   
  One obvious source of inspiration for adventure 
  ideas are the new Immortal level monsters. The 
  DM's Guide to Immortals details a number of 
  nifty creatures, any of which could be used as the 
  basis for an adventure, including; Soo (watery 
  time-beings), Jumpers (no, not the woolly things 
  you wear in cold weather, but intelligent life 
  forms that feed on time!), as well as numerous 
  types of Demons. Although these creatures might 
  provide interesting and challenging one off, or a 
  short series, of adventures, such creatures alone 
  are not likely to sustain an entire campaign. 
   
  Mentzer suggests that many of the scenarios 
  presented in the D&D® Basic Set could be used 
  as ideas for an Immortals only campaign—but on 
  a much grander scale. For example; exploration of 
  the Outer Planes, rescuing an imprisoned 
  Immortal, or finding a lost race. But why play an 
  Immortals only campaign if it is nothing more 
  than a collection of high-powered '1st level' 
  adventures? Shouldn't a campaign about the gods 
  be a little more inspiring than something the 
  Party can do at first level?  
   
  The DM's Guide to Immortals does, however, 
  attempt to develop campaign themes that go 
  beyond the usual D&D® quest for glory and gold. 
  Each Immortal has a set of goals that govern his 
  or her life and these goals vary according to the 
  Sphere that they serve. However, all Immortals 
  generally share the following goals in descending 
  order; (1) to maintain the existence and integrity 
  of the Prime Plane, (2) to assist, protect, and 
  develop the Sphere that they serve, and finally, 
  (3) to explore and develop the Mulitverse. Whilst 
  these goals are universally acknowledged by all 
  Immortals, harmony is far from established 
  between the Spheres. In particular is the conflict 
  between the Spheres of Matter, Energy, Time, 
  and Thought versus Entropy, the Sphere of 
  destruction and despair. Either the conflict 
  between these broad set of goals, or the 
  everlasting struggle between the Spheres, could 
  be the seed of an adventure or series of 
  adventures.  
   
  Other areas of inspiration for campaign themes or 
  adventures might be one of the myths and 
  legends from our own world. Fancy yourself 
  playing Hercules or Zeus from Greek legend, or 
  
   
  31 
  perhaps overseeing the drama of Ragnarok, the 
  Norse apocalypse? Other D&D® products might 
  also be worth a look, especially the AD&D® 
  PLANESCAPE™ 
  campaign 
  setting 
  which 
  strongly emphasises campaigns about "ideas, 
  philosophies, morals, and attitudes". This would 
  fit nicely with a more expansive and thoughtful 
  Immortals only campaign. 
   
  Another option, if a long campaign is not to your 
  liking, is a one-night-stand Immortals adventure. 
  This might be a great way to spice up a 
  stagnating campaign. Perhaps the players can 
  play the parts of the Immortals interfering in the 
  matters of mortals (i.e. the PCs), and then 
  resuming their usual PC roles to try and cope 
  with the chaos wrought by the meddlesome 
  Immortals? This could be a good way to explain 
  those pesky, but sometimes necessary, reality 
  shifts. 
  Another 
  alternative 
  to 
  an 
  ongoing 
  Immortals only campaign is the mixed Immortal-
  mortal 
  campaign. 
  Mentzer 
  discusses 
  the 
  possibility of players running Immortal PCs 
  which have secretly assumed mortal Identities 
  (perhaps secret even from the other players!) and 
  adventuring with the Party so to complete some 
  higher mission.  
   
  You see? The campaign possibilities are as 
  boundless as the Planes of Existence themselves! 
  Listed below are a five sample campaign ideas to 
  serve as seeds for your own Immortal campaigns 
  and adventures. 
   
   
  Five Immortal Campaigns 
   
  The eternal struggle 
   
  One of the most obvious campaign themes, 
  though the least well defined, is the never ending 
  battle between the forces of Chaos, Neutrality and 
  Order—a conflict where Immortals from the 
  different Spheres struggle (both in the 'heavens' 
  and on the Prime Plane) to gain control over the 
  hearts and minds of mortals. Where the Chaotic 
  Immortals attempt to corrupt the innocent, the 
  Lawful Immortals attempt to stop them ... and 
  the Neutral Immortals, well, they try to mediate 
  between the two. This fits broadly into the 
  Immortals' second goal to assist, protect, and 
  develop the Sphere in which they serve. 
   
  The lesser of two evils 
   
  An interesting variation on this theme might be a 
  civil war among the forces of Chaos. An evil 
  Immortal upstart from the Plane of Entropy is 
  seriously challenging the current hierarchy's grip 
  on power. Although 'evil', they (the evil powers 
  that be) have always respected the 'rules of 
  engagement' and the balance between the 
  Spheres. But not the new fellow and his disciples, 
  they want total power across the Multiverse, with 
  no restrictions. The Lawful Immortal heroes can't 
  choose sides—after all, evil is evil. They must, 
  however, find a way to protect innocent mortals 
  caught in the crossfire of this civil war which is 
  spilling out onto the worlds of the Prime Plane. 
  Ultimately, the heroes might need to find a way 
  to end this conflict, but how can this be done 
  without aiding the lesser of two evils?  
   
  Undoing the damage 
   
  A further variation on this theme is a single, but 
  powerful, rogue Immortal who is gallivanting 
  across the Mulitverse leaving untold havoc in her 
  wake. The heroes might be charged with undoing 
  this 
  damage, 
  ultimately 
  catching 
  her 
  and 
  returning the renegade Immortal to her home 
  Plane to face justice. But no matter how hard the 
  PCs try, she always manages to elude their grasp. 
   
  A mortal life 
   
  For millennia The Old Ones, the great beings who 
  created it all, have been dying. As The Old Ones 
  fade, so do the worlds on the Prime Plane. 
  Without a cure to the mysterious illness afflicting 
  The Creators, the Prime Plane will ultimately 
  dwindle into nothing, and so eventually will the 
  very Immortals. This campaign theme goes 
  directly to the Immortals' first and primary goal 
  to maintain the existence and integrity of the 
  Prime Plane, for without it there can be no more 
  Immortals, as the creatures from it, through their 
  own achievements, replenish their ranks. What 
  titanic quest must the heroes perform to find a 
  cure and save the Multiverse? 
   
  Cast out of heaven 
   
  The PCs have been very naughty Immortals. For 
  their 'crimes' they have been cast out of heaven, 
  stripped of their powers, trapped in mortal form, 
  and exiled to wander across a world on the Prime 
  Plane until they have learnt the error of their 
  ways. Occasionally the Immortals test them, and 
  occasionally they grant the PCs their powers—
  only to revoke them once they have fulfilled their 
  task. This final campaign idea is not quite an 
  'Immortals only' campaign, but may be a good 
  way to introduce players to the Immortals Set 
  whilst allowing at the same time for a more 
  traditional D&D® game. 
   
   
   
   
  
   
  32 
  Conclusion 
   
  I hope that this article is a source of inspiration 
  that sparks many more ideas of your own, and 
  perhaps to even inspire you to consider running 
  your own Immortals campaign. The Immortals 
  Set, I suspect, has been a long neglected item in 
  the original DUNGEONS & DRAGONS game 
  range, and it is a set of rules that I for one intend 
  to take a much closer look at from now on. 
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
  
   
  33 
   
   
  The non-weapon proficiencies section given for 
  OD&D in Gazetteer #1 and the Rules Cyclopedia 
  strongly resemble the same system in 2nd Edition 
  AD&D. (The same system that has been ditched 
  for 3rd Edition.) This article provides a new 
  system for skills, designed to fit into the present 
  rules system of Basic/Expert D&D. 
   
  The system is basically the same percentile 
  system used for Thieves' special skills, such as  
  Open Lock. The difference is that whilst Thieves 
  get their skills for free, these 'cost' experience - 
  each one adds 10% onto the amount of experience 
  points the PC's require for the next level. (For 
  example, a fighter with two Skills will require 
  2,400 experience to reach Level 2, instead of 
  2,000.) Each skill begins with a 25% chance of 
  success, and rises 3% per level until 90% is 
  reached. (A PC may pay double experience at the 
  beginning, and start with 45% but in this case the 
  doubled skill costs 25% experience.  At first level 
  only, the character has 20 points to distribute 
  among skills.  This is one-time only and will set 
  the basis of the percentile for the future.  
   
  A wide selection of general skills are included 
  here, that are intended to be of direct use for the 
  PC's. (General skills such as horse riding and fire 
  building, under this system, are assumed to be 
  general knowledge, instead of proficiencies.) The 
  DM should choose which of these skills to allow 
  various PC's - some may not be appropriate for 
  his setting, or at least for certain areas of that 
  setting. If so, he will simply have to make 
  modifications.         
   
  Table I:  Secondary Skill List 
   
  Alchemy/Brewing 
  Administration 
  Arcane Lore 
  Astrology/Scrying 
  Blacksmith/Armorer 
  Bowyer/fletcher  
  Chivalry 
  Courtoisie 
  Farmer/gardener  
  Fine Arts  
  Fisher (netting or harpoon) 
  Gambler  
  Hunter/fisher (hook and line)  
  Husbandman (animal husbandry)  
  Jeweler/lapidary  
  Leather worker/tanner  
  Legend Lore 
  Limner/pointer  
  Mason/carpenter  
  Miner  
  Navigator (fresh or salt water)  
  Performing Arts  
  Physical Arts (Athletic or Acrobatic)  
  Physicker 
  Religions/Rites 
  Sailor (fresh or salt)  
  Scribe 
  Shipwright (boats or ships)  
  Tailor/weaver  
  Teamster/freighter  
  Terrain Lore 
  Trader/barterer  
  Trapper/furrier  
  Woodworker/cabinetmaker  
   
   
  Certain secondary skills reflect the inherent 
  abilities of many of the classes available to player 
  characters in the D&D world.  However, any 
  character with the appropriate secondary skill 
  may know a bit about the field in question, but 
  their knowledge is inferior to anyone actually 
  practicing the class.  For example, a fighter with 
  Woodland Terrain Lore as a secondary skill has 
  some woodland knowledge but would still be very 
  inferior to even a first level Ranger or Druid in 
  the same surroundings.  However, any skill that 
  is part of the character’s class(es) is considered to 
  have a 95% score in as part of the class. 
   
  Below is a handy table to reference the various 
  D&D classes and the secondary skills that would 
  approximate such class knowledge. 
   
  Table II: Secondary Skills/Class Comparison 
   
  Class 
   
  Class Skill 
   
  Percentage 
  CLERIC 
  Religion/Rites  
  95% 
  Dwarf  
  Miner  
   
  95% 
  Elf 
   
  Terrain Lore (Forest) 95% 
  FIGHTER 
  Physical Arts (Endurance)  95% 
  Halfling 
  Farmer/Gardener 
  95% 
  MAGIC USER Arcane Lore 
   
  95% 
  THIEF  
  Trader/Haggler  
  95% 
   
  SKILL DEFINITIONS: 
   
  While most of the Secondary Skill list is self-
  explanatory, some are obscure and are therefore 
  briefly defined below.  Please note that the precise 
  
   
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  definition and when/where the skill can be 
  applied is entirely up to the DM. 
   
  Administration: 
  This skill shows that the 
  character 
  is 
  proficient 
  with 
  government, 
  bureaucracies, and other such organizations and 
  may be able to infer proper behavior and 
  procedure to interact with such groups. 
   
  Alchemy/Brewing:   
  Alchemy is only allowed 
  for Magic-Users, Elves or Clerics. (Or optionally 
  certain 0-level NPC's as Alchemists). It is the 
  knowledge of brewing potions, but costs and time 
  to create such potions are determined by the DM.  
  Note that any potion mimicking a spell effect 
  must have the spell cast upon the fluid during 
  potion creation by a caster of the appropriate level 
  with the spell. 
   
  Arcane Lore: 
   
  This skill is all the various 
  minor disciplines any student of the Arcane is 
  familiar 
  with 
  such 
  as 
  Witchcraft, 
  Occult, 
  Numerology, Demonology, etc.  It is also useful in 
  the further study of the Magical Arts. 
   
  Chivalry:  
   
  This skill notes that the 
  character is proficient with manners, social 
  morays on their particular level of social class, 
  and how to act among those superior or inferior to 
  them.  Public Speaking is also part of this, as is 
  the many methods society uses to segment itself 
  (such as heraldry, Regalia, etc.). 
   
  Courtoisie:    
   
  The skill of Courtoisie is a 
  combination of poise, elegance, social banter, 
  seduction, and all the subtle arts of social 
  intercourse in all areas.  Any player with this 
  skill gains bonuses on Charisma rolls when in 
  social settings or attempting to gain another’s 
  confidence and intimacy. 
   
  Fine Arts: 
   
  The skill of Fine Arts 
  covers the entire gamut of artistic expression in 
  its physical sense, from design to sculpting to 
  poetry and prose.   
   
  Husbandman (animal husbandry):  
  The skill of 
  Husbandry 
  provides 
  the 
  character 
  with 
  knowledge of domesticated or wild animals 
  (specified when skill is taken) common to their 
  culture, and their treatment, upbringing, and 
  breeding.  Simple training is capable as well, 
  though more complex training is at the DM’s 
  discretion.   
   
  Jeweler/lapidary: 
  This 
  skill 
  notes 
  the 
  character’s ability with gem cutting, setting and 
  crafting of fine jewelry and the use and appraisal 
  of precious and semiprecious stones. 
   
  Legend Lore:   
  This knowledge gives the 
  PC’s knowledge of legends, either of his own area  
  (+15% chance of success), of the world, or of other 
  races (-15% chance of success). This skill  
  Can prove useful not only to a PC, but to a DM to 
  throw adventure hooks at the PC’s, or to provide 
  hints for an adventure.  This should reflect tales 
  being told in childhood, either orally or from 
  reading, depending on the area the PC was raised 
  in.  
   
  Performing Arts:  
  The skills of Performing 
  Arts comprise any method of artistic expression 
  that entertains an audience by physical activity.  
  This can encompass acting, singing, juggling, etc.  
  And the parameters should be specified between 
  the player and DM. 
   
  Physical 
  Arts 
  (Endurance 
  or 
  Acrobatic):
   
  This ability portrays a character’s early 
  life’s dedication to physical activity, be it of 
  strength and endurance or acrobatics, one of 
  which must be specified at character creation.  
  Note that the acrobatics specialty is only 
  available to the Thief/Assassin class, with the 
  agreement of the DM. 
   
  Physicker: 
   
  The 
  skill 
  of 
  Physicker 
  notes a character’s ability with medieval healing 
  theories and some rudimentary knowledge of 
  healing herbs and their application for minor 
  ailments. 
   
  Religions/Rites:  
  The Religion/Rites skill is 
  the equivalent of Magic Knowledge for a cleric. 
  Clerics are already assumed to possess this skill 
  at 95%. It displays a PC's knowledge of religion in 
  the local area at least. (If there are two dominant 
  religions, the DM may ask the character to 
  choose.) The skill covers the history of the faith, 
  special ceremonies associated with it; special 
  characters associated with the deity or Immortal, 
  and general religious knowledge. (How the world 
  was created, etc.) 
   
  Scribe:  
   
  The Scribe’s skill is that of 
  penmanship, 
  writing, 
  and 
  ink 
  and 
  paper 
  preparations.  Simple illumination is possible, as 
  well as other writing abilities. 
   
  Terrain Lore:   
  The skills of Terrain lore 
  denote a character’s familiarity with a certain 
  terrain type that they lived in for some time 
  before adventuring (or is the predominant area 
  they adventure in).  Only one terrain per skill is 
  allowed and must be chosen from the below list. 
   
  The facets of the Terrain Lore skill can cover a 
  wide range of abilities, such as woodland lore, 
  setting small snares, identifying local flora and 
  
   
  35 
  fauna, etc.  Terrains that can be chosen are 
  Woodland/Prairie, Artic, Mountainous, Desert, 
  Oceanic, 
  marshland. 
   
   
   
   
   
   
  
SOURCE: textdata/thevault/Dungeons & Dragons [multi]/3rd Party/Original D&D/OD&Dities/ODDITIES 11.pdf