3.5 Complete Mage, Dungeons & Dragons
[ Pobierz całość w formacie PDF ] CREDI TS DESIGN SKIP WILLIAMS, PENNY WILLIAMS, ARI MARMELL, KOLJA RAVEN LIQUETTE ART DIRECTOR KARIN JAQUES COVER ARTIST MATT CAVOTTA DEVELOPMENT TEAM ANDY COLLINS, MICHELE CARTER, MATTHEW SERNETT INTERIOR ARTISTS MIGUEL COIMBRA, ERIC DESCHAMPS, WAYNE ENGLAND, CARL FRANK, RANDY GALLEGOS, RALPH HORSLEY, JIM NELSON, ERIC POLAK, MIKE SCHLEY, RON SPENCER, ANNE STOKES, ARNIE SWEKEL, EVA WIDERMANN, KIERAN YANNER EDITORS MICHELE CARTER, M. ALEXANDER JURKAT EDITING MANAGER KIM MOHAN DESIGN MANAGER CHRISTOPHER PERKINS CARTOGRAPHER MIKE SCHLEY DEVELOPMENT MANAGER JESSE DECKER GRAPHIC DESIGNER KARIN JAQUES DIRECTOR OF RPG R&D BILL SLAVICSEK GRAPHIC PRODUCTION SPECIALIST ANGELIKA LOKOTZ PRODUCTION MANAGERS JOSH FISCHER, RANDALL CREWS IMAGE TECHNICIAN CHRISTINA WILEY SENIOR ART DIRECTOR D&D STACY LONGSTREET Based on the original D UNGEONS & D RAGONS * rules created by E. Gary Gygax and Dave Arneson, and the new D UNGEONS & D RAGONS game designed by Jonathan Tweet, Monte Cook, Skip Williams, Richard Baker, and Peter Adkison. This product uses updated material from the v.3.5 revision. This W IZARDS OF THE C OAST ” game product contains no Open Game Content. No portion of this work may be reproduced in any form without written permission. To learn more about, the Open Gaming License and the d20 System License, please visit www. wizards.com/d20. WotC code: 620-95384720-001-EN ISBN10: 0-7869-3937-0 First Printing: October 2006 ISBN–13: 987-0-7869-3937-4 Contents Sidebars A Wizard Describes A Rogue Survives a Behind the Curtain: 3 Introduction Welcome to Complete Mage, a rules supplement for the D UN - GEONS & D RAGONS ® game. This book is a resource for players, expanding greatly on their options for arcane magic, detailing the methods and techniques by which that magic functions, and even opening up the use of arcane effects by traditionally nonspellcasting characters. In addition, Dungeon Masters can use it to build more interesting NPCs and challenges, to design adventures around arcane themes, and to sprinkle the various viewpoints of arcane magic throughout an entire campaign setting. arcane spellcasters. Every one of these classes showcases a certain aspect of arcane magic, from the traditional (the master specialist) to the outright unusual (the enlightened soul, a warlock whose powers derive from celestial sources rather than infernal ones). Spells and Invocations (Chapter 4): This chapter offers a large number of new spells for arcane casters, as well as new invocations for the warlock. These spells and invoca- tions add new elements of utility, new combat options, and new techniques. Many of the spells are designed to open up new tactical combinations, to combine elements of two other spells into one effect, or to provide lower-level ver- sions of high-level spells that might not see frequent use in play. Arcane Items (Chapter 5): Containing new options for players and DMs, this chapter focuses on items that expand on the precepts put forth elsewhere in Complete Mage. The rings, rods, staffs, and optional spell components provide new capabilities for spellcasting characters, while the alchemical items and many of the wondrous items herein make arcane effects available to noncasting characters. Arcane Adventures (Chapter 6): The only DM-specific part of the book, this chapter discusses how to design adven- tures around an arcane theme. It provides sample adventure ideas and magical locations—including maps—for use in almost any adventure or campaign. WHAT’S IN THIS BOOK Complete Mage contains information for players and DMs, and most of its contents are applicable to both. Fundamentals (Chapter 1): This chapter is a treatise on arcane magic. Where does it come from? Why does it work the way it does? What does it mean to be an arcane caster? This chapter strives to answer these questions, and to expand a DM's setting as it does so. Players will find material here that enables their characters to portray true students of the mystic arts, well studied in all the major secrets of arcana. It also includes tips and tactics for playing a wide range of arcane characters. Character Options (Chapter 2): New insight into arcane magic is far more useful when the players have new options with which to exercise that advantage. A wide range of feats aimed at arcane spellcasters fills most of the chapter. Heritage feats give your arcanist character an interesting origin story, while reserve feats allow a spellcaster to extend her power over a series of encounters. In addition to feats, this chapter includes several arcane- themed alternative class features (a concept introduced in Player’s Handbook II ). These options allow members of other classes to get a taste of what it's like to be an arcanist without sacrificing their core identity. Prestige Classes (Chapter 3): Every mage yearns to bring her own spin to arcane magic, and the eleven new prestige classes in this chapter provide a wide range of options for WHAT YOU NEED TO PLAY Complete Mage updates and expands upon material found in the Players Handbook (PH), the Dungeon Master's Guide (DMG), Monster Manual (MM), and Complete Arcane. Although you can benefit from much of this material even if you don't have Complete Arcane, that book is necessary to make full use of Complete Mage and to take full advantage of the new options and mechanics presented herein. In statistics blocks, spell lists, and other places throughout the book, an asterisk (*) denotes a new game feature described elsewhere in Complete Mage. In running text, each mention of a new game feature is accompanied by a page reference. Finally, the superscript notation CA in statistics blocks signi- fies a game feature found in Complete Arcane. SWIFT AND IMMEDIATE ACTIONS Previous D&D game supplements have made use of two kinds of actions not described in the core rulebooks—the swift action and the immediate action. Some of the class features, feats, spells, and items in Complete Mage use these concepts. Swift Action: A swift action takes a small amount of time but represents a larger expenditure of effort than a free action. You can perform one swift action per turn without affecting your ability to perform other actions. However, you can perform only one swift action per turn, regardless of other actions you take. Casting a quickened spell is a swift action. In addition, casting any spell with a casting time of 1 swift action (such as batllecry; see page 96) is a swift action. Casting a spell with a casting time of 1 swift action does not provoke attacks of opportunity. Immediate Action: An immediate action takes a very small amount of time but represents a larger expenditure of effort and energy than a free action. Unlike a swift action, an immediate action can be performed any time—even if it’s not your turn. Using an immediate action on your turn is the same as using a swift action, and doing so counts as your swift action for that turn. You cannot use another immediate action or a swift action until after your next turn if you have used an immediate action when it is not currently your turn (effectively, using an imme- diate action before your turn is equivalent to using your swift action for the coming turn). You also cannot use an immediate action if you are currently flat-footed. 4 hat is magic? That question has vexed sages and philosophers for centuries. Even people who wield the mightiest spells seem reluctant to give a simple answer. For purposes of this book, magic entails forces or phenomena that somehow trans- cend the natural laws that govern the world. Magic works its wonders without any discernible physical cause and often without any rational explanation. A character working magic taps into some kind of mysterious power source and shapes it into a chosen manner of effect, force, or energy that the magic wielder finds useful. Most scholars agree that this power source is unrefined magic, which is present in the universe in the same way that ordinary matter is present. Magic is simply one element in the combination of things that make up what mortals know as reality. You can find matter almost everywhere you look in the universe. (Some scholars contend that even the voids of interplanetary space and the Astral Plane hold infinitesimal bits of matter, too small to see or feel, but present neverthe- less.) Magic, too, infuses the universe, though most beings remain unaware of its invisible presence. THE NATURE OF MAGIC Unrefined magic cannot be seen, felt, tasted, smelled, or heard. Unrefined magic is best described as the poten- tial for the incredible that is inherent in the universe. Most magical practitioners admit that they cannot sense unrefined magic in any way (experts in the field regard those who claim otherwise as eccentrics). Rather, practitioners open their minds or spirits to the possibil- ity of magic. Once they have achieved the correct mental or spiritual states, practitioners become intuitively aware of their magical potential. A variety of sensations might accompany this awareness. Practitioners report a surge of confidence, a tingle of raw power, or an impression of potent harmonics. Some perceive the harmonics as chords of unearthly music, while others describe the same phenomenon as tremors rippling through their limbs and organs. However magic is perceived, the mere fact of that sensitivity indicates the individual's potential to shape it into a desired form. 5
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