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【ACG】设计职业(Designing Classes)
« 于: 2018-03-12, 周一 21:29:22 »
设计职业(Designing Classes)
对于游戏来说,几乎没有什么规则系统能像制订职业那样重要。在Pathfinder角色扮演游戏中,职业代表游戏中的传奇英雄,以及一些最残忍的恶棍。尽管专长,法术或魔法物品对整个世界的影响有限,但职业可影响整个游戏。各个职业充实了游戏世界,它们是游戏展现其风格与叙事的整体形象的一个组成部分。因为职业非常重要,所以设计新职业对于GM来说是最微妙和最困难的任务之一。本指南通过提供规则和建议将引导你完成设计新职业的过程,帮助你的创造无缝地融入到游戏中。

就像怪物设计一样,创建一个职业的过程有许多要考虑的因素。它要求你将你的概念与其他职业的概念进行比较,并权衡彼此的不同能力。某一种过于强大的职业能力,可能是另一种职业的完美选择,取决于其他的能力。由于变数众多,没有设计一个职业的具体系统(例如Pathfinder RPG Advanced Race Guide中的种族创建)。相反,本节将向你介绍Paizo设计师在设计职业时所经历的过程,以便让你了解自己的设计需要考虑的事项。

职业、变体或进阶职业?(Class, Archetype, or Prestige Class?)
在游戏中,职业可以有很多种形式。虽然大多数角色选择一个职业并在整个冒险事业中坚持纯职,但也有些人会尝试变体或进阶了几等的进阶职业。在为游戏设计一个职业时,首先要问:这是一个新职业,一个职业变体还是一个进阶职业?

职业(Class):职业对于游戏至关重要。从1级升到20级,每个职业都设计成向玩家提供完整的体验。每个职业都有一个强烈的概念和规则,使其与游戏中的其他职业区分开来。从本质上讲,这种「风格」,就其想法和机制而言,允许它以一种其他职业没有的方式与游戏互动。

变体(Archetype:变体是现有职业的近亲,从其自身建立,修改了其中的一些规则,并将其概念转移一点,以形成一种新的玩法。变体比完整职业更容易设计,因为大部分工作都已经完成了。一个变体使用其父职业的大部分规则和背景(所以你不必重复相同的讯息),同时改变一些细节和机制,使其发挥不同的作用。要设计一个变体,你需要熟悉设计职业的过程,但也有其他的指导方针。

进阶职业(Prestige Class):就像职业一样,进阶职业有自己的基本规则和概念,但角色无法直接选择进阶职业来开始游戏。相反,角色必须有资格获得该职业(通常至少6级才能获得第一级)。另外,进阶职业通常只有5或10级,这意味着角色在战役中,在她的职业生涯中将不得不选取其他职业来继续达到20级。进阶职业非常紧密地集中于一个特定的概念或规则组,使得它们适合那些希望专攻一种领域的角色,即使这意味着得牺牲其他方面的多样性。要设计一个进阶职业,你需要熟悉设计职业的过程,但也有其他的指导方针。

职业设计(Class Design)
设计职业的第一步就是决定你想要什么类型的职业。这有两个重要组成部分——概念和规则空间——两者必须相对较创新,以防止新职业复制现有的职业之一。

概念(Concept)
为了开始设计过程,最好确定一个概念并决定职业的内容,而不是直接引用游戏规则。游戏中的大多数职业都是从整个奇幻风格的某处吸取灵感。在考虑一个新职业的概念时,使用这些来源来获得启发和激发很重要。通常这开始于一个简单的名称和关于职业的一般概念。

例如,让我们看看野蛮人。这个名字本身就唤起一些关于历史和奇幻的联想,比如成为一个凶猛的战士并且陷入无脑的狂暴中。将这与游侠的概念进行比较。虽然这两个角色都是擅长进行军事战斗的角色,但游侠更注重在野外生存,追踪敌人并侦察未知区域。在确定你的职业的概念时,你应该同样地寻找定义其区别的方法。如果你想要设计的职业在概念上与现有职业非常接近,只需进行一些变化,你可能需要研究将其创造为变体(请参阅设计变体)。

规则空间(Rules Space)
除了有一个强烈的概念,每个职业应该在它相关的规则中占有一席之地。虽然一个职业的规则可以与现有职业的规则有一些相似之处,但是每个新职业都应该有一些使它与众不同的地方,使它能够以一种新的、有趣的方式与游戏和游戏的世界进行互动。寻找一种方法,让职业可以在不接触另一职业的规则的情况下,发挥它的角色。如果规则太接近,那么最终可能会产生一个职业使得现有职业的机制无效(或被该职业无效),从而使其失去游玩的吸引力。

例如,盗贼职业专注于隐密移动并精准攻击敌人的弱点,使其受到伤害。当然,也有其他职业的规则可以让他们偷袭或造成大量伤害,但盗贼通过偷袭进行攻击的方式对于该职业来说是个招牌。你想避免创造以稍微不同的方式做同样事情的机制。在这个早期阶段,只要你确保你的概念的规则的整体目标与其他职业不同,就很容易防止这种情况发生。如果你正在设计的职业太接近现有职业的规则,那么你最好改为创造一个变体。

检查你的概念(Checking Your Concept)
一旦你为这个职业制订了一个基本的概念和规则,你应该把它和游戏中其他现存的职业进行比较。在开始其他更耗时的职业设计部分之前,最好确保职业能够与游戏中的其他职业一起合作良好。你应该问自己一些问题。
·     这个职业是否有新颖的概念和规则?
·     这个职业是否与现有职业有明显的协同作用?
·     在一个由四名玩家组成的队伍中,是否其中一名玩家玩此职业,会导致队伍在游玩时出现任何缺陷或问题?

当谈到这些问题时,没有一个职业是完美的,但是它们应该能让你思考,可以引导职业设计前进,以便让它成为游戏中持续和有用的部分。

职业故事(Class Story)
一旦你已经掌握了基本概念并制订出规则,就可以开始讲述你的职业的故事了。这通常出现在职业描述的开始部分,以便让玩家了解职业的概念,而不必解读表格并阅读机制页面。职业故事为你提供了一个叙述,以让你了解关于职业可以做什么和没办法做什么。把它看作是你稍后将做出的机制决定的指南。如果这些后来的机制加起来无法来实现故事的承诺,那么你应该考虑修改机制(或者修改故事,如果机制成分太好,导致故事不好描述)。

基础机制(Basic Mechanics)
在设计职业的机制成分时,首先介绍所有这些成分的基础。你为这些机制成分做出的选择,将帮助你在涉及到职业特定的成分和能力时作出选择。
许多基本机制都有不同程度的强度和能力。没有职业应该是最好的,甚至大多数这些机制也是。事实上,一个职业在基本机制方面熟练的越深,作为设计师来包含其他有趣的职业能力的空间越小。将你的选择与现有职业的选择进行比较,以了解这一动态并确定如何平衡新职业。

基本攻击加值:游戏中有三种基本攻击加值进度。慢速进度(由术士和法师使用)通常被保留用于完整施法进度的奥术施法者(即他们的法术能达到9级)。中速进度(由吟游诗人,牧师,德鲁伊,武僧和盗贼使用)适用于大多数具有多种职业能力且预期会成为在战斗中活跃的角色。快速进度(由野蛮人,战士,圣武士和游侠使用)被用于预计在每场战斗都很激烈,且对施法依赖很少的角色。

生命骰:每个职业使用的生命骰的类型几乎总是由其基本攻击加值进度决定的。那些慢速进度的获得d6,中速获得d8,快速获得d10。此规则有一些例外(例如野蛮人),但是这种例外会对该职业产生显著的加强,并且在设计其他的职业元素时应该考虑到这点。

豁免检定 :游戏中使用的豁免检定有两种类型。为了便于参考,我们称它们为「强」和「弱」。每个职业有一到两个强豁免检定,其余为弱。游戏中只有一个职业有三个强豁免检定(武僧),使其成为该职业的标志性奖励,并且通常不应该被其他职业给复制。哪些豁免检定为强豁免和职业有很大关连。大部分 施法者都有强意志豁免。大多数战斗取向的职业都有强强韧豁免。大多数专注于机动性和敏捷性的职业都将反射作为其强豁免之一。

技能:在决定你的职业技能时,有两件事需要考虑:每个等级的技能点数量以及哪些技能是本职技能。就技能点而言,大多数职业只能获得每个等级2点(加上角色的智力调整值)。一些职业可以获得4点或甚至6点,但在设计职业的其他元素时应该考虑到这优势。只有盗贼每个等级有8点,并且你应该有非常好的理由给予一个职业类似的数字(因为这侵犯了盗贼作为最熟练技能的角色)。至于本职技能,不同职业的数量和类型可能会有很大差异。大多数职业拥有大约10个本职技能,但那些每等级技能点更多的职业,本职技能会更多。你选择的本职技能说明了很多关于该职业的成员认为重要的事情。一个职业应该善于在游戏中发挥自己的角色所需的技能——仅此而已。将察觉隐匿作为本职技能分到游戏中的每一个职业可能很诱人,但除非你创造了一个潜行类职业或一个设计用于侦察的职业,这些技能不一定是适当的本职技能选择,因为替队伍中的其他角色留下发挥空间是很重要的。最后,请记住大多数职业都会得到工艺专业作为本职技能,除非他们特别不文明(参见野蛮人)。

施法:不是所有职业都有施放法术的能力,但这是一个常见的能力,并且值得与其他基本机制考虑。游戏使用三种基本的施法模型,虽然这些模型有不同的变化,取决于角色为准备型或自发型施法者 。次等施法者(如圣武士或游侠)一开始不具有施法能力,法术列表有限,只能获得最高4环的法术。中等施法者(如吟游诗人)一开始就能施法,得到最多6环的法术,并且有明显更大的法术列表。完整施法者(如牧师,德鲁伊,术士和法师)可获得最高9环的法术,并具有广泛的法术列表。次等施法者 对于快速BAB进度的职业很完美,而中等或完整通常是为慢速或中速BAB职业保留的。避免使用快速BAB和完整施法进度创造一个职业。在确定基本机制时,你不必设计法术列表,但是你应该知道该职业将会拥有什么类型的施法(参见设计法术列表来获得为你的职业创造法术列表的建议)。

职业能力(Class Features)
一旦你掌握了基本机制,现在是时候开始设计职业能力了。这是一个职业在获得等级时得到的机制,每个职业能力都赋予了力量和能力,使其在游戏的其他职业中能脱颖而出。

大多数职业能力分为两种:主要能力和次要能力。主要能力是该职业的招牌。随着职业升级,这些能力在强度和效用上都有所提高,而这些能力的增强通常是玩家扮演此职业时最期待的事情之一。主要职业能力的例子包括野蛮人的狂暴,吟游表演,制裁邪恶和偷袭。次要能力往往是一次获得的能力,在角色的冒险过程中不会改变,或者是改变相对较小。次要职业能力的例子包括英勇,行踪无迹,以及寻找陷阱。请注意,尽管主要能力往往只与一种职业有关,但次要能力可能出现在多个职业中。

主要能力(Primary Features):这些能力是创造有趣和吸引人的职业的关键。他们通常在第一级时获得并在整个升级过程中得到增强,这使得这些能力在整个冒险过程中与角色相关。这些能力的目标几乎通常是在战斗中给予优势,让角色以有趣的方式利用它们来参与这些遭遇。例如,狂暴在使用时赋予野蛮人增加的力量和造成伤害能力。随着野蛮人等级的提高,狂暴赋予的加值以及每天可以使用的轮数也会增加。偷袭以相同的方式运作,随着盗贼等级的提高而增强,因此它可以继续与拥有更高生命值的敌人作战。

在设计新的主要能力时,请使用现有的主要能力作为指导。大多数主要职业能力为每隔几个等级,强度就会增加,通常为小幅度的增加。那些依赖持续时间的能力,通常每个等级都会让总持续时间增加。持续时间应该能够以不连续的方式使用,这样角色就可以每天使用一次以上的能力(除非持续时间很长)。

请注意,在大多数情况下,具有完整施法进度的职业不会获得强大的主要职业能力。在这种情况下,施法能力本身则扮演着主要能力的角色。具有次等或中等施法进度的职业通常会获得与施法有关的职业能力。通常这意味着主要职业能力不需要随着角色获得等级而改变太多(参见魔战士的法术战斗职业能力)。该能力可以保持相对稳定,因为随着角色获得等级,法术本身会变得更好。

次要能力(Secondary Features):这些能力旨在完善一门职业,赋予它更好地适应该职业的角色的能力。在大多数情况下,次要能力是情境性的,在特定场合中给予加值或有用的能力。例如,英勇只会在意志豁免上获得对恐惧的加值。该能力还可以帮助战士扮演他作为勇敢英雄面对恐怖敌人的角色。

随着角色获得等级,次要能力并不一定会增强。有些只是提供了适用于任何等级游戏的有用能力。例如,穿林步在任何等级的游戏中都很有价值,并且由于它不会为技能或其他检定给予加值,所以在角色获得等级时不需要变得更加强大。

与主要能力不同,次要能力可能会出现在多个职业中。虽然一个职业应该具有与其主题相关的次要能力,但使用另一个职业的次要能力是可以接受的,而不是发明新能力来完成相同的目标。例如,野蛮人和盗贼同样获得直觉闪避。由于两者都以对危险作出快速反应而闻名,因此它们都具有该能力很合理,而不是同时获得能有效的做相同事情的不同能力。

死等级(Dead Levels):当你填写你的职业的主要和次要能力时,按等级对它们进行排序是非常重要的,这样你可以很容易地看到每个能力获得的等级,以及(在主要能力的情况下)何时增加强度和能力。这使你可以确保在任何给定的等级上,职业不会获得过多的能力。这也可以让你避免「死等级」,意味着角色只能获得基本机制的加值。作为一般规则,你不希望任何等级给予超过一个或两个职业能力,并且你想避免死等级——获得新的和增强的能力是升级的乐趣的一部分!

施法者有时是此方针的一个例外。在完整施法职业的情况下,获得新一环法术的等级有价值到可以算作职业能力。例如,以德鲁伊为例:这个职业有几个等级,其中没有获得新的职业能力或增强,但是当德鲁伊能施放新一环法术时,几乎都是发生在这些等级。所有术士的血统能力都是奇数等级,因为他们在每个偶数等级都获得新一环的法术。这个原则也可以用于中等施法职业,但作为一般指导,具有次等或不施法的职业应该从1级到20级的每个等级上,都获得职业能力或增加现有能力。

顶点(Capstone):大多数职业都有顶点能力(即在20级获得的能力)。在大多数游戏中,这将是角色获得的最后一个能力,它应该是获得实现这种崇高力量的奖励。对于此能力,超过一点没关系。让它成为你的玩家渴望拥有的东西。如果他们能够存活那么久,这是他们应得的。

设计法术列表(Designing a Spell List)
为那些能够施放法术的职业设计一个法术列表可能是一项艰钜的任务。在建构列表时,你必须考虑使用各种资源,同时在新的法术可用时仍然留出扩展空间。

法术列表必须具有某种形式的内部一致性,以说明该职业的本质。法师并不以他们的医疗魔法而知名,这就是为什么治疗(cure)法术不在他们的任何列表上。吟游诗人花费大部分的时间增强队友的能力,这就是为什么他们的许多法术可以帮助一个或多个角色。为你的职业设计一个法术列表时,你应该问自己:「这个职业用法术实现些什么?」这个问题,最重要的是,将帮助你制作一个适合这个职业的法术列表。

一个职业的法术列表上的法术数量也是一个重要的考虑因素。次等施法的职业通常可选择的法术数量较少,但在较高等级时,他们可以获得相对中等或完整施法进展的职业而言,通常较高环级的法术。具有完整施法进展的职业应该有各式各样的法术可供选择,因为这往往是他们为游戏做出贡献的主要方式之一。

决定施法者在什么环级获得法术是法术列表设计中最具挑战性的方面之一。各种法术应该出现在不同的环级,这取决于职业。使用人类定身术作为一个例子:牧师在二环获得该法术,而术士和法师则在三环获得该法术。这里需要注意的重要一点是,一些法术(和其他给予类似能力的能力)在PC达到某个最低等级之前不应该获得。例如,游戏通常假设PC无法稳定飞行直到他们达到5级,并且他们无法复活死者或传送直到9等。这些准则有一些例外,但它们很少见,应该仔细考虑,因为冒险是根据这些基准来撰写的。另外,请记住,你列出的任何四环或更低的法术都可以放入魔杖中,而三环或更低的法术可以制成药剂。如有疑问,请参考牧师或术士/法师的法术列表来寻求指导。

检查和完善(Review and Polish)
一旦你决定了基本机制并设计了所有的职业能力,现在是时候退一步看看你的创作。理想情况下,当设计成形时,检查应该是过程的一部分,但是一旦所有的部分都就位时,它将是一个更加重要的步骤。

在检查时,第一步是想像一个角色在职业中的等级提升。有任何等级的选项是乏善可成或负担过重?这个职业是否有真正期待的等级? 在每个等级中,职业是否可以为游戏做出有意义的贡献? 将你的职业与其他职业进行比较,逐级查看,以权衡职业的强度和多功能性。如果它在给定的等级上比大多数职业好,你可能需要缩减它的一些职业能力。同样,如果它在某个等级太弱,你可能需要增强职业能力,甚至需要添加新能力。

一旦你对职业感到满意,现在是时候对机制进行完善,以确保它们明确而简洁。让一个朋友或玩家看看书面规则。毫无疑问,他们会有些问题关于职业是如何运作的,或者他们如何与其他现有规则元素进行互动。这些问题可以帮助你改进文字,使职业变得易于理解和好玩。

最后,现在是测试职业的时候了。使用职业规则构建一些角色,并对其他角色和怪物进行模拟战斗。如果你只用一个角色对一个对手进行游戏测试,对于同等级的角色来说,战斗应该接近至势均力敌,根据环境和设定的不同。针对怪物,请将你的角色与一个CR大约低于角色等级4级的怪物进行比较,以了解角色如何在战斗中处理自己。游戏测试会让你了解你的机制是否按照预期发挥作用——尽管要注意别从极端不平衡的掷骰的战斗中获得结果,因为这些会严重影响你的结果。

设计职业的过程可以多次通过所有的这些步骤。如果你的第一次尝试需要大量工作,请不要气馁。设计,测试,并重新设计你的职业概念,直到你对最后结果满意为止。请记住,创造一个新职业是游戏设计中最具挑战性的部分之一。

变体设计(Archetype Design)
设计一个变体似于设计一个职业,但大部分工作都已经完成了。像一个职业一样,变体需要有一个概念和一个规则,但不像一个职业,它的特色不一定是特定的。变体在概念或规则方面通常与现有的职业非常接近,但是要努力将职业放在稍微不同的方向上,改变一些职业能力以更好地表达其概念。

概念和规则(Concept and Rules)
许多变体以作为一种新的职业观念开始,但当它们聚在一起时,很明显他们与现有职业非常相似。在这种情况下,最好创建一个变体,而不是尝试生活在别人的空间中的全新职业。拿进阶玩家指南中,游侠的散兵变体当作例子。作为概念,这个职业与游侠非常相似:它在自然环境中成长,并通常取向为军事战斗。从机制上讲,它几乎适用于游侠的所有规则,但获得一套散兵技巧来取代游侠的施法能力。如果对游侠本身进行一些简单的改动就足够了,那么用这个概念创造一个全新的职业是没有意义的。

设计原则(Design Principles)
大多数关于变体的设计工作都与职业能力有关。作为一般规则,大部分的基本机制不会改变。基本攻击加值,生命骰和豁免检定几乎不会改变,而技能和施法不需要改变,除非变体特别要求。

取代职业能力(Replacing Class Features):创造成功变体的关键是决定取代哪些职业能力以及用什么取代它们。一般来说,主要能力是最难取代的,你应该非常小心,而次要能力对职业的影响要小得多,而且更容易与新能力交换。
在决定要取代的能力时,请记住变体的主题。该能力对变体的定位是否重要? 如果被移除,该职业是否仍然能作用? 是否还有其他能力依赖被取代的能力,那些能力也是否需要取代? 这些问题将有助于指导你确定什么样的能力对职业至关重要,哪些能力可以用最小的影响来取代。

为变体设计一个新的职业功能以取代现有的,遵循许多与为全新职业设计职业能力相同的规则。但是,你必须考虑要被取代的能力的强度和多功能性。用战士的英勇职业能力,换取一个为AC提供加值的新能力并不是公平的交易,这会导致一个比原职业更强大的变体。尽管你可能会尽力通过用较弱的选项替换另一个职业能力来平衡此交换,但应尽可能避免此类取代。如果必须,请尝试确保较弱选项在等级上出现在强力选项之前,以确保在获得新的强大能力之前付出了「成本」。这样做可以防止角色在变体中仅使用几个等级来获得强大的职业能力,然后再跳到另一职业以避免支付该能力的成本。作为指导原则,用于取代的能力应该起到类似的定位,并且具有与被替换能力大致相同的强度。情况并非总是如此,但即使在偏离定位时,也应确保你所创造的取代能力没有明显强或弱于原始能力。

部分取代(Partial Replacements):根据情况,换掉职业能力的部分是可以接受的,但只有在该能力能在多个等级上获得加值或能力时才可接受。例如,战士具有奖励专长职业能力。该能力在1级,2级以及其后的每个偶数等级都可以获得奖励专长。变体可能会替换部分或全部的这些奖励专长,在那些位置上给予它们新的职业能力。
决定部分取代时要小心。你部分取代的能力的规则可能不会指示如何处理未被取代的后续能力。例如,以引导能量牧师职业能力为例。如果你把第三级增加到2d6给取代掉,那么在第五级会发生什么?是上升到2d6还是直接跳到3d6?在这种情况下,最好取代整个职业能力,或者确保取代的描述在如何处理现有职业能力的其余部分时很明确。

替代职业(Alternate Classes):有时候一个变体交换了很多职业能力,使它几乎成为一个新职业。在这种情况下,该职业可能需要表示所有的职业能力,即使是与它的基底职业共享的能力。虽然技术上仍然是一个变体,但是玩这个职业的角色,拥有在一个方便的位置上提升角色所需的所有工具。反圣武士,忍者,和武士是替代职业的所有范例。

混合职业(Hybrid Classes):混合职业就像一个变体,它从现有的职业中大量汲取,但混合职业从两个不同的职业中汲取,形成其能力的基础。其结果是一个全新的职业,拥有自己的位置和能力。

进阶职业设计(Prestige Class Design)
虽然在很多方面类似于职业,但是进阶职业是专门设计给高等级角色透过兼职来使用。虽然一般的设计原则可能相似,但进阶职业的设计还有许多其他因素需要考虑。

概念和规则(Concept and Rules)
进阶职业需要非常强烈的概念。这不仅需要在世界上有意义,还需要有一个逻辑的原因,为什么一个角色不能通过在该职业上获得等级来开始游戏。通常情况下,理由可以在进阶职业的职业故事中叙述。例如,你可以为骑士团设计一个进阶职业,但确定他们只接受和训练那些在战斗中证明自己的成员。新进来的年轻新兵可能是该骑士团的一部分,但在经过磨练和测试之后才会接受该进阶职业所代表的特殊训练。其他进阶职业可能需要特定的能力或技能才能被PC选取。一群擅长飞行的法师无法训练连飞行术都不会放的家伙。

进阶职业应该紧紧集中在一个规则概念上,其大部分能力都与该概念相关联。用上面的飞行法师做范例,进阶职业能力可能会在飞行时给予加值,能更经常施放飞行术的能力,以及避免坠落伤害的能力。

要求和等级(Requirements and Levels)
与普通的职业或变体不同,进阶职业有一些值得仔细检视的元素。首先,所有进阶职业都有一个PC必须满足的要求清单,然后才能在该职业中获得等级。这些要求应该使PC无法在6级之前在进阶职业上获得等级。例如,要求基础攻击加值+5,施放3环法术或某技能达到5级,技能等级5级意味着角色在进阶前必须达到5级(这意味着他在进阶职业中的第一个等级将会成为他的第六级)。
你还应该仔细考虑你的进阶职业会有多少等级。大多数有5或10级让PC可以获得。虽然你可以使用任意数字,但建议不要使用少于5级,因为这可以让你在进阶职业的等级中包含一些真正令人印象深刻的能力。

基础机制(Basic Mechanics)
设计一个进阶职业类似于设计基础职业,但有一些重要的例外。首先,进阶职业很少给予很多本职技能。大多数获得该职业的角色(如果他们与主题和概念相一致)已经拥有大部分相关技能,使得获得本职变得多余。其次,进阶职业使用不同的强弱豁免检定进度。这可以防止基础豁免检定加值通过兼职而通胀。

能力设计(Feature Design)
虽然进阶职业的主要和次要能力设计的实际过程,与任何其他职业或变体相同,但在决定他们获得给定能力的等级时,请记住角色的实际等级。对于一级角色来说可能会很好的职业能力,对于进阶职业的第一级能力来说过弱了,因为此能力实际上是在第六级获得。请记住,尽管角色可能无法在最早等级(即第6级)获得进阶职业,但仍应这样设计这些能力,如同必须防止过强能力被低级角色使用一样。

整合(Integration)
与提供完整游戏体验的基础职业不同,进阶职业被设计为可以在角色的冒险事业结束前升满。结果,角色可能最终在11或16级升满进阶职业,然后被迫在剩余等级转到其他职业。一个好的进阶职业应该考虑到这一点,在职业尾声为角色提供一个有价值的能力,来弥补角色被困在另一个职业中,获得那些明显为低等级角色设计的能力。这应该类似于职业顶点能力,虽然设计为角色可以获得进阶职业资格的最低等级。


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原文
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Designing Classes
There are few rules systems as important to the game as those that govern the classes. In the Pathfinder Roleplaying Game, classes represent the legendary heroes of the game, as well as some of its most dastardly villains. Whereas a feat, spell, or magic item has a limited impact on the world as a whole, a class affects the entire game. Classes populate the world, becoming a part of the tapestry that informs the tone and narrative of the game. Because they're so important, designing new classes is one of the most delicate and difficult tasks for a Game Master. This guide is here to walk you through the process of designing a new class by providing rules and advice to help your creation fit seamlessly into the game.

Much like monster design, the process of creating a class has a number of elements to consider. It requires that you compare your concepts with those of other classes and weigh different abilities against each other. A class feature that is overpowered for one class might be a perfect fit for another, depending on other abilities. Due to the number of variables, there's no concrete system for designing a class (like the one for races in the Pathfinder RPG Advanced Race Guide). Instead, this section gives you an idea of the process Paizo's designers go through when designing a class so you'll know what to consider in your own designs.

Class, Archetype, or Prestige Class?
Classes can take many forms in the game. While most characters pick a class and stick with it for their entire adventuring career, others dabble in archetypes or take a few levels in a prestige class. When designing a class for the game, it's vital to first ask: is this a new class, a class archetype, or a prestige class?

Class: Classes are vital to the game. Progressing from level 1 to 20, each class is designed to give a player a complete experience. Each one has a strong concept and rules niche separating it from the others in the game. In essence, this "flavor," in terms of its ideas and mechanics, allows it to interact with the game in a way that no other class does.

Archetype: An archetype is a close relative of, and builds itself off of, one of the existing classes, modifying a few of its rules and shifting its concept a bit to make for a new way to play. Archetypes are simpler to design than a full class, since much of the work is already done for you. An archetype uses most of the rules and background of its parent class (so you don't have to repeat the same information), while changing a few details and mechanics to make it play a bit differently. To design an archetype, you need to be familiar with the process of designing a class, but there are additional guidelines as well.

Prestige Class: Like a class, a prestige class has its own underlying rules and concept, but a character cannot begin play by taking levels in it. Instead, a character must qualify to take levels of the class (usually having to wait until at least 6th level to take their first). In addition, prestige classes usually only progresses for 5 or 10 levels, meaning that the character will have to take levels in another class later in her career in a campaign that continues to level 20. Prestige classes are very tightly focused on one particular concept or set of rules, making them perfect for the character that wants to specialize in one area, even if that means sacrificing versatility in another. To design a prestige class, you need to be familiar with the process of designing a class, but there are additional guidelines as well.

Class Design
The first step in designing a class is deciding what type of class you want it to be. This has two vital components—the concept and the rules space—both of which must be relatively novel to prevent the new class from copying one of the existing classes.

Concept
To start the design process, it is best to determine a concept and decide what the class is all about without directly referencing the rules of the game. Most of the classes in the game draw inspiration from somewhere within the whole of the fantasy genre. When considering the concept for a new class, it is vital to use such sources to inspire and inform it. Often this begins with something as simple as a name and a general idea of what the class is all about.

For example, let's take a look at the barbarian. The name itself calls to mind a number of historical and fantasy connotations, such as being a fierce warrior and flying into a mindless rage. Compare this with the concept for a ranger. While both are characters that are skilled at martial combat, the ranger is more focused on surviving in the wilderness, tracking down foes, and scouting out unknown areas. When determining the concept for your class, you should look for ways to similarly define its distinctions. If the class you want to design is very close in concept to an existing class, with just a few variations, you might want to investigate creating it as an archetype instead (see Designing an Archetype).

Rules Space
In addition to having a strong concept, each class should also have a place in the rules that it can occupy. While the rules for a class can share some similarities with those of an existing class, each new class should have something that makes it unusual, giving it a means to interact with the game, and the game's world, in a new and interesting way. Look for a way that the class can perform its role without coming in contact with the rules of another class. If the rules are too close, you might end up with a class that invalidates (or is invalidated by) an existing class's mechanics in a way that makes it unappealing to play.

For example, the rogue class focuses on moving unseen and striking foes in precisely the right spot to make it hurt. While there are certainly other classes that have rules that allow them to sneak or hit for a lot of damage, the way that the rogue goes about it—via sneak attack—is iconic to that class. You want to avoid creating mechanics to do the same things in slightly different ways. At this early stage, this is easy to prevent so long as you ensure that the overall goal of the rules for your concept differs enough from those of another class. If the class you're designing falls too close to the rules of an existing class, you might be better off creating an archetype instead.

Checking Your Concept
Once you've worked out a basic concept and rules niche for the class, you should compare it to other existing classes in the game. Before you start any of the other significantly more time-consuming portions of class design, it's best to ensure that the class works well with the other classes in the game. There are a number of questions you should ask yourself.

Does the class have a novel concept and rules niche?
Does the class have any obvious synergies with existing classes?
In a party made up of four players, does the inclusion of this class as one of the players cause the party to have any deficiencies or problems while playing the game?
No class is perfect when it comes to these sorts of questions, but they should get you thinking in ways that can guide the class design going forward so it becomes a seamless and useful part of the game.

Class Story
Once you've got the basics of the concept and the rules worked out, it's time to work on the story that informs your class. This often appears at the beginning of a class description to give a player an idea of what the class is all about without having to decipher charts and read through pages of mechanics. This text provides you with a narrative to inform your decisions about what the class can and cannot do. Think of it as a guide to the mechanical decisions you will be making later. If those later choices don't add up to fulfill the promise of the story, you should consider revising them (or the story if the mechanical components are just too good to pass up).

Basic Mechanics
When designing the mechanical components of a class, begin with the basics present in all of them. The choices you make for these components will help inform the choices you make when it comes to the components and features that are specific to the class.

Many of the basic mechanics have varying levels of power and ability. No class should be the best at all or even most of these mechanics. In fact, the more a class is exceptionally skilled at the basic mechanics, the less room you have as a designer to include the other interesting class features. Compare your choices with those made for the existing classes to get an understanding of this dynamic and determine how you will balance your new class.

Base Attack Bonus: There are three types of base attack bonus progressions in the game. The slow progression (used by sorcerers and wizards) is usually reserved for arcane spellcasters with a full spellcasting progression (i.e. their spells go up to 9th level). The medium progression (used by bards, clerics, druids, monks, and rogues) is used for most characters that have a wide variety of class features and that are expected to be an active part of combat. The fast progression (used by barbarians, fighters, paladins, and rangers) is used for characters that are expected to be in the thick of every fight and who rely very little on spellcasting.

Hit Dice: The type of Hit Die used by each class is almost always determined by its base attack bonus progression. Those on the slow progression get a d6, medium gets a d8, and fast gets a d10. There are a few exceptions to this rule (like the barbarian), but making this exception can be a significant boost to the class and should be considered when designing other class elements.

Saving Throws: There are two types of saving throw progressions used in the game. For ease of reference, we'll call them "good" and "bad." Each class has one or two good saving throws, while the rest are bad. There is only one class in the game with all good saving throws (the monk), making it a signature bonus of that class and one that should not generally be replicated by others. Which saving throws are good says a lot about the class. Most spellcasters have good Will saves. Most combat-oriented classes have good Fortitude saves. Most classes that focus on mobility and agility have Reflex as one of their good saves.

Skills: When deciding on the skills for your class, there are two things to consider: the number of skill ranks per level and which skills are class skills. In terms of skill points, most classes get only 2 per level (plus the character's Intelligence modifier). A few classes get 4 or even 6, but this is a bonus that should be kept in mind when designing other elements of the class. Only the rogue gets 8 per level, and you should have a very good reason for giving a class a similar number (as this infringes on the rogue's role as the most skilled class). As for class skills, the number and type can vary wildly from class to class. Most classes have around 10 class skills, but those with more ranks per level have more. The class skills you select say a lot about what members of the class consider important. A class should be good at the skills that it needs to perform its role in the game—and nothing more. It might be tempting to give Perception and Stealth to just about every class in the game, but unless you're creating a sneaky class or a class designed to scout, such skills are not necessarily appropriate class skill choices, as it's important to leave holes for other characters in a party to fill. Finally, remember that most classes receive Craft and Profession as class skills unless they're particularly uncivilized (see the barbarian).

Spellcasting: Not every class possesses the ability to cast spells, but it's a common feature and worth considering with the rest of the basic mechanics. The game uses three basic models for spellcasting, although there are variants on these depending on whether or not the character is a prepared or spontaneous spellcaster. The minor spellcaster (like the paladin or ranger) does not start play with spellcasting capability, has a limited spell list, and only gets spells of up to 4th level. The moderate spellcaster (like the bard) begins play with some spellcasting, receives spells of up to 6th level, and has a significantly larger spell list. The full spellcaster (like the cleric, druid, sorcerer, and wizard) gains spells of up to 9th level, and has an expansive spell list. The minor spellcaster is perfect for classes with a fast BAB progression, whereas moderate or full are usually reserved for slow or medium BAB classes. Avoid creating a class with a fast BAB and a full spellcasting progression. You don't have to design the spell list when determining the basic mechanics, but you should know what kind of spellcasting the class is going to possess (see Designing a Spell List for advice on creating a list of spells for your class).

Class Features
Once you have the basic mechanics sorted out, it's time to start designing class features. These are the mechanics that a class gets as it gains levels, and each feature grants it powers and abilities that make it stand out from the other classes in the game.

Most class features fall into one of two categories: primary features and secondary features. Primary features are a signature of the class. These abilities advance in power and utility as the class progresses through its levels, and improvements to these features are often one of the things players look forward to most as they play a member of that class. Examples of primary class features include barbarian rage, bardic music, smite evil, and sneak attack. Secondary features are often abilities that are gained once and do not change much over the character's adventuring career, or are otherwise relatively minor. Examples of secondary class features include bravery, pass without trace, and trapfinding. Note that while primary features tend to be isolated to just one class, secondary features might appear in multiple classes.

Primary Features: These features are the key to creating a fun and engaging class. They are usually gained at 1st level and improve over the course of leveling, which keeps these features relevant to characters throughout their adventuring careers. They are almost universally aimed at granting an advantage in combat, allowing characters that utilize them in interesting ways to engage in those encounters. Rage, for example, grants the barbarian increased power and damage-dealing capability when in use. As the barbarian increases in level, the bonuses granted by rage and the number of rounds per day that the ability can be used increase as well. Sneak attack works much in the same way, increasing in power as the rogue gains levels so it can continue to compete with foes that possess higher hit point totals.

When designing a new primary feature, use existing primary features as a guide. Most primary class features increase in power every few levels, usually by some small increment. Those that rely on duration often increase in overall duration with each level gained. The duration should be able to be used in discrete increments, so that a character can utilize the ability more than just once per day (unless the duration is quite long).

Note that in most cases, a class with a full spellcasting progression does not receive a powerful primary class feature. In such cases, the spellcasting itself plays this role. Those with minor or moderate spellcasting progressions often receive a class feature that is related to their spellcasting. Usually this means that the primary class feature does not need to change much as the character gains levels (see the magus's spell combat class feature). The feature can remain relatively constant because it's the spells themselves that get better as the character gains levels.

Secondary Features: These features are designed to round out a class, giving it abilities that allow it to better fit its role. For the most part, secondary features are situational, granting a bonus or useful ability in specific scenarios. Bravery, for example, only grants a bonus on Will saves made against fear. The feature also helps a fighter fill out his role as the brave hero facing against terrifying foes.

Secondary features don't always improve as the character gains levels. Some simply offer a useful ability that is applicable at any level of play. Woodland stride, for example, is valuable at any level of play, and since it does not grant a bonus to a skill or other check, it doesn't need to become more powerful as the character gains levels.

Unlike primary features, secondary features may show up in more than one class. While a class should have secondary features that relate to its theme, it is acceptable to use a secondary feature from another class instead of inventing a new feature to accomplish the exact same goal. For example, both the barbarian and rogue gain uncanny dodge as they gain levels. Since both are known for being quick to react to danger, it makes sense for them both to have that feature instead of both receiving different features that effectively do the same thing.

Dead Levels: As you fill out the primary and secondary features of your class, it's vital to sort them by level so that you can readily see when each is gained and (in the case of primary features) when each increases in power and ability. This allows you to ensure that the class is not too loaded up with class features at any given level. This also allows you to avoid "dead levels," meaning levels in which the character would only gain bonuses to their base mechanics. As a general rule, you don't want any level to grant more than one or two class features, and you want to avoid dead levels—acquiring new and improved abilities is part of the fun of leveling up!

Spellcasters are sometimes an exception to this guideline. In the case of a full spellcasting class, acquiring a new level of spells to cast is valuable enough to count as a class feature. Take the druid, for example: The class has a few levels in which no new class features are gained or improved upon, but almost all of these levels occur when the druid gains a new level of spells to cast. All of a sorcerer's bloodline abilities come on odd-numbered levels, owing to the fact that they gain new spell levels on every even-numbered level. This principle can be applied to moderate spellcasting classes too, but as a general guide, classes with minor or no spellcasting should receive a class feature, or an increase to an existing feature, at every level from 1st to 20th.

Capstone: Most classes have a capstone ability (i.e. an ability gained at 20th level). In most games, this will be the last ability gained by the character and it should definitely feel like a reward for achieving such lofty heights of power. Feel free to go a bit over the top on this ability. Let it be something that your players long to have. If they've survived that long, they've certainly earned it.

Designing a Spell List
Designing a spell list for those classes with the ability to cast spells can be a daunting task. You must consider the various sources to use when building your list, while still leaving room for expansion in the future when new spells become available.

Spell lists must have some form of internal consistency that speaks to the nature of the class. Wizards aren't known for their healing magic, which is why the cure spells aren't on any of their lists. Bards spend much of their time enhancing the abilities of their teammates, which is why many of their spells help one or more characters. When designing a spell list for your class, you should ask yourself, "What does this class accomplish with its spells?" This question, above all others, will help you make a spell list that feels right for the class.

The number of spells on a class's spell list is also an important consideration. Classes with minor spellcasting generally have a smaller number of spells to choose from, but at their higher levels, they gain access to spells that are normally of a higher level for classes with a moderate or full spellcasting progression. Classes with a full spellcasting progression should have a wide variety of spells to choose from, as this tends to be one of the primary ways they contribute to the game.

Deciding at what level a spellcaster should have access to a spell is one of the most challenging aspects of spell list design. Various spells should appear at different levels, depending on the class. Take hold person as an example: clerics receive the spell at 2nd level, whereas for sorcerers and wizards the spell is 3rd level. The vital thing to note here is that some spells (and others that grant a similar ability) should not be available until the PCs are of a certain minimum level. For example, the game generally assumes that the PCs cannot reliably fly until they're 5th level, and that they cannot raise the dead or teleport until they're 9th. There are some exceptions to these guidelines, but they are rare and should be considered very carefully, as adventures are written with these benchmarks in mind. Also, keep in mind that any spell you list as 4th level or lower can then be put into a wand, while those of 3rd level and lower can be made into a potion. When in doubt, look to the cleric or sorcerer/wizard spell lists for guidance.

Review and Polish
Once you've decided on the basic mechanics and designed all of the class features, it's time to take a step back and look at your creation. Ideally, review should be part of your process as the design takes shape, but it's an even more vital step once all of the pieces are in place.

When reviewing, the first step is to imagine a character as it advances through the levels in the class. Are there any levels that are particularly lackluster or overburdened with options? Does the class have levels to really look forward to? Can the class meaningfully contribute to the game at every level of play? Compare your class to others, looking at it on a level-by-level basis to weigh the power and versatility of the class. If it is better than most at a given level, you might need to scale back some of its class features. Likewise, if it's too weak at a level, you might need to enhance a class feature, or even add a new one.

Once you're satisfied with the class, it's time to polish the mechanics to ensure that they're clear and concise. Let a friend or fellow player look at the rules as written. They will undoubtedly have a few questions about how things work or how they interact with other existing rules elements. These questions can help you refine the language to make a class that is easy to understand and fun to play.

Finally, it's time to playtest the class. Build a number of characters using the class rules and run them in mock combat against other characters and monsters. If you're playtesting with only one character versus one opponent, understand that against a character of equal level, the fight should be close to evenly matched, depending on the environment and setup. Against monsters, look to pit your creation against a monster with a CR roughly 4 lower than the character's level to get an idea of how the character can handle itself in a fight. Playtest will give a sense of whether your mechanics are playing out as intended—though be wary of taking results from fights with extremely lopsided dice-rolling, as these can seriously skew your results.

The process of designing a class can go through all of these steps a number of times. Don't get discouraged if your first attempts need a lot of work. Design, playtest, and redesign your class concept until you're happy with its final form. Remember, creating a new class is one of the most challenging parts of game design.

Archetype Design
Designing an archetype is similar to designing a class, but much of the work has already been done for you. Like a class, an archetype needs to have a concept and a rules niche, but unlike a class, its characteristics need not be specific to it. An archetype is usually very close to an existing class in terms of concept or rules, but strives to take the class in a slightly different direction, changing a few of its class features to better express its concept.

Concept and Rules
Many archetypes begin as a new class idea, but as they come together, it becomes apparent that they are very similar to an existing class. In such cases, it's better to create an archetype instead of an entirely new class that's trying to live in another's space. Take the skirmisher ranger archetype from the Advanced Player's Guide for example. As a concept, the class is very similar to a ranger: it thrives in a natural setting and is generally oriented toward martial combat. Mechanically, it lends itself to almost all of the rules of the ranger, but gains a set of combat tricks in place of the ranger's spellcasting abilities. Creating an entirely new class with this concept doesn't make sense when a few simple alterations to the ranger itself would be sufficient.

Design Principles
Most of the design work on an archetype has to do with class features. As a general rule, most of the base mechanics do not change. Base attack bonus, Hit Dice, and saving throws almost never change, while skills and spellcasting need not be altered unless the archetype specifically calls for it.

Replacing Class Features: The key to creating a successful archetype is deciding which class features to replace and what to replace them with. Generally speaking, primary class features are the hardest to replace and you should do so very carefully, whereas secondary features have a much lighter impact on the class and are more easily exchanged with new features.

When deciding what features to replace, keep in mind the theme of the archetype. Is the feature important to the role of the archetype? If removed, does the class still function? Are there other features that rely upon the selected feature to function, and do they need to be replaced as well? These questions will help guide you in determining what features are critical to a class and which ones can be replaced with minimal impact.

Designing a new class feature for an archetype to replace an existing one follows many of the same rules as designing a class feature for an entirely new class. However, you must consider the power and versatility of the feature you are replacing. Swapping out the bravery fighter class feature for a new feature that grants a bonus to AC is not a fair trade, resulting in an archetype that is more powerful than the base class. While you might endeavor to balance out this exchange by replacing another class feature with a weaker option, such replacements should be avoided if possible. If you must, try to ensure that the weaker option appears at an earlier level than the more powerful option to ensure that the "cost" for the new, powerful feature is paid before the benefit is gained. Doing so prevents characters from taking just a few levels in an archetype to get the powerful class feature, before swapping over to another class to avoid paying the price for that feature. As a guideline, replacement features should serve a similar role and have roughly the same power as the feature they replace. This isn't always the case, but even when deviating from the role, you should be sure that the replacement feature you are creating is not demonstrably more or less powerful than the original.

Partial Replacements: Depending on the circumstance, it can be acceptable to swap out part of a class feature, but only if that feature has bonuses or abilities that are gained over multiple levels. For example, the fighter has the bonus feats class feature. This feature grants a bonus feat at 1st level, 2nd level, and every even level thereafter. An archetype might swap out some or all of these bonus feats, granting new class features in their place.

Be careful when deciding on a partial replacement. The rules for the feature that you are partially replacing may not indicate what to do with the later iterations of the feature that have not been replaced. Take the channel energy cleric class feature, for example. If you replace the increase to 2d6 gained at 3rd level, what happens at 5th level? Does the character advance to 2d6 or jump directly to 3d6? In such cases, it is best to replace the entire class feature or ensure that the replacement is explicit in describing how to treat the remainder of the existing class feature.

Alternate Classes: Sometimes an archetype exchanges so many class features that it almost becomes a new class itself. In such cases, the class might warrant a representation of all of the class features, even those that it shares with its base class. While still technically an archetype, characters who play this class have all the tools they need to advance their character in one convenient location. The antipaladin, ninja, and samurai are all examples of an alternate class.

Hybrid Classes: A hybrid class is like an archetype in that it draws heavily from existing classes, but the hybrid draws from two different classes to form the basis of its abilities. The result is an entirely new class with its own niche and features.

Prestige Class Design
Although similar to a class in many ways, a prestige class is specifically designed to be used by higher-level characters through multiclassing. While the general design principles might be similar, the design of a prestige class has a number of additional factors to consider.

Concept and Rules
A prestige class needs a very strong concept. Not only does it need to make sense in the world, there also needs to be a logical reason why a character cannot begin play by taking levels in the class. Frequently, the rationale can be made in the prestige class's class story. For example, you might design a prestige class for an order of knights, but determine that they only accept and train members who have proven themselves in battle. New, young recruits might be a part of the order but don't receive the special training represented by the prestige class until they have been tried and tested. Other prestige classes might require a certain ability or skill before they can be accessed by PCs. A group of wizards who are experts at flying can't train members who are unable to cast fly.

A prestige class should be tightly focused on one rules concept, with most of its features tied to that concept. For our flying wizard example above, the prestige class features might grant bonuses while flying, the ability to cast fly more often, and the ability to avoid falling damage.

Requirements and Levels
Unlike a normal class or archetype, a prestige class has a few elements that are worth careful examination. First, all prestige classes have a list of requirements that a PC must meet before they can take a level in the class. These requirements should make it impossible for a PC to take levels in the prestige class before 6th level. For example, requiring a base attack bonus of +5, the ability to cast 3rd-level spells, or 5 skill ranks in a certain skill means that a character must hit 5th level before qualifying (meaning that his first level in the prestige class will be his 6th).

You should also carefully consider how many levels there will be in your prestige class. Most have either 5 or 10 levels that a PC can gain. Although you can work with any number, it is not recommended that you use fewer than 5 levels, as this allows you to include some truly impressive abilities at the higher levels of the prestige class.

Basic Mechanics
Designing a prestige class similar to designing a base class, with some important exceptions. First, prestige classes rarely grant many class skills. Most characters that gain access to the class (if they align with it in terms of theme and concept) will already possess most of the relevant skills, making access redundant. Second, prestige classes use different saving throw progressions for good and bad saves. This prevents inflation of base saving throw bonuses through multiclassing.

Feature Design
While the actual process of designing primary and secondary features of a prestige class is the same as it is for any other class or archetype, keep the actual level of the character in mind when deciding on which level they would gain a given feature. A class feature that might be fine for a 1st-level character would be underpowered as the feature for the 1st level of a prestige class, since that ability would actually be gained at 6th level. Remember that while a character might not qualify for a prestige class at the earliest possible level (i.e. 6th), you should still design the features as if they had to prevent overpowered features from ending up being used by low-level characters.

Integration
Unlike a class, which is designed to provide a complete play experience, a prestige class is designed so that it can be completed before a character reaches the end of her adventuring career. As a result, the character may end up finishing the prestige class at 11th or 16th level and then be forced to turn to another class for the remainder of her levels. A good prestige class should take this into account by giving the character a valuable feature toward the end of the class that can make up for the character being stuck taking levels in another class with features designed for significantly lower-level characters. This should feel similar to a class capstone ability, although designed for the lowest level at which a character can qualify for it.
« 上次编辑: 2018-05-01, 周二 20:31:59 由 白猫 »
雅各之塔(Jacob's Tower) 个人翻译的Pathfinder RPG非官方长篇系列冒险模组,一系列13个模组共17万字,每个模组皆可独立抽出使用。(已出版,商品页面) 全彩地图素材包
[PF]魔战士变体大全
Pathfinder v2.0Pathfinder RPG的规则资源合集电子书,绝赞好评废猫中。

离线 白猫

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Re: 【Unchained】设计职业(Designing Classes)
« 回帖 #1 于: 2018-03-12, 周一 21:29:46 »
感觉这整篇文章都在打Paizo自己的脸...啪啪啪

文章里的超连结请无视,我是把PRD上的文章丢到CAT软体里翻完后再贴回来,所以原本网站中的超连结会依然存在。
雅各之塔(Jacob's Tower) 个人翻译的Pathfinder RPG非官方长篇系列冒险模组,一系列13个模组共17万字,每个模组皆可独立抽出使用。(已出版,商品页面) 全彩地图素材包
[PF]魔战士变体大全
Pathfinder v2.0Pathfinder RPG的规则资源合集电子书,绝赞好评废猫中。

离线 Πληΐαδες

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Re: 【Unchained】设计职业(Designing Classes)
« 回帖 #2 于: 2018-03-12, 周一 23:13:34 »
一本有合理设计职业思路的书里面写出来最不合乎思路的东西……PAIZO牛逼呀
  No mind to think.
没有可以思考的心智。

I am the vessel.
我即容器
No will to break.
没有可以屈从的意志。

I am the Hollow Knight!
我即
空洞骑士
No voice to cry suffering.
没有为苦难哭泣的声音。
Born of God and Void.
生于神与虚空之手。


离线 realthrall

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Re: 【Unchained】设计职业(Designing Classes)
« 回帖 #3 于: 2018-03-13, 周二 08:24:57 »
感觉这整篇文章都在打Paizo自己的脸...啪啪啪

文章里的超连结请无视,我是把PRD上的文章丢到CAT软体里翻完后再贴回来,所以原本网站中的超连结会依然存在。

求推荐CAT软件。 我现在整合怪物亚种的未翻译部分,都是用浏览器插件机翻,然后逐字修改,真的好麻烦。

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Re: 【Unchained】设计职业(Designing Classes)
« 回帖 #4 于: 2018-03-13, 周二 16:34:41 »
https://translate.google.com/toolkit/
Google译者工具包

引用
谷歌译者工具包(英语:Google Translator Toolkit)是一款整合的辅助翻译平台,它为翻译人员提供包括翻译辅助,机器翻译,协作平台和Talk等服务。目前它支持编辑和翻译50多种语言。它整合了谷歌翻译、所见即所得编辑器、开放的评分系统、分享系统、维基百科以及Knol。对于各类翻译人员,该系统还提供了翻译记忆库、术语和词汇表的上载重用机制。并提供了全球翻译记忆库供翻译人员使用。

然后你找个叫PF译名表1130的档案,上传到自己的词汇表里面,找不到这个档案可以私下和我要。
雅各之塔(Jacob's Tower) 个人翻译的Pathfinder RPG非官方长篇系列冒险模组,一系列13个模组共17万字,每个模组皆可独立抽出使用。(已出版,商品页面) 全彩地图素材包
[PF]魔战士变体大全
Pathfinder v2.0Pathfinder RPG的规则资源合集电子书,绝赞好评废猫中。

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Re: 【Unchained】设计职业(Designing Classes)
« 回帖 #5 于: 2018-03-13, 周二 17:17:17 »
词汇表果然搜不到……求

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Re: 【Unchained】设计职业(Designing Classes)
« 回帖 #6 于: 2018-03-23, 周五 13:14:03 »
请问paizo打脸具体是指什么事呢?
我很好奇
http://www.goddessfantasy.net/bbs/index.php?topic=56449.0
万物永不坑团!
http://pan.baidu.com/s/1nuKnGP7
3R玩家手册中英文附带城主手册以后看到新人问问题甩他一脸这个吧
https://pan.baidu.com/s/1pL62xsf
暴打狒狒的3R模组

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Re: 【Unchained】设计职业(Designing Classes)
« 回帖 #7 于: 2018-03-23, 周五 15:08:25 »
请问paizo打脸具体是指什么事呢?
我很好奇

除了那几个3r原有职业的强度被P子修正得比较平衡了,pf的原创职业,平衡性基本是乱来。
对比一下这篇职业设计指南,可不是在自打脸嘛!

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Re: 【Unchained】设计职业(Designing Classes)
« 回帖 #8 于: 2018-03-29, 周四 12:29:42 »
感恩大大、最近还想着怎么私设职业

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  • .--. --- ... ... . ... ... .. --- -.
Re: 【Unchained】设计职业(Designing Classes)
« 回帖 #9 于: 2018-03-29, 周四 13:27:38 »
明明是在找ACG版的Creating New Classes,结果找到了掉链子的23333 :em020

While you live, shine
have no grief at all
life exists only for a short while
and Time demands his due