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【ACG】設計職業(Designing Classes)
« 于: 2018-03-12, 周一 21:29:22 »
設計職業(Designing Classes)
對於遊戲來說,幾乎沒有什麼規則系統能像制訂職業那樣重要。在Pathfinder角色扮演遊戲中,職業代表遊戲中的傳奇英雄,以及一些最殘忍的惡棍。儘管專長,法術或魔法物品對整個世界的影響有限,但職業可影響整個遊戲。各個職業充實了遊戲世界,它們是遊戲展現其風格與敘事的整體形象的一個組成部分。因為職業非常重要,所以設計新職業對於GM來說是最微妙和最困難的任務之一。本指南通過提供規則和建議將引導你完成設計新職業的過程,幫助你的創造無縫地融入到遊戲中。

就像怪物設計一樣,創建一個職業的過程有許多要考慮的因素。它要求你將你的概念與其他職業的概念進行比較,並權衡彼此的不同能力。某一種過於強大的職業能力,可能是另一種職業的完美選擇,取決於其他的能力。由於變數眾多,沒有設計一個職業的具體系統(例如Pathfinder RPG Advanced Race Guide中的種族創建)。相反,本節將向你介紹Paizo設計師在設計職業時所經歷的過程,以便讓你瞭解自己的設計需要考慮的事項。

職業、變體或進階職業?(Class, Archetype, or Prestige Class?)
在遊戲中,職業可以有很多種形式。雖然大多數角色選擇一個職業並在整個冒險事業中堅持純職,但也有些人會嘗試變體或進階了幾等的進階職業。在為遊戲設計一個職業時,首先要問:這是一個新職業,一個職業變體還是一個進階職業?

職業(Class):職業對於遊戲至關重要。從1級升到20級,每個職業都設計成向玩家提供完整的體驗。每個職業都有一個強烈的概念和規則,使其與遊戲中的其他職業區分開來。從本質上講,這種「風格」,就其想法和機制而言,允許它以一種其他職業沒有的方式與遊戲互動。

變體(Archetype:變體是現有職業的近親,從其自身建立,修改了其中的一些規則,並將其概念轉移一點,以形成一種新的玩法。變體比完整職業更容易設計,因為大部分工作都已經完成了。一個變體使用其父職業的大部分規則和背景(所以你不必重複相同的訊息),同時改變一些細節和機制,使其發揮不同的作用。要設計一個變體,你需要熟悉設計職業的過程,但也有其他的指導方針。

進階職業(Prestige Class):就像職業一樣,進階職業有自己的基本規則和概念,但角色無法直接選擇進階職業來開始遊戲。相反,角色必須有資格獲得該職業(通常至少6級才能獲得第一級)。另外,進階職業通常只有5或10級,這意味著角色在戰役中,在她的職業生涯中將不得不選取其他職業來繼續達到20級。進階職業非常緊密地集中於一個特定的概念或規則組,使得它們適合那些希望專攻一種領域的角色,即使這意味著得犧牲其他方面的多樣性。要設計一個進階職業,你需要熟悉設計職業的過程,但也有其他的指導方針。

職業設計(Class Design)
設計職業的第一步就是決定你想要什麼類型的職業。這有兩個重要組成部分——概念和規則空間——兩者必須相對較創新,以防止新職業複製現有的職業之一。

概念(Concept)
為了開始設計過程,最好確定一個概念並決定職業的內容,而不是直接引用遊戲規則。遊戲中的大多數職業都是從整個奇幻風格的某處吸取靈感。在考慮一個新職業的概念時,使用這些來源來獲得啟發和激發很重要。通常這開始於一個簡單的名稱和關於職業的一般概念。

例如,讓我們看看野蠻人。這個名字本身就喚起一些關於歷史和奇幻的聯想,比如成為一個凶猛的戰士並且陷入無腦的狂暴中。將這與遊俠的概念進行比較。雖然這兩個角色都是擅長進行軍事戰鬥的角色,但遊俠更注重在野外生存,追蹤敵人並偵察未知區域。在確定你的職業的概念時,你應該同樣地尋找定義其區別的方法。如果你想要設計的職業在概念上與現有職業非常接近,只需進行一些變化,你可能需要研究將其創造為變體(請參閱設計變體)。

規則空間(Rules Space)
除了有一個強烈的概念,每個職業應該在它相關的規則中佔有一席之地。雖然一個職業的規則可以與現有職業的規則有一些相似之處,但是每個新職業都應該有一些使它與眾不同的地方,使它能夠以一種新的、有趣的方式與遊戲和遊戲的世界進行互動。尋找一種方法,讓職業可以在不接觸另一職業的規則的情況下,發揮它的角色。如果規則太接近,那麼最終可能會產生一個職業使得現有職業的機制無效(或被該職業無效),從而使其失去遊玩的吸引力。

例如,盜賊職業專注於隱密移動並精準攻擊敵人的弱點,使其受到傷害。當然,也有其他職業的規則可以讓他們偷襲或造成大量傷害,但盜賊通過偷襲進行攻擊的方式對於該職業來說是個招牌。你想避免創造以稍微不同的方式做同樣事情的機制。在這個早期階段,只要你確保你的概念的規則的整體目標與其他職業不同,就很容易防止這種情況發生。如果你正在設計的職業太接近現有職業的規則,那麼你最好改為創造一個變體。

檢查你的概念(Checking Your Concept)
一旦你為這個職業制訂了一個基本的概念和規則,你應該把它和遊戲中其他現存的職業進行比較。在開始其他更耗時的職業設計部分之前,最好確保職業能夠與遊戲中的其他職業一起合作良好。你應該問自己一些問題。
·     這個職業是否有新穎的概念和規則?
·     這個職業是否與現有職業有明顯的協同作用?
·     在一個由四名玩家組成的隊伍中,是否其中一名玩家玩此職業,會導致隊伍在遊玩時出現任何缺陷或問題?

當談到這些問題時,沒有一個職業是完美的,但是它們應該能讓你思考,可以引導職業設計前進,以便讓它成為遊戲中持續和有用的部分。

職業故事(Class Story)
一旦你已經掌握了基本概念並制訂出規則,就可以開始講述你的職業的故事了。這通常出現在職業描述的開始部分,以便讓玩家瞭解職業的概念,而不必解讀表格並閱讀機制頁面。職業故事為你提供了一個敘述,以讓你瞭解關於職業可以做什麼和沒辦法做什麼。把它看作是你稍後將做出的機制決定的指南。如果這些後來的機制加起來無法來實現故事的承諾,那麼你應該考慮修改機制(或者修改故事,如果機制成分太好,導致故事不好描述)。

基礎機制(Basic Mechanics)
在設計職業的機制成分時,首先介紹所有這些成分的基礎。你為這些機制成分做出的選擇,將幫助你在涉及到職業特定的成分和能力時作出選擇。
許多基本機制都有不同程度的強度和能力。沒有職業應該是最好的,甚至大多數這些機制也是。事實上,一個職業在基本機制方面熟練的越深,作為設計師來包含其他有趣的職業能力的空間越小。將你的選擇與現有職業的選擇進行比較,以瞭解這一動態並確定如何平衡新職業。

基本攻擊加值:遊戲中有三種基本攻擊加值進度。慢速進度(由術士和法師使用)通常被保留用於完整施法進度的奧術施法者(即他們的法術能達到9級)。中速進度(由吟遊詩人,牧師,德魯伊,武僧和盜賊使用)適用於大多數具有多種職業能力且預期會成為在戰鬥中活躍的角色。快速進度(由野蠻人,戰士,聖武士和遊俠使用)被用於預計在每場戰鬥都很激烈,且對施法依賴很少的角色。

生命骰:每個職業使用的生命骰的類型幾乎總是由其基本攻擊加值進度決定的。那些慢速進度的獲得d6,中速獲得d8,快速獲得d10。此規則有一些例外(例如野蠻人),但是這種例外會對該職業產生顯著的加強,並且在設計其他的職業元素時應該考慮到這點。

豁免檢定 :遊戲中使用的豁免檢定有兩種類型。為了便於參考,我們稱它們為「強」和「弱」。每個職業有一到兩個強豁免檢定,其餘為弱。遊戲中只有一個職業有三個強豁免檢定(武僧),使其成為該職業的標誌性獎勵,並且通常不應該被其他職業給複製。哪些豁免檢定為強豁免和職業有很大關連。大部分 施法者都有強意志豁免。大多數戰鬥取向的職業都有強強韌豁免。大多數專注於機動性和敏捷性的職業都將反射作為其強豁免之一。

技能:在決定你的職業技能時,有兩件事需要考慮:每個等級的技能點數量以及哪些技能是本職技能。就技能點而言,大多數職業只能獲得每個等級2點(加上角色的智力調整值)。一些職業可以獲得4點或甚至6點,但在設計職業的其他元素時應該考慮到這優勢。只有盜賊每個等級有8點,並且你應該有非常好的理由給予一個職業類似的數字(因為這侵犯了盜賊作為最熟練技能的角色)。至於本職技能,不同職業的數量和類型可能會有很大差異。大多數職業擁有大約10個本職技能,但那些每等級技能點更多的職業,本職技能會更多。你選擇的本職技能說明了很多關於該職業的成員認為重要的事情。一個職業應該善於在遊戲中發揮自己的角色所需的技能——僅此而已。將察覺隱匿作為本職技能分到遊戲中的每一個職業可能很誘人,但除非你創造了一個潛行類職業或一個設計用於偵察的職業,這些技能不一定是適當的本職技能選擇,因為替隊伍中的其他角色留下發揮空間是很重要的。最後,請記住大多數職業都會得到工藝專業作為本職技能,除非他們特別不文明(參見野蠻人)。

施法:不是所有職業都有施放法術的能力,但這是一個常見的能力,並且值得與其他基本機制考慮。遊戲使用三種基本的施法模型,雖然這些模型有不同的變化,取決於角色為準備型或自發型施法者 。次等施法者(如聖武士或遊俠)一開始不具有施法能力,法術列表有限,只能獲得最高4環的法術。中等施法者(如吟遊詩人)一開始就能施法,得到最多6環的法術,並且有明顯更大的法術列表。完整施法者(如牧師,德魯伊,術士和法師)可獲得最高9環的法術,並具有廣泛的法術列表。次等施法者 對於快速BAB進度的職業很完美,而中等或完整通常是為慢速或中速BAB職業保留的。避免使用快速BAB和完整施法進度創造一個職業。在確定基本機制時,你不必設計法術列表,但是你應該知道該職業將會擁有什麼類型的施法(參見設計法術列表來獲得為你的職業創造法術列表的建議)。

職業能力(Class Features)
一旦你掌握了基本機制,現在是時候開始設計職業能力了。這是一個職業在獲得等級時得到的機制,每個職業能力都賦予了力量和能力,使其在遊戲的其他職業中能脫穎而出。

大多數職業能力分為兩種:主要能力和次要能力。主要能力是該職業的招牌。隨著職業升級,這些能力在強度和效用上都有所提高,而這些能力的增強通常是玩家扮演此職業時最期待的事情之一。主要職業能力的例子包括野蠻人的狂暴,吟遊表演,制裁邪惡和偷襲。次要能力往往是一次獲得的能力,在角色的冒險過程中不會改變,或者是改變相對較小。次要職業能力的例子包括英勇,行蹤無跡,以及尋找陷阱。請注意,儘管主要能力往往只與一種職業有關,但次要能力可能出現在多個職業中。

主要能力(Primary Features):這些能力是創造有趣和吸引人的職業的關鍵。他們通常在第一級時獲得並在整個升級過程中得到增強,這使得這些能力在整個冒險過程中與角色相關。這些能力的目標幾乎通常是在戰鬥中給予優勢,讓角色以有趣的方式利用它們來參與這些遭遇。例如,狂暴在使用時賦予野蠻人增加的力量和造成傷害能力。隨著野蠻人等級的提高,狂暴賦予的加值以及每天可以使用的輪數也會增加。偷襲以相同的方式運作,隨著盜賊等級的提高而增強,因此它可以繼續與擁有更高生命值的敵人作戰。

在設計新的主要能力時,請使用現有的主要能力作為指導。大多數主要職業能力為每隔幾個等級,強度就會增加,通常為小幅度的增加。那些依賴持續時間的能力,通常每個等級都會讓總持續時間增加。持續時間應該能夠以不連續的方式使用,這樣角色就可以每天使用一次以上的能力(除非持續時間很長)。

請注意,在大多數情況下,具有完整施法進度的職業不會獲得強大的主要職業能力。在這種情況下,施法能力本身則扮演著主要能力的角色。具有次等或中等施法進度的職業通常會獲得與施法有關的職業能力。通常這意味著主要職業能力不需要隨著角色獲得等級而改變太多(參見魔戰士的法術戰鬥職業能力)。該能力可以保持相對穩定,因為隨著角色獲得等級,法術本身會變得更好。

次要能力(Secondary Features):這些能力旨在完善一門職業,賦予它更好地適應該職業的角色的能力。在大多數情況下,次要能力是情境性的,在特定場合中給予加值或有用的能力。例如,英勇只會在意志豁免上獲得對恐懼的加值。該能力還可以幫助戰士扮演他作為勇敢英雄面對恐怖敵人的角色。

隨著角色獲得等級,次要能力並不一定會增強。有些只是提供了適用於任何等級遊戲的有用能力。例如,穿林步在任何等級的遊戲中都很有價值,並且由於它不會為技能或其他檢定給予加值,所以在角色獲得等級時不需要變得更加強大。

與主要能力不同,次要能力可能會出現在多個職業中。雖然一個職業應該具有與其主題相關的次要能力,但使用另一個職業的次要能力是可以接受的,而不是發明新能力來完成相同的目標。例如,野蠻人和盜賊同樣獲得直覺閃避。由於兩者都以對危險作出快速反應而聞名,因此它們都具有該能力很合理,而不是同時獲得能有效的做相同事情的不同能力。

死等級(Dead Levels):當你填寫你的職業的主要和次要能力時,按等級對它們進行排序是非常重要的,這樣你可以很容易地看到每個能力獲得的等級,以及(在主要能力的情況下)何時增加強度和能力。這使你可以確保在任何給定的等級上,職業不會獲得過多的能力。這也可以讓你避免「死等級」,意味著角色只能獲得基本機制的加值。作為一般規則,你不希望任何等級給予超過一個或兩個職業能力,並且你想避免死等級——獲得新的和增強的能力是升級的樂趣的一部分!

施法者有時是此方針的一個例外。在完整施法職業的情況下,獲得新一環法術的等級有價值到可以算作職業能力。例如,以德魯伊為例:這個職業有幾個等級,其中沒有獲得新的職業能力或增強,但是當德魯伊能施放新一環法術時,幾乎都是發生在這些等級。所有術士的血統能力都是奇數等級,因為他們在每個偶數等級都獲得新一環的法術。這個原則也可以用於中等施法職業,但作為一般指導,具有次等或不施法的職業應該從1級到20級的每個等級上,都獲得職業能力或增加現有能力。

頂點(Capstone):大多數職業都有頂點能力(即在20級獲得的能力)。在大多數遊戲中,這將是角色獲得的最後一個能力,它應該是獲得實現這種崇高力量的獎勵。對於此能力,超過一點沒關係。讓它成為你的玩家渴望擁有的東西。如果他們能夠存活那麼久,這是他們應得的。

設計法術列表(Designing a Spell List)
為那些能夠施放法術的職業設計一個法術列表可能是一項艱鉅的任務。在建構列表時,你必須考慮使用各種資源,同時在新的法術可用時仍然留出擴展空間。

法術列表必須具有某種形式的內部一致性,以說明該職業的本質。法師並不以他們的醫療魔法而知名,這就是為什麼治療(cure)法術不在他們的任何列表上。吟遊詩人花費大部分的時間增強隊友的能力,這就是為什麼他們的許多法術可以幫助一個或多個角色。為你的職業設計一個法術列表時,你應該問自己:「這個職業用法術實現些什麼?」這個問題,最重要的是,將幫助你製作一個適合這個職業的法術列表。

一個職業的法術列表上的法術數量也是一個重要的考慮因素。次等施法的職業通常可選擇的法術數量較少,但在較高等級時,他們可以獲得相對中等或完整施法進展的職業而言,通常較高環級的法術。具有完整施法進展的職業應該有各式各樣的法術可供選擇,因為這往往是他們為遊戲做出貢獻的主要方式之一。

決定施法者在什麼環級獲得法術是法術列表設計中最具挑戰性的方面之一。各種法術應該出現在不同的環級,這取決於職業。使用人類定身術作為一個例子:牧師在二環獲得該法術,而術士和法師則在三環獲得該法術。這裡需要注意的重要一點是,一些法術(和其他給予類似能力的能力)在PC達到某個最低等級之前不應該獲得。例如,遊戲通常假設PC無法穩定飛行直到他們達到5級,並且他們無法復活死者或傳送直到9等。這些準則有一些例外,但它們很少見,應該仔細考慮,因為冒險是根據這些基準來撰寫的。另外,請記住,你列出的任何四環或更低的法術都可以放入魔杖中,而三環或更低的法術可以製成藥劑。如有疑問,請參考牧師或術士/法師的法術列表來尋求指導。

檢查和完善(Review and Polish)
一旦你決定了基本機制並設計了所有的職業能力,現在是時候退一步看看你的創作。理想情況下,當設計成形時,檢查應該是過程的一部分,但是一旦所有的部分都就位時,它將是一個更加重要的步驟。

在檢查時,第一步是想像一個角色在職業中的等級提升。有任何等級的選項是乏善可成或負擔過重?這個職業是否有真正期待的等級? 在每個等級中,職業是否可以為遊戲做出有意義的貢獻? 將你的職業與其他職業進行比較,逐級查看,以權衡職業的強度和多功能性。如果它在給定的等級上比大多數職業好,你可能需要縮減它的一些職業能力。同樣,如果它在某個等級太弱,你可能需要增強職業能力,甚至需要添加新能力。

一旦你對職業感到滿意,現在是時候對機制進行完善,以確保它們明確而簡潔。讓一個朋友或玩家看看書面規則。毫無疑問,他們會有些問題關於職業是如何運作的,或者他們如何與其他現有規則元素進行互動。這些問題可以幫助你改進文字,使職業變得易於理解和好玩。

最後,現在是測試職業的時候了。使用職業規則構建一些角色,並對其他角色和怪物進行模擬戰鬥。如果你只用一個角色對一個對手進行遊戲測試,對於同等級的角色來說,戰鬥應該接近至勢均力敵,根據環境和設定的不同。針對怪物,請將你的角色與一個CR大約低於角色等級4級的怪物進行比較,以瞭解角色如何在戰鬥中處理自己。遊戲測試會讓你瞭解你的機制是否按照預期發揮作用——儘管要注意別從極端不平衡的擲骰的戰鬥中獲得結果,因為這些會嚴重影響你的結果。

設計職業的過程可以多次通過所有的這些步驟。如果你的第一次嘗試需要大量工作,請不要氣餒。設計,測試,並重新設計你的職業概念,直到你對最後結果滿意為止。請記住,創造一個新職業是遊戲設計中最具挑戰性的部分之一。

變體設計(Archetype Design)
設計一個變體似於設計一個職業,但大部分工作都已經完成了。像一個職業一樣,變體需要有一個概念和一個規則,但不像一個職業,它的特色不一定是特定的。變體在概念或規則方面通常與現有的職業非常接近,但是要努力將職業放在稍微不同的方向上,改變一些職業能力以更好地表達其概念。

概念和規則(Concept and Rules)
許多變體以作為一種新的職業觀念開始,但當它們聚在一起時,很明顯他們與現有職業非常相似。在這種情況下,最好創建一個變體,而不是嘗試生活在別人的空間中的全新職業。拿進階玩家指南中,遊俠的散兵變體當作例子。作為概念,這個職業與遊俠非常相似:它在自然環境中成長,並通常取向為軍事戰鬥。從機制上講,它幾乎適用於遊俠的所有規則,但獲得一套散兵技巧來取代遊俠的施法能力。如果對遊俠本身進行一些簡單的改動就足夠了,那麼用這個概念創造一個全新的職業是沒有意義的。

設計原則(Design Principles)
大多數關於變體的設計工作都與職業能力有關。作為一般規則,大部分的基本機制不會改變。基本攻擊加值,生命骰和豁免檢定幾乎不會改變,而技能和施法不需要改變,除非變體特別要求。

取代職業能力(Replacing Class Features):創造成功變體的關鍵是決定取代哪些職業能力以及用什麼取代它們。一般來說,主要能力是最難取代的,你應該非常小心,而次要能力對職業的影響要小得多,而且更容易與新能力交換。
在決定要取代的能力時,請記住變體的主題。該能力對變體的定位是否重要? 如果被移除,該職業是否仍然能作用? 是否還有其他能力依賴被取代的能力,那些能力也是否需要取代? 這些問題將有助於指導你確定什麼樣的能力對職業至關重要,哪些能力可以用最小的影響來取代。

為變體設計一個新的職業功能以取代現有的,遵循許多與為全新職業設計職業能力相同的規則。但是,你必須考慮要被取代的能力的強度和多功能性。用戰士的英勇職業能力,換取一個為AC提供加值的新能力並不是公平的交易,這會導致一個比原職業更強大的變體。儘管你可能會盡力通過用較弱的選項替換另一個職業能力來平衡此交換,但應儘可能避免此類取代。如果必須,請嘗試確保較弱選項在等級上出現在強力選項之前,以確保在獲得新的強大能力之前付出了「成本」。這樣做可以防止角色在變體中僅使用幾個等級來獲得強大的職業能力,然後再跳到另一職業以避免支付該能力的成本。作為指導原則,用於取代的能力應該起到類似的定位,並且具有與被替換能力大致相同的強度。情況並非總是如此,但即使在偏離定位時,也應確保你所創造的取代能力沒有明顯強或弱於原始能力。

部分取代(Partial Replacements):根據情況,換掉職業能力的部分是可以接受的,但只有在該能力能在多個等級上獲得加值或能力時才可接受。例如,戰士具有獎勵專長職業能力。該能力在1級,2級以及其後的每個偶數等級都可以獲得獎勵專長。變體可能會替換部分或全部的這些獎勵專長,在那些位置上給予它們新的職業能力。
決定部分取代時要小心。你部分取代的能力的規則可能不會指示如何處理未被取代的後續能力。例如,以引導能量牧師職業能力為例。如果你把第三級增加到2d6給取代掉,那麼在第五級會發生什麼?是上升到2d6還是直接跳到3d6?在這種情況下,最好取代整個職業能力,或者確保取代的描述在如何處理現有職業能力的其餘部分時很明確。

替代職業(Alternate Classes):有時候一個變體交換了很多職業能力,使它幾乎成為一個新職業。在這種情況下,該職業可能需要表示所有的職業能力,即使是與它的基底職業共享的能力。雖然技術上仍然是一個變體,但是玩這個職業的角色,擁有在一個方便的位置上提升角色所需的所有工具。反聖武士,忍者,和武士是替代職業的所有範例。

混合職業(Hybrid Classes):混合職業就像一個變體,它從現有的職業中大量汲取,但混合職業從兩個不同的職業中汲取,形成其能力的基礎。其結果是一個全新的職業,擁有自己的位置和能力。

進階職業設計(Prestige Class Design)
雖然在很多方面類似於職業,但是進階職業是專門設計給高等級角色透過兼職來使用。雖然一般的設計原則可能相似,但進階職業的設計還有許多其他因素需要考慮。

概念和規則(Concept and Rules)
進階職業需要非常強烈的概念。這不僅需要在世界上有意義,還需要有一個邏輯的原因,為什麼一個角色不能通過在該職業上獲得等級來開始遊戲。通常情況下,理由可以在進階職業的職業故事中敘述。例如,你可以為騎士團設計一個進階職業,但確定他們只接受和訓練那些在戰鬥中證明自己的成員。新進來的年輕新兵可能是該騎士團的一部分,但在經過磨練和測試之後才會接受該進階職業所代表的特殊訓練。其他進階職業可能需要特定的能力或技能才能被PC選取。一群擅長飛行的法師無法訓練連飛行術都不會放的傢伙。

進階職業應該緊緊集中在一個規則概念上,其大部分能力都與該概念相關聯。用上面的飛行法師做範例,進階職業能力可能會在飛行時給予加值,能更經常施放飛行術的能力,以及避免墜落傷害的能力。

要求和等級(Requirements and Levels)
與普通的職業或變體不同,進階職業有一些值得仔細檢視的元素。首先,所有進階職業都有一個PC必須滿足的要求清單,然後才能在該職業中獲得等級。這些要求應該使PC無法在6級之前在進階職業上獲得等級。例如,要求基礎攻擊加值+5,施放3環法術或某技能達到5級,技能等級5級意味著角色在進階前必須達到5級(這意味著他在進階職業中的第一個等級將會成為他的第六級)。
你還應該仔細考慮你的進階職業會有多少等級。大多數有5或10級讓PC可以獲得。雖然你可以使用任意數字,但建議不要使用少於5級,因為這可以讓你在進階職業的等級中包含一些真正令人印象深刻的能力。

基礎機制(Basic Mechanics)
設計一個進階職業類似於設計基礎職業,但有一些重要的例外。首先,進階職業很少給予很多本職技能。大多數獲得該職業的角色(如果他們與主題和概念相一致)已經擁有大部分相關技能,使得獲得本職變得多餘。其次,進階職業使用不同的強弱豁免檢定進度。這可以防止基礎豁免檢定加值通過兼職而通脹。

能力設計(Feature Design)
雖然進階職業的主要和次要能力設計的實際過程,與任何其他職業或變體相同,但在決定他們獲得給定能力的等級時,請記住角色的實際等級。對於一級角色來說可能會很好的職業能力,對於進階職業的第一級能力來說過弱了,因為此能力實際上是在第六級獲得。請記住,儘管角色可能無法在最早等級(即第6級)獲得進階職業,但仍應這樣設計這些能力,如同必須防止過強能力被低級角色使用一樣。

整合(Integration)
與提供完整遊戲體驗的基礎職業不同,進階職業被設計為可以在角色的冒險事業結束前升滿。結果,角色可能最終在11或16級升滿進階職業,然後被迫在剩餘等級轉到其他職業。一個好的進階職業應該考慮到這一點,在職業尾聲為角色提供一個有價值的能力,來彌補角色被困在另一個職業中,獲得那些明顯為低等級角色設計的能力。這應該類似於職業頂點能力,雖然設計為角色可以獲得進階職業資格的最低等級。


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原文
劇透 -   :
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 白貓 »
雅各之塔(Jacob's Tower) 個人翻譯的Pathfinder RPG非官方長篇系列冒險模組,一系列13個模組共17萬字,每個模組皆可獨立抽出使用。(已出版,商品頁面) 全彩地圖素材包
[PF]魔戰士變體大全
Pathfinder v1.8Pathfinder RPG的規則資源合集電子書,絕讚好評廢貓中。

离线 白貓

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Re: 【Unchained】設計職業(Designing Classes)
« 回帖 #1 于: 2018-03-12, 周一 21:29:46 »
感覺這整篇文章都在打Paizo自己的臉...啪啪啪

文章裡的超連結請無視,我是把PRD上的文章丟到CAT軟體裡翻完後再貼回來,所以原本網站中的超連結會依然存在。
雅各之塔(Jacob's Tower) 個人翻譯的Pathfinder RPG非官方長篇系列冒險模組,一系列13個模組共17萬字,每個模組皆可獨立抽出使用。(已出版,商品頁面) 全彩地圖素材包
[PF]魔戰士變體大全
Pathfinder v1.8Pathfinder RPG的規則資源合集電子書,絕讚好評廢貓中。

线上 girigiripony

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Re: 【Unchained】設計職業(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】設計職業(Designing Classes)
« 回帖 #3 于: 2018-03-13, 周二 08:24:57 »
感覺這整篇文章都在打Paizo自己的臉...啪啪啪

文章裡的超連結請無視,我是把PRD上的文章丟到CAT軟體裡翻完後再貼回來,所以原本網站中的超連結會依然存在。

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】設計職業(Designing Classes)
« 回帖 #4 于: 2018-03-13, 周二 16:34:41 »
https://translate.google.com/toolkit/
Google譯者工具包

引用
谷歌譯者工具包(英語:Google Translator Toolkit)是一款整合的輔助翻譯平台,它為翻譯人員提供包括翻譯輔助,機器翻譯,協作平台和Talk等服務。目前它支持編輯和翻譯50多種語言。它整合了谷歌翻譯、所見即所得編輯器、開放的評分系統、分享系統、維基百科以及Knol。對於各類翻譯人員,該系統還提供了翻譯記憶庫、術語和詞彙表的上載重用機制。並提供了全球翻譯記憶庫供翻譯人員使用。

然後你找個叫PF譯名表1130的檔案,上傳到自己的詞彙表裡面,找不到這個檔案可以私下和我要。
雅各之塔(Jacob's Tower) 個人翻譯的Pathfinder RPG非官方長篇系列冒險模組,一系列13個模組共17萬字,每個模組皆可獨立抽出使用。(已出版,商品頁面) 全彩地圖素材包
[PF]魔戰士變體大全
Pathfinder v1.8Pathfinder RPG的規則資源合集電子書,絕讚好評廢貓中。

离线 realthrall

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

离线 万物皆神

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Re: 【Unchained】設計職業(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】設計職業(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】設計職業(Designing Classes)
« 回帖 #8 于: 2018-03-29, 周四 12:29:42 »
感恩大大、最近還想著怎麼私設職業

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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
☷☷☷龍神阿普蘇聖武士準則☷☷☷
劇透 -   :
我乃阿普蘇的狂怒之爪。當邪惡露出馬腳,我定當出手,而此舉絕不滿足仇敵的惡意。
I am the talon of Apsu’s wrath. I strike where I am needed, but only when evil has been unmasked and there can be no doubt of my enemy’s malice.
當我無所作為之際,我將踏上旅途以探索新的焦點。大道三千,各取其一。
When my purpose is unclear, I will walk the roads of the world to find a fresh focus. Every road leads to a new beginning.
除守衛他人之外,我絕不從容就義。我當該退則退,君子報仇,十年不晚。
Nothing is worth sacrificing my life for, except protecting the lives of others. I will retreat when needed, and come back to vex my foes once again.
我會展示仁慈,但可一而不可再。那些背叛我善意之人,我將痛剿窮追。
Mercy is offered, but only once. Should I be betrayed in my moment of kindness, I will not stop until I have put my enemy down.
斷罪僅是我目標的一部分。須要時,我將留下協助受我保護者,使其得以自力更生。
It is not enough to slay evil and carry on. I will spend the time necessary to help those I’ve protected to fend for themselves.

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