DigitalBlue
Star
- Joined
- Jun 26, 2018
- Location
- The Final Blue
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Japanese inspired 5e (character sheets) (Digitalblue, Penny)
- Thread starter DigitalBlue
- Start date
Name: Jihi
Race: Tiefling
Class: Rogue
Background: Actor
Alignment: Chaotic Good
Kinks: F-list - Warning
Race: Tiefling
Class: Rogue
Background: Actor
Alignment: Chaotic Good
Kinks: F-list - Warning
Personality traits:
Bond: Small, isolated communities like the one I grew up in are the most vulnerable. I will never neglect one in need.
Flaw: My community was too small to use currency. I have no idea of the worth of money and am easily swindled.
- I love to eat and drink, often to excess.
- The thought of killing an intelligent being disturbs me, and I will avoid doing so whenever possible.
Bond: Small, isolated communities like the one I grew up in are the most vulnerable. I will never neglect one in need.
Flaw: My community was too small to use currency. I have no idea of the worth of money and am easily swindled.
STR 8
DEX 14
CON 10
INT 15
WIS 10
CHA 17
DEX 14
CON 10
INT 15
WIS 10
CHA 17
HP: 7/13
AC: 13
Fire resistance
AC: 13
Fire resistance
Passive Insight: 12
Passive Investigation: 12
Passive Perception: 10
Darkvision (60 ft)
Passive Investigation: 12
Passive Perception: 10
Darkvision (60 ft)
Proficiency bonus: +2
Armor: Light
Weapons:
Armor: Light
Weapons:
- Simple
- Hand Crossbow
- Longsword
- Rapier
- Shortsword
- Disguise kit
- Forgery kit
- Thieves' tools
- Dexterity
- Intelligence
- Deception
- Insight
- Performance
- Persusasion
- Sleight of Hand
- Stealth
- Deception
- Persuasion
Save DC: 13
Cantrips:
Cantrips:
- Thaumaturgy
Common
Infernal
Thieves' Cant
Infernal
Thieves' Cant
Twenty years ago, Setsuna and Touma arrived in a remote farming hamlet, Setsuna already heavily pregnant. They told everyone they were siblings, but most locals assumed Setsuna was pregnant with Touma's child - only to be surprised when her baby had the inhuman colour and horns of an oni. In most places, this would have been an ill omen and they'd have been shunned at best, but this hamlet was a safe haven for those that wanted to disappear: fugitives, the disgraced, and even those with shameful bloodlines themselves, so they were tolerated. Setsuna and Touma settled into a life of hunting and farming, while the baby was named Jihi.
Whatever the adults thought of Jihi did not extend to their children, and growing up, she made friends easily and eagerly. Clever and curious, she was always getting into mischief with the other kids, and her sheer talent for that mischief caused some to suspect she was destined by blood to follow a dark path - but that suspicion was wasted. Though she enjoyed being "special" - sneaking around in the dark, playing with her sorcery, impressing other kids by holding her hand over a lit candle - she never thought of herself as anything but human in her soul, and loved all the common folk in the hamlet she called home. As she grew older, she also came to love one of the hamlet's traditions: the stage. Many of the hamlet's reprobates and fugitives had stories to tell, and would do so with barely-obfuscated plays, so much of the hamlet's few spare resources went to a humble theater. Jihi threw herself into her roles; sometimes playing an ordinary woman, sometimes playing a fierocious oni, always doing so with shameless, unrestrained passion.
Jihi was also shameless, unrestrained, and passionate in another way. As she sexually matured, many in the village wanted to claim Jihi as a sexual conquest. Only after they had bedded her did they realize that there was no "conquering" involved. Jihi fell into bed readily, with both boys and girls, seeing her sexuality not as a prize to be hoarded but a gift to be shared freely. Of course, this is a mindset formed from her upbringing in a tiny community where everyone knows and is friendly (if only by necessity) with each other; as she's never left the boundaries of her hamlet, she is unprepared for the exploitation and degradation of the wider, less familiar world.
The violence of the outside world came recently to the hamlet. Raiders, accompanied by monsters Jihi had never heard of, came to ravage the community, but were met by Jihi's mother, Setsuna. She carried weapons that Jihi had seen in the house but never seen used. No one had ever seen them used like this. Setsuna's movements flowed naturally, instinctively, striking and parrying when her opponents were still thinking of striking and parrying. On that day, Jihi realized she knew almost nothing of her mother, that she had a past before the hamlet that Jihi had never even thought to ask about.
Setsuna's skills were incredible - but she was also in her forties, and out of practice by twenty years. Though she fought the invaders back, she was mortally wounded by weapon, claw, and poison. Jihi eavesdropped as she whispered instructions to Touma to carry her ashes back to her homeland. She whispered things Jihi lacked the context to understand, references to events there that forced her to leave, frustratingly vague. And she whispered another thing: "Jihi cannot know." There was so much about her mother that Jihi did not know. There was so much she didn't know about Touma, too, for that matter - but she did know he was middle-aged, overweight, lame from a knee injury in the rice paddies years earlier. There was no way he could make the journey. She couldn't let him.
There was something else, too. A more selfish reason: Jihi had missed the chance to learn about her mother when she was alive. Maybe, via this journey, she could understand more of the mother she'd lost. Maybe it would ease the raw, vicious pain she felt inside her, knowing that she was gone. That is why Jihi stole the sealed, iron urn containing her mother's ashes, along with other supplies; why she wrote the tear-stained note for Touma to find, telling him she loved him and to tell everyone in the hamlet the same; why she slipped out of her house in the black of a moonless night, leaving the only home she's ever known and entering into the unknown.
Whatever the adults thought of Jihi did not extend to their children, and growing up, she made friends easily and eagerly. Clever and curious, she was always getting into mischief with the other kids, and her sheer talent for that mischief caused some to suspect she was destined by blood to follow a dark path - but that suspicion was wasted. Though she enjoyed being "special" - sneaking around in the dark, playing with her sorcery, impressing other kids by holding her hand over a lit candle - she never thought of herself as anything but human in her soul, and loved all the common folk in the hamlet she called home. As she grew older, she also came to love one of the hamlet's traditions: the stage. Many of the hamlet's reprobates and fugitives had stories to tell, and would do so with barely-obfuscated plays, so much of the hamlet's few spare resources went to a humble theater. Jihi threw herself into her roles; sometimes playing an ordinary woman, sometimes playing a fierocious oni, always doing so with shameless, unrestrained passion.
Jihi was also shameless, unrestrained, and passionate in another way. As she sexually matured, many in the village wanted to claim Jihi as a sexual conquest. Only after they had bedded her did they realize that there was no "conquering" involved. Jihi fell into bed readily, with both boys and girls, seeing her sexuality not as a prize to be hoarded but a gift to be shared freely. Of course, this is a mindset formed from her upbringing in a tiny community where everyone knows and is friendly (if only by necessity) with each other; as she's never left the boundaries of her hamlet, she is unprepared for the exploitation and degradation of the wider, less familiar world.
The violence of the outside world came recently to the hamlet. Raiders, accompanied by monsters Jihi had never heard of, came to ravage the community, but were met by Jihi's mother, Setsuna. She carried weapons that Jihi had seen in the house but never seen used. No one had ever seen them used like this. Setsuna's movements flowed naturally, instinctively, striking and parrying when her opponents were still thinking of striking and parrying. On that day, Jihi realized she knew almost nothing of her mother, that she had a past before the hamlet that Jihi had never even thought to ask about.
Setsuna's skills were incredible - but she was also in her forties, and out of practice by twenty years. Though she fought the invaders back, she was mortally wounded by weapon, claw, and poison. Jihi eavesdropped as she whispered instructions to Touma to carry her ashes back to her homeland. She whispered things Jihi lacked the context to understand, references to events there that forced her to leave, frustratingly vague. And she whispered another thing: "Jihi cannot know." There was so much about her mother that Jihi did not know. There was so much she didn't know about Touma, too, for that matter - but she did know he was middle-aged, overweight, lame from a knee injury in the rice paddies years earlier. There was no way he could make the journey. She couldn't let him.
There was something else, too. A more selfish reason: Jihi had missed the chance to learn about her mother when she was alive. Maybe, via this journey, she could understand more of the mother she'd lost. Maybe it would ease the raw, vicious pain she felt inside her, knowing that she was gone. That is why Jihi stole the sealed, iron urn containing her mother's ashes, along with other supplies; why she wrote the tear-stained note for Touma to find, telling him she loved him and to tell everyone in the hamlet the same; why she slipped out of her house in the black of a moonless night, leaving the only home she's ever known and entering into the unknown.
Medium size
30 ft speed
Darkvision (60 ft)
Fire resistance
Spells (DC 13):
30 ft speed
Darkvision (60 ft)
Fire resistance
Spells (DC 13):
- Thaumaturgy (cantrip)
By popular demand: You can always find a place to perform, usually in an inn or tavern but possibly with a circus, at a theater, or even in a noble's court. At such a place, you receive free lodging and food of a modest or comforable standard (depending on the quality of the establishment), as long as you perform each night. In addition, your performance makes you something of a local figure. When strangers recognize you in a town where you have performed, they typically take a liking to you.
Expertise (Deception, Persuasion)
Sneak attack +1d6
Thieves' Cant
Cunning Action
Sneak attack +1d6
Thieves' Cant
Cunning Action
Weapons:
- Nunchaku (2): 1d4 bludgeoning (owned by Jihi's mother, Setsuna, and put to good use in the defense of her hamlet after her quarterstaff broke)
- finesse
- light
- Knife: 1d4 piercing (a simple utility knife, but adequate in a fight if it comes to it)
- finesse
- light
- thrown (range 20/60)
- Dart (10): 1d4 piercing (simple, small throwing knifes owned by Setsuna; slightly rusty from years of storage)
- finesse
- thrown (range 20/60)
- Leather armour (protective leathers intended for clearing brambles or other potentially harmful work; not built for combat, but may turn aside a glancing slash or soften a blow)
- AC 11 + Dexterity modifier
- Costume (a brightly coloured kimono used to represent wealthy women on stage; though any practiced eye can tell the material is cheap and the dyework is amateurish, Jihi considers it to be her finest set of clothes)
- Costume (stage costume and mask to represent an oni; as per Jihi's request, is skimpy and prone to nipple slips to represent an oni's unciviized nature)
- Traveler's clothes (trousers extending to the upper calf, a coat, sandals, and a conical straw hat slightly damaged by Jihi's horns; all tough and resilient enough for hours of physical labour in the rice paddies)
- Disguise kit (Jihi's stage makeup and simple props)
- Forgery kit (a moteley collection of papers, inks, seals, etc., originally used to create convincing-looking stage props)
- Thieves' tools (a tarnished and worn-down collection of tools borrowed from another farmer when Jihi expressed interest in them years ago; he never asked for them back and seemed relieved to have them out of his sight)
- Backpack
- Bedroll
- Mirror, steel
- Oil lamp
- Bright light 15 ft radius, dim light 30 ft radius, burns 6 hours per 1 pint of oil)
- Oil, pint flask (5)
- Rope, hemp (50 ft)
- Tinderbox
- Waterskin, 4 pints
- Ration (9 days)
- Spellbook (small and leather-bound, given by Mita)
- Metal urn containing Setsuna's ashes (sealed with wax and further tied shut with twine)
- 98 sho
- 4 mon
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