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