The Phantom of the Opera a Domain Lord?

[Guardian of Twilight]

I was wondering if there has been anything written about making the Phantom in Ravenloft. I have for the past few years been thinking about it and came up with a few things of my own, but never used them in-game. For example, the way he seals his borders is with a deafening wall of organ music. Entering the wall of sound requires a Madness save. And either a Horor or Madness save if you see the Phantom's face. I am not really sure which would work better in this case. I am still working on a few ideas. What do you all think and what are your suggestions for the Realm, encounters and the like?

[Joël of the FoS]

During all those years, I've seen many people wondering this question.

I think that indeed, this musical score makes a great backstory. Mix Carlotta and the werefox girl from the CotNW accessory, plus the scene where the Phantom appear as the Red Death, all of this can be indeed quite intriguing and exciting.

Any takers to write it?

Joël

[Ivana_Boritsi]

If I were going to use him as a Darklord, I would make the grotto where he dwells a place that he can control. Maybe he can animate objects there...so that he can hold elaborate dances with mannequinns, for example. So, I would say that he can only seal off the borders of his grotto, even though he's technically the ruler of the whole domain.

If the domain were going to reflect him, it would probably be a place like Kartakass, where music is a big industry. There would be music conservatories. Rich families would send their children to learn about music from the domains maestros.

Which would be a source of torture for the Phantom, since he'd be surrounded by people who were constantly lauded for their talents and musical acumen. All the while, he goes unnoticed for his musical genius.

[Scipion_Emilien]

I read in the RLCS that the leader of liffe is a count bard, i dunno if this could be adapt (in fact i dunno about the island more than the RLCS, Im not even sure if is leader is the true darklord).

[Drinnik Shoehorn]

Self plug: I used the werefox adventure from CotN: Werebeasts, Angel Pajaro, and it's a twist on the PotO. See my campaign log further down and soon to be on the site, when I get around to submitting it.

[Vorpal Dragon]

I think the way the story of the Phantom of the Opera went, almost everything was already there to be used in Ravenloft. With a few changes, like what was done for Strahd, we have another Dark Lord.

I would advise caution when working on the music theme around this idea... the Phantom was capable of so much more than just music - I'm not going into any more detail as the would-be author should know all this a lot better than I could explain. That was from the point of view that it would be nice if this would honour the original work.

Maybe everyone already knows that and I'm wasting my breath weapon reiterating it. I suspect it wouldn't be the first time.

[VAN]

I have seen the play many years ago so please forgive me if I''m wrong but I think that the the Phantom of the opera is not evil, is just a man who wears a mask in order to hide his horrible face adores music and fell in love with a woman. The story is tragic yes, but I think that since he is not evil he cannot be a Darklord that easily.

[Tobias Blackburn]

He doesn't have to be a darklord. That seemed to be one of the goals of the last edition, to stop every evil thing from being a darklord.

A few months ago I put forward the suggestion of Sanctuaries, areas where outcasts dig themselves in so much, where they find their only safe haven in the entire world. After a few years the outcast gains a few alient abilities. Using the system you can turn a single outcast (not necessarily a caliban) into an impressive and cunning foe, even if they're a lower level than the party. It was based off Phantom of the Opera, Hunchback of Notre Dame and a bunch of other characters (even Beauty and the Beast and Cinderella work under the system).

No one was actually interested in the rules I had made so I didn't bother posting them. They will be in the Journal though.

[Dominique]

I have seen the play many years ago so please forgive me if I''m wrong but I think that the the Phantom of the opera is not evil, is just a man who wears a mask in order to hide his horrible face adores music and fell in love with a woman. The story is tragic yes, but I think that since he is not evil he cannot be a Darklord that easily.

The Phantom is definitely evil. Tragic, but also evil. Remember, he murders two people in the course of the musical (one to get Christine and one just for insulting him), and he executes his "love" for Christine mostly by trying to control her mind. And that's not even getting into the novel, where he's also a sadistic assassin . . .

I would probably put him in Dementlieu--hey, it's high French culture, what more can you want? Probably living in the basement of the Port-a-Lucine opera house. High levels in bard, with a LOT of enchantment spells since he sure does love his mind control (hmm, that might make it so that Dementlieu isn't such a good choice, since the Obedient would give him trouble . . .) A few levels in rogue or assassin if you're going more for the "sadistic murderer" angle from the novel and the silent movie.

One thing that would definitely fit--as long as the Phantom's mask is off, all of his mind-affecting spells are broken until he puts it back on. (Incidentally, I'd definitely go more for a horror save than a madness save. Seeing the Phantom's face horrified Christine, but it didn't make her schizophrenic. )

[Guardian of Twilight]

I definetely see him more as the figure from the play and movie to be honest, never the sadistic murderer. I appreciate the info on the Horror/Madness dilemma, btw. I still have a few probs keeping them straight in my mind. Also, the info on his enchantment spells with mask off is just about what I was thinking. Noew the real qustion... what are his stats, what level is he and how are his levels divided? As I said in a previous post, I am kinda bad at handling the level thing. I am still working on it, though.

[Joël of the FoS]

The Phantom is definitely evil. Tragic, but also evil.

He's evil but he think he is right. These makes the best villains

Joël

[Jasper]

A quick stating of him-


The Phantom of the Opera, Male Human Exp5/Brd8/War2: CR 14; Medium Humanoid ; HD 5d6+5(Expert) , 8d6+8(Bard) , 2d8+2(Warrior) ; hp 74; Init +3; Spd 30; AC:13 (Flatfooted:10 Touch:13); Atk +12/7/2 base melee, +14/9/4 base ranged; +12/7/2 (1d6+1, Rapier); AL NE; SV Fort +7, Ref +12, Will +11; STR 13, DEX 16, CON 12, INT 18, WIS 12, CHA 17**.
SA: Master of the sewers (Su), Angel of music (Su), Music of the night (Su) SQ: Phantoms shame (Ex), Obsession (Ex);
Skills: Bluff +10, Climb +11, Diplomacy +12, Disguise +15, Hide +15, Intimidate +9, Jump +14, Knowledge (Architecture and Engineering) +10, Listen +10, Move Silently +15, Perform (Act) +15, Perform (Sing) +15, Perform (String Instruments) +15, Perform (Wind Instruments) +15, Sleight of Hand +13, Speak Language +2 (Mordish, Borcan, Barovian, Vassi), Spot +8, Tumble +17.

**With the mask. Without it Cha drops to 6

Feats: Acrobatic, Armor Proficiency: heavy, Armor Proficiency: light, Armor Proficiency: medium, Blind-Fight, Combat Reflexes, Dodge, Lightning Reflexes, Shield Proficiency, Simple Weapon Proficiency, Back to the Wall.
Spells Known (Brd 3/4/3/2): 0 -- Ghost Sound, Open/Close, Prestidigitation; 1st -- Cause Fear, Expeditious Retreat, Feather Fall, Ventriloquism; 2nd -- Blur, Cat`s Grace, Silence; 3rd -- Clairaudience/Clairvoyance, Scrying.
Possessions: Fine silk garments of the latest style, disguise kit, paper and ink, theatrical smoke pellets X5, Phantoms mask
Weapons: Rapier


Master of the sewers (Su): The phantom has lived his entire life in the sewers beneath the opera house and has complete knowledge of every turn and tunnel. As such he gains the ability of Pass without trace while in them.

Angel of music (Su): The phantoms voice is unrivaled in its beauty. Anyone who hears his song for more then one round must make a Will save at DC (15+Phantoms current charisma bonus) or be unable to bring herself to attack or cast spells untill one round after the song has ended. This effect is broken however if the PC is atacked or startled by another loud noise.

Music of the night (Su): While playing his grand organ the phantom can cause anyone who hears it to make a Will save at DC (15+Phantoms current charisma bonus) or become lulled by the music and unable to attack or cast spells untill one round after the music has ended. This effect is broken however if the PC is atacked or startled by another loud noise.

Phantoms shame (Ex): The phantom is replused by his deformed face and if presented with a mirror or other relective serface while his mask is off he will stop everything and attack the reflection untill it is destroyed or removed.

Obsession (Ex): The phantom is obsesses with music and song of all kinds. If presented with someone with a exceptional voice or musical talent (+10 skill level or higher to Perform (Sing) or Preform (Instrument)) he will fall under the effects of a charm person spell and will atempt to become mentor to that person in secret. If the phantoms offer is ever rejected or the protige turns to other for help the phantom becomes enraged and will stop at nothing to regain his student or see both his student and the userper dead.

[Guardian of Twilight]

Wow. Holy crap. "Quick stating"? I would love to see what you could do if you took some time on him . I REALLY appreciate the help, and he looks awesome. The only thing you didn't have down were his Signature Posessions, and I have a thought one one of those. Maybe the mask acts as a hat of disguise or something. As I said, I am not very good with stuff like this. (I have only made a few items for 2nd Edition, and one was an artifact for The Fall of Myth Drannor and a couple of others. 3e and 3.5 are a bit more confusing to me, but I am re-reading the DMG and PHB. I think I am progressing quite nicely, if I do say so myself). It seems like there is something else that the Phantom has/uses, but I can't remember what it is right off the bat.

[Rotipher of the FoS]

The singing and organ-playing abilities you describe seem a bit too much alike, Jasper. You might want to make the organ-playing more of a supernatural power (perhaps gained after he failed a Powers check) that can cause directly-destructive effects (like making chandeliers fall, perhaps? ;-D), and simply increase the potency of his voice's entrancing effect if he sings and plays music (on any instrument) at the same time.

So if the PCs discover his lair, and he's playing the organ, he can start to sing entrancingly and accompany himself with beautiful, enthralling music (=> PCs can't attack). Should a PC shake off the enthrallment and try to attack the Phantom, his playing switches to a darker, menacing piece that evokes thunderstorms and battle ... and supernatural, destructive effects (nooses dropping from the ceiling? a flood in the tunnel which the PCs are standing in?) are unleashed, each of them occurring in perfect time with his performance.

[Lord_Kjeran]

Not a full stat, but a start and some bg....

Erik, the Opera Ghost
Bard 12, Assassin 4, Swashbuckler 2
Neutral Evil

Erik (last name unknown) was born in France in 1831. Horribly deformed, his face appeared as that of a skull and was described by some as a "living corpse". However, the young Erik was a musical prodigy as well as being intuitively masterful in the architechural arts. His mother, in a fit of guilt, arranged for one of the most prestigious architechs in France to tutor him at the age of 7.

The local priest also tutored Erik for the good of his soul for the learned father perceived that such talent could easily be turned to evil.

Rejected by his mother and the local townpeople because of his deformity, Erik ran away from home at the age of 9. He was captured by gypsies and shown in their freak show. At this time, Erik learned much in the way of ventriloquism, prestidigatation, and magic. when he was older, around the age of 12, the "freak master" attempted to sodomize Erik. Grabbing the man's knife from his belt, Erik struck him with a precise shot to the man's aorta, killing him instantly. It was Erik's first kill....

Erik fled once more into the night. It is believed that this is the first time that the Red Death noticed and contacted him, offering him power. Erik began a life of wandering, mahem, and the occasional murder.

After a few more years, he arrived in Rome at the age of 16 and was noticed admiring a building under construction by the master mason in charge. He recognized the potential in Erik and took him into his home as his apprentice and son he never had. He too noticed the Darkness in Erik and did his best to bring Erik some happiness. For a time, Erik was able to be truly happy.

However, the mason's daughter returned from her convent school and began to needle Erik night and day. "Why do you wear a mask? " she would ask him. his mysterious nature caused her to fall in love with him, and she would torment at all hours. Whenever she finally succeeded one night in getting Erik to remove his mask, she backed away from him in horror. She ran backward, running into an aged balcony which gave way. She plunged to the ground below. For a third time, Erik fled into the night.....

Erik moved on to eastern Europe and the Near East, travelling as a magician and becoming skilled in the use of the Punjab lasso, a weapon capable of decapitating a man when used correctly. Erik was brought to to Persia where he designed and built a magificant palace for the Shah. He became a favorite of the Shah's mother, the Sultana, a perverted woman who enjoyed murder and torture. He became her prized assassin and designed and built a special torture chamber for her amusement. He became a user of opium in a vain attempt to ease the pain of his soul....

There was still good in his soul, though. He became friends with one of the Shah's relatives, a dragora in the royal service. The man's son was dying, and Erik befriended the boy, making clever little toys and amusing him with tricks of illusion and magic in his final days.

When the boy died, Erik finished the Shah's palace. The Shah then ordered him killed so the secrets of the place would never be known. The boy's father, however, warned Erik and helped him to escape. Erik fled into the night a fourth time.

Erik wandered again for some time, but eventually ended up back in Paris. He was attracted to the Paris Opera House, then under construction. He contacted the builder and managed to become one of the masons in charge of the construction. He also saw the building as HIS masterpiece and, at night after everyone had left, Erik built numerous secret passages, trapdoors, and even a suite of apartments under the Opera House for his own use.

After the opera opened, Erik continued to live there, extracting a salary from the managers by posing as the Opera Ghost and enjoying himself immensely. Then Christtine Daae arrived to begin a career with the Opera, and the events which are now common knowledge occured....

Sources:

Gaston Laroux, The Phantom of the Opera
Susan Kay, Phantom
Sir Andrew Lloyd Webber, Phantom of the Opera