This character class has been culled from a back issue of Dragon(tm) Magazine and details a character classes for use in a 1st Edition AD&D game.

The New Bard

It is easy to see how thieving abilities could be introduced into a non-Welsh version of a bard, but not in the bard as viewed by the Welsh themselves. Welshmen had a somewhat poor reputation in the eyes of other British peoples. The concept of “welshing” on a bet is derived from the Welsh people Also. there is a British saying that equates Welshmen with thieves If the Welsh bard is assumed to be the prototypical bard (the Irish may have a quarrel with this), non-Welsh writers may have understandably included this thievery aspect in their literature.

The illusionist connection is demonstrated well by Evangeline Walton's works, such as the incredible illusion Manawyddan created at the court of Caswallon in The Song of Rhiannon. This description certainly portrays a bard differently than the Players Handbook - but no claim of superiority is made for it. The differences arise from different perceptions, probably derived from a difference in sources. I can state that this bard is better for my purposes, and I believe that it has more versatility and fewer restraints than the official bard. I hope other players will find it useful as well.

Bard abilities and characteristics

A bard must have certain minimum ability scores. These are: strength 9; intelligence 15; wisdom 12; constitution 6: dexterity 16; and charisma 15. A bard does not gain 100/o to earned experience for exceptional ability scores in any area.

Race: A bard may be human, elven. or half-elven and have an unlimited chance for advancement. A halfling or dwarf may be a bard and attain up to 5th level.
Alignment: The alignment of a bard may be either lawful good, lawful neutral, (pure) neutral, neutral good, or (rarely) chaotic neutral or chaotic good. Bards tend to be lawful, since they depend on custom and culture to make their living Bards may expect to be allowed admittance to the homes of most nobles and other wealthy patrons to play for their dinner, and if they are superb they may also receive other payment, perhaps a gold chain ora bag of coins thrown to the bard by the patron for his excellence, Bards are not evil, for this evil intent would pervade their songs and ruin the beauty inherent in them. Evil people are generally portrayed as being against beauty in any event.

Arms and armor of bards

The only armor a bard may wear is leather armor, and only a wooden shield is permitted. A shield may not be actively used when a bard attempts charming, since a string instrument must be played which requires the use of both hands. The weapons usable by a bard are hand or throwing axe, club, dagger, darts, hammer, javelin, horseman's mace, scimitar, sling. broadsword, longsword, and short sword. A bard may use flaming oil, but not poison. Bards use the same 'to hit” table as fighters; however, they never strike more than once per round as fighters do when they attain high levels. Likewise, they do not gain multiple attacks against opponents of less than one hit die.

When a bard character starts his career, he is proficient with only one weapon, and suffers a -4 penalty whenever using any weapon with which he is not proficient. A bard may become proficient with one additional weapon for every four levels that have been attained; i.e., a 5th-level bard can be proficient with two weapons. Note that in no case may a bard use a weapon in each hand, such as a sword in one hand and a dagger in the other. Magical items usable by bards

A bard may employ magical weapons of the types normally usable by a bard (see above). Magical leather armor and a magical wooden shield may also be used by a bard. They may use potions, scrolls, rings, rods, wands, and miscellaneous magic items which are usable by all classes. Any books. librams, manuals, or tomes that are read by a bard cause the same effect as if the bard were a druid. Bards may also use a Rod of Beguiling and all types of the Horn of Valhalla. Of course, they may also use any appropriate Instruments of the Bards.

The bard may employ some magic items with better than usual effect. These are:
Drums of Panic - saving throw is made at -1 on the die.
Horn of Blasting - 50% greater damage.
Lyre of Building - double effects.
Pipes of the Sewers- double number of rats in half the usual time; also, a bard may substitute the pipes for a stringed instrument when attempting to charm children, utilizing it as such rather than for summoning rats.
Horn of the Tritons - Calm water in a two-mile radius, double the number of summoned creatures, double duration of fleeing by creatures.
Horn of Valhalla - double amount of summoned fighters.

Saving throws A bard makes his saving throws as a cleric of equal level, except for saving throws vs. paralyzation, poison, and death magic, which the bard makes as an equal-level magic-user.

Spell use and languages

Due to their training under the tutelage of druids, bards can cast most druid spells. Some spells are unusable by bards of any level, however; these will be enumerated below. The effectiveness of a druid spell cast by a bard is the same as that of a druid one level lower than the bard; i.e., a 3rd-level bard would cast a spell with the same effectivenss as a 2nd-level druid. However, effectiveness greater than that of a 12th-level druid cannot be attained until the bard becomes a Master Bard, in which case spells are cast with 13th-level effectiveness.

Since bards are a scholarly sort, often perusing old works or learning songs of foreign languages, they have the ability to read languages and also have knowledge about many magical or legendary people, places and things.

The bard's “Read Languages” percentage determines not only whether or not the bard can comprehend a particular work, but how much of what is there may be undestood. For instance, if a bard has a 25% chance to read languages and is successful in the roll to determine whether the item can be read, he can still read only 25% of the information there, so his knowledge of the work in question will still be rather sketchy. Unlike thieves, bards may read languages that are now extinct. Bards are different in the way in which they may learn languages. A bard does not need to be taught by a person who knows the language, but must study the language for an amount of time equal to 1 month, minus one day for each point of intelligence above 12 and minus one additional day for each language already known. However, this does not allow a bard to learn more languages than his intelligence would indicate. A bard may also, if he wishes, learn languages in the same way other classes do.

The bard's lore

The bard's ability to determine the nature of magical or legendary people, places, or things is expressed as the bard's “Lore Percentage.” Usually this knowledge will be dispensed to others as a riddle, poem, song, or in some other cryptic form. This ability is not a substitute for a detect magic spell. A typical +1 sword is generally not able to be identified as such by a bard, but the sword of a legendary hero could be identified, and the alignment (at least) of an intelligent sword could be discovered. Any magic item bearing magical inscriptions can be detected as magical and its properties determined by use of the bard's Lore Percentage. Any item to be identified must be closely scrutinized, and if it is possibly usable by the bard it must be actually handled by him. Artifacts and relics can be identified as such by the bard, but their powers won't be known, or will only be hinted at. Bards may also have knowledge about a legendary place, if the name is known or if the site has been visited.

Note that the dice should not always be allowed to dictate the course of events on a Lore Percentage roll. If there is some knowledge that the DM does not want characters to find out, he may disregard the result of a Lore Percentage roll and state that the bard knows nothing about the item or subject at hand. This should only be done for the sake of the adventure or the campaign as a whole, and the tactic should not be used so often that the bard's ability becomes worthless.

Charms and suggestions

Another ability of bards is that of charming creatures of at least animal-level intelligence by use of their singing and playing. Creatures that are immune to charms are not affected, nor are deafened creatures. All non-associated creatures within 4” of the bard are subject to the bard's charm. Previously associated creatures who are now hostile to the bard may be affected.

To check the success of a charm attempt, percentile dice are rolled. If the number rolled exceeds the bard's “Charm Percentage,” none of the creatures within range are particularly impressed with the bard's song and must merely delay their actions for 1 segment. If the number rolled is equal to or less than the bard's Charm Percentage, all non-associated creatures must make a saving throw vs. spells. If the creature makes its saving throw, it will listen to the bard for one melee round, doing nothing else, as long as the bard continues to play.

A bard can, if he wishes, while a creature is in this charmed state, try to implant a suggestion (as the spell), in which case the charmed creature must again save vs. spells - this time at -2 on the die - and if it fails, it will suffer the full effects of the suggestion. If the second saving throw succeeds, the creature is totally free of the bard's charm. To plant a suggestion, the bard must be able to speak in a language that can be comprehended by the intended victim. It is not necessary to speak the creature's language to simply charm, however.

A bard may attempt to charm as often as he wishes, but any individual creature or character may be affected only once per day. Loud noise which would drown out the bard's singing, or a physical attack upon the bard, will immediately negate charms, but not suggestions, which may be in effect.

Charming by a bard is exclusive of all other activities other than walking. If the bard begins to walk while charming, the charmed creatures will attempt to follow until or unless they are forced to be farther than 4” away, at which time the charm will be broken. A bard must use both hands to play his instrument while charming.

Other effects of a bard's songs

A bard's singing and/or playing also has other effects. By merely singing a poem or song, a bard increases the morale of associated creatures by 10%; gives +1 to those creatures on saving throws vs. fear, submission, or other attacks which act to dishearten the individual; and inspires ferocity in attack, so that “to hit” rolls are made at +1. Both of these characteristics require 1 round of poetics to produce the desired effect; during the second round after the bard begins to sing or play, the ferocity and/or morale bonuses will be in effect. These effects last for one full turn, as long as the bard continues to sing throughout this time. The bard can melee while he sings and still produce these effects, but cannot charm or cast spells and invoke the ferocity/morale bonuses at the same time.

A bard's singing and playing negates the song effects of harpies and prevents similar attacks which rely upon song. A bard's song gives +1 to the saving rolls of associated creatures and the bard himself against attacks which are based on sound, such as the keen of a groaning spirit, or the roar of an androsphinx or a dragonne. The bard's playing also stills the noise of shriekers.

When two opposing bards are in a conflict of songs, the charm percentage of the lower-level bard is subtracted from the charm percentage of the higher-level bard, thus giving a new charm percentage for the more adept bard in this instance. When two bards of equal level oppose each other, their songs have no charming effect since they cancel each other out, though the duet may sound exquisite!

A bard is useful to his party when traveling in the wilderness because a bard's songs are soothing for a road-weary traveller, thus allowing an additional 20% of normal movement per day if on foot; if all party members are mounted, a gain of an additional 10% per day is obtained.

Miscellaneous information

When a bard gains the title of Bard (11th level), he also gains the power to change form, as a druid is able to do. An instrument is needed for all bard abilities associated with song, except for inspiring ferocity or raising morale. In no way is any loyalty or reaction adjustment for high charisma any benefit to a bard's functions. A Bard cannot employ henchmen nor hirelings until he gains the title of Bard (11th level), and then he may employ only druids or fighters of the human, half-elven, elven, or halfling races.

A bard will work with no other bards while adventuring, although they may practice their music or poetry with each other. Like monks and rangers, bards will retain very little of the money they gain. They will attempt to buy serviceable clothes for traveling, and will buy fine clothes and the most exquisite instrument they can acquire for use when they perform, but will keep only enough money to maintain themselves in a modest manner. Any other money will be donated to a worthy cause or give away at whim - although not to player characters! Occasionally, when a bard amasses an amount of wealth that is a burden to his creativity, he might use it to have an extravagant festival or party instead of giving it away.

One interesting sidelight of the bard class is that if a player with a bard character has the ability or inclination to write or recite short poems or songs for particular situations, he should be encouraged to do so. For example, if a bard was to charm a creature and then plant a suggestion of sleep on the creature, a lullaby could be appropriately sung by the player. It could add additional flavor and enjoyment to the game.

Songs instead of spells

Of all the classes of AD&D characters described in the Players Handbook, the bard is surely the most cumbersome and awkward for both the player and the DM. A new character cannot even begin play as a bard; first he must gain experience in two other classes before he becomes a 1st-level bard. However, if the player perseveres and attains the prerequisites, he enjoys the satisfaction of entering one of the more versatile and unusual classes in the AD&D system.

The greatest failing of the present system governing bards is an over emphasis of the actual historic relationship between bards and druids. True, in the Celtic world, bards were essentially a subclass of druids; but the bard as described in the AD&D rules is not the historic bard. Since the game does not mandate that the druid character class wield the same near-total control over the society of a campaign world which it historically wielded in the ancient world, there is no justification for locking the bard class into such close association with it. This is especially true when one considers that the AD&D bard is based almost as much upon the Norse skald and European troubador as upon the Celtic bard.

The Norse skald was generally an older fighter whose duty it was to inspire his companions by recounting the heroics of great warriors such as Sigurd, Starkad, Hrolf Kraki, and others. Nevertheless, the skald was primarily a fighter.

The European troubador was essentially a thief and an illusionist. These troubadors travelled from castle to manor house throughout Europe during the Middle Ages. They carried the latest news, sang love songs and ballads, amused both noble and commoner alike with feats of sleight-of-hand, and were not averse to cutting a purse or picking a pocket, should the chance present itself.

Both the name troubador and the name skald were alike in that they were unofficial names given to groups of independent people sharing some characteristics; in contrast, the term bard refers specifically to a member of the rigidly organized hierarchy of the bardic colleges seen in the Celtic world. Celtic bards were druid-trained historians and poets (since recording historical events in verse made them easier to remember), second only to the kings in power and respectability.

Their schooling is said to have taken twenty years, and their person was so sacred that a king, fearing assassins, once surrounded himself with bards, knowing that the assassins would stay their hands rather than risk harming a bard. Indeed, the power of their songs was such that Irish legends record several instances of crops being blighted and kings being driven from their thrones simply by the power of bardic satire. Since this bard is obviously too powerful for use as a player character, the aspects of the skald and the troubador were combined with it to create a toned-down version suitable for a new character class.

Thus we find ourselves with a character class which combines fighter (Norse skald), thief (European troubador), and some form of spell caster. The rules outlined in the Players Handbook adequately cover the first two abilities; it is the bard's spell-casting ability which could use alteration.

First, the bardic colleges should be sponsored by the bards themselves in a guild-like arrangement, rather than belonging to the druids. In addition, there is no justification for bards possessing uniquely druidic abilities such as shape-changing, +2 saving throw vs. fire and lightning, immunity to woodland charm, and all the rest.

It is also inappropriate for bards to exercise their spell-like powers by casting druidic spells; down through history and legend, from Orpheus and his lyre, through the Irish legends, to such modern fictional bards as Wymarc in Andre Norton's Quag Keep, it is by means of certain mystic songs that bards tap the powers of other planes to do their will on the Prime Material.

Bards do not cast spells; instead, they sing their “Songs of Power” while playing their chosen stringed instrument. By tapping the magical power of other planes through the proper sounds, these Songs of Power have essentially the same effect as certain of the magic-user, illusionist, and druidic spells.

Bards do not carry spell books, nor do they pray to a deity to receive their Songs; rather, they memorize all their Songs during their studies at the various colleges, a new level at each of the five lower colleges. Afterwards, they simply choose each day which Songs of Power they will implant in their minds that day, just as other spell-casters do.

It is also possible for them to research/compose a new Song like other classes can do with spells. However, it is vital to note that all Songs (standard or original) have (1) the verbal component of the bard singing while accompaning himself on a stringed instrument with which he is familiar; (2) the somatic component of playing that instrument, using both hands while standing still or walking slowly over an even surface; and (3) generally, no other material component besides the instrument. If the bard stops playing or is disturbed in any way, the Song fails and is wasted. The Spells Usable chart in Appendix II of the Players Handbook issue table for determining how many Songs a bard can remember. Level of singing: In deciding the appropriate level at which a bard sings his Songs (for range and effect considerations), use the bard's actual level for those Songs which are derived from or similar to magic-user and illusionist spells; for druidic Songs, a bard will cast them at his level until he reaches the 12th level; thereafter he continues to cast them at the 12th level until he becomes a 23rd-level bard, whereupon he casts them at the 13th level of spell-casting ability.

Level: 5
Range: Special
Duration: Special
Area of Effect: One individual
Casting Time: 1-12 days
Saving Throw: Special

The use of this powerful song is a bit tricky. It reflects the ability of a high-level bard to riducule a prominent public figure who behaves incorrectly. The scandalous Song has the effect of halving its target's charisma until such time as he repents and atones for his actions. However, the target's actions must truly be objectionable in the prevailing moral climate of the area (DMs decision, based on the prevailing alignment of the region); otherwise, the satire is unjust and the bard's own charisma is halved instead, until he travels at least 50 leagues away, and he may not return to the region for one full year. Players are warned that while singing nasty songs about the evil Duke is fun, woe to the bard unlucky enough to be caught by the Duke's men.

Animal Non-Aggression (Enchantment/Charm)

Level: 1
Range: 3”
Duration: 5 rounds +1/lvI
Area of Effect: 3” r. circle
Casting Time: 3 segments
Saving Throw: none

Upon hearing this Song's soothing tones, any normal animals in its area of effect will cease to act aggressively toward the bard's party. The Song is negated if the party should molest the animals or their lairs in any way. This Song does not cause friendship on the animals' part, and it endows the bard with neither communicative nor controlling ability. It has no effect on magical animals or on normal animals under magical control.

Magic items and instruments

There are two ways to view the question of magical bardic instruments, both of which are plausible. The first is to use the instruments exactly as they are given in the Dungeon Masters Guide, arguing that they were created by druids for bards and thus contain druidic magic.

The second view is that bards can create their own magical instruments, at least for the five lower colleges. If you choose this view, you should generate randomly, for each instrument found, three Songs from the Song chart of the appropriate level to determine just which ones its creator chose to implant in it. This view seems more plausible, and it adds excitement to the game as the bard wonders just what powers his new magic instrument has. These three new Songs are intended to replace the druidic powers each instrument carries; those powers which are common to all bard instruments (levitation, flying, invisibility, Protection From Evil, 10r., and added chance to charm) should not be changed, nor should any of the implanted powers duplicate them.

Carrying the above idea further, the question arises as to when and how may bards manufacture such instruments. The rule for when a bard can create a magical instrument is that he must have reached the highest level in a college at least two above that of the instrument to be made. For example, to make a Fochlucan Bandore a bard must be 10th level or higher, while to create a Cli Lyre requires a bard of 22nd level. Anstruth and Ollamh Harps require a Magna Alumnae and a druid of the 12th (or higher) level.

The time needed to construct and enchant an instrument is a minimum of 6 months plus 1-6 months for every college above Fochlucan the instrument is to be. This includes the research time and the actual construction of the instrument by the bard's own hands. Materials, which will includethe finestwoods, custom-made strings of silver or other precious metals, and perhaps ivory or gem inlays, should cost a minimum of 5,000 gp per college, more if the DM feels that such items are unusually hard to come by. Throughout this whole manufacturing process, the bard must devote himself totally to the task at hand.

The ideas put forth in this article are merely suggestions; DMs should feel free to use whatever portions they find useful. Care must be taken not to upset the delicate balance between abilities and restrictions of the character classes; this danger is exceptionally great when dealing with a mixture of abilities, such as with the bard.

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