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| Motley? A feather in his cap? A hurdy-gurdy!? This guy has it all. |
At the final leg of our journey through the classes, we come to the bard. Another magazine hack, this class has transformed over time from a fighter/thief/druid hybrid into its current incarnation as a healing spellcaster who is culturally viewed as the medieval fantasy equivalent of PepĂ© Le Pew. Apart from such memes, the Bard has retained a common identity as a jack-of-all-trades. For a more thorough breakdown of the history of this class, I’ll direct you one last time to Stoddard.
While all the classes aside from the core four are considered optional in 2e, apparently the Bard is considered extra-optional, as that declaration is the first sentence in their description. This is the strangest class this side of the Druid; like that class, its Celtic origins were smoothed out to represent something unique to D&D: a magical smooth-talker who carries a lute into battle. It’s a far cry from most archetypes in low or high fantasy, so the PHB makes sure the DM has the tools to keep this capering skald out of the party.
For the most part, the Bard is presented as a support class. The book notes that they’re a “jack-of-all-trades but master of none”, and the rules support that with a delayed wizard spell progression, some musical powers to buff or protect the party, the ability to influence reaction rolls through performance, a few of the less exciting thief skills, and a level-based lore check. Due to level-based spell effects and the Rogue mega-class’s fast XP track, there are instances where the Bard can outshine the Wizard, so this isn’t entirely just a thief with better armor and some music features. Still, in every other way the class feels lackluster, especially compared to its successors.
Let’s crack open this class and remake it.
1. Wizard Spells
2e diverges from 1e concerning when the Bard gets their spells. Since 1e had you level up in Fighter and Rogue before you moved onto Druid in order to assemble a Bard, the earliest you’d be casting spells is 10th level. 2e simplifies this and just plunks down a full casting system at 2nd level.
As seen in the Paladin and Ranger entries, I’m not a fan of these pseudo-casters. They detract from the uniqueness of Wizards and Clerics, and they add complication to a class already filled with complications. Pulling content from another class isn’t verboten; I’ve encroached on the Rogue’s territory with both Demihumans and the Ranger. However, wholesale lifting an entire casting system and dropping it onto this (ostensibly) Rogue-based class is a lot. Yes, they need magic, but they don’t need to be full spellcasters.
The lore within the PHB indicates that Bards don’t earn their magic through years of study. Instead, they sort of pick it up as they go, through “serendipity and happenstance.” That’s wonderfully flavorful and should be represented within the rules, beyond just saying they don’t automatically earn new spells at higher levels. Since they’re also a performance-based archetype, they should also be casting these spells via their instrument, not some arcane spellbook from which they need to memorize.
1.1. Spell Songs and Spell Points
In the pursuit of giving Bards access to these ‘song spells’ without duplicating the Wizard, I propose stealing a system from Player’s Option – Spells & Magic (and, notably, the variant spellcasting system from the 5e DMG): spell points.
Each day, the Bard has a number of spell points available equal to their level. They can use these points to cast any spell they know as songs. For each spell cast, the level of that spell is subtracted from their available spell points. To limit the spamming of low-level spells, the Bard may cast no more than 5 spells of each level per day. Once the spells points are depleted, they can cast no more spells that day. At 1st level, Bards can cast 1st-level Wizard spells. Starting at 4th level, and every 3 levels thereafter, they gain the ability to cast the next tier of spells, up to a maximum of 6th-level spells at 16th level.
Since they’re casting spells as songs, they won’t require material components. Nor would these spells be somatic. Essentially, every spell becomes verbal; they’ll just need their instrument.
For simplicity’s sake, the Bard starts with two 1st-level spells. As with the original system, they can learn as many spells as they can find in the world, as long as they have the ability to cast them. To convert the Wizard spell into a song, they must succeed on an Intelligence check. If they succeed, the song is now known to them by heart; no spellbooks required. If they fail, they cannot attempt to learn the song again until they level up. Any spell can be learned and translated to a song, unless it requires material components which have an associated cost.
1.1.1. Assessment of Spell Point System
In comparison to the spell point system detailed in Spells & Magic (specifically using the values for ‘free magick’), the system above is a little stronger at early levels, but eventually proves to be significantly weaker. It is, however, far simpler in construction; there’s no need for multiple tables or cross-referencing. Your character level is your resource pool, and the spell levels are the cost.
Using this system changes the nature of the Bard’s casting in a massive way. In 2e, Bards are slightly worse Wizards – though, admittedly, one which levels much faster. In this system, they’re capable of casting a wide array of spells which are at their fingertips at all times. Still, they don’t have the stamina to use both heavy spells and minor spells at the same rate a Wizard might. If they decide to drop three 4th-level spells at 12th level, that’s it for the day.
I think this fits a bit more to the class’s ideal. The Bard isn’t studying and contemplating each morning, trying to determine which spell is needed that day; they’re recalling the right song for the right occasion as the moment requires. They’re pulling from their repertoire.
2. Rogue Skills
For being a type of Rogue, the Bard sure gets the shaft when it comes to skills. I get why they might not have the sneakier stuff; the Bard is a rather loud character type, so not being able to Hide in Shadows while covered in motley and carrying a dulcimer makes sense. It does not explain why they can pick a pocket but not a lock. If they’re going to be a type of Rogue, they should do more Rogue stuff.
Translated to the Rogue Skill system and Universal Skill system, I’d say they should gain access to everything except for Move Silently and Hide in Shadows. I think the Bard can disarm an arrow trap or get through a locked door without stepping on the Rogue’s toes. In any case, their limited skill point allotment will ensure that the Bard won’t be overtaking the Rogue in skills anytime soon.
Speaking of that allotment: the Bard gets 20 percentage points at 1st level and 15 each level thereafter, or 4 and 3 points in the hack, respectively. I’m in favor of a slight bump to the 1st-level point allotment, specifically because the Bard has slightly different starting scores for their skills, which doesn’t align with the base values that would be present in the Skills chapter. While the hacked Bard gets a free increase in their Pick Pockets score, they’re at a deficit with Climb and Listen; therefore, let’s even it out and give them 6 skill points to start with.
Read Languages has been expunged from this hack, but ironically, it’s exactly the type of skill you’d expect from a Bard. Thankfully, they’ve got access to their Bardic Knowledge (detailed later on), which also starts at 5%. I can bundle the reading of unknown languages into this ‘bardic knowledge’ feature.
3. Performance Powers
The bard has three abilities that use the power of song. Whilst strumming their lute or whatnot, they can influence the reactions of others, buff their allies in combat, and counter specific spells. These sound way more awesome than they mechanically play out in 2e, so let’s look at each one and see what can be done with them.
3.1. Influence Reactions
Available only outside of combat (or imminent combat), the Bard can play a song (or tell a tale) to adjust the reaction state of NPCs. Those listening to the Bard must make a Paralyzation Saving Throw, with the die roll modified by –1 for every three Bard levels. If the throw fails, the reaction is “shifted one level” toward friendly or hostile (player’s choice); if they make the save, it goes in the opposite direction from the one chosen by the player.
This power uses the default 2e Reaction system, wherein a NPC’s reaction can be moved between six states: flight, friendly, indifferent, cautious, threatening, and hostile. The hacked version of the Reaction rules do not work in this way, so adjustments will need to be made to accommodate the new Reaction check.
The easiest solution is to provide a +3/–3 to the Reaction score, and using that score as a representation of the NPC’s demeanor. This does provide a new framework for the Reaction score: instead of being an anchor point from which the DM determines the severity of a reaction based on the die result, it becomes a static value. This concept was already a background assumption for stats, as a higher score has always indicated that one is ‘better’. Here, a high Reaction score indicates a friendlier crowd, but in order for this song to mean anything, it needs to be usable as a static tool to represent how any particular group or NPC feels when a check (indicating uncertainty) is not required. In other words, that way of using any such score needs to be spelled out much earlier than in this one class’s description. Apart from all of this, it’ll still be the new score if a check ultimately is required.
To make this all work, the Saving Throw will be retained. It’ll be adjusted to a Charm Saving Throw, with the penalty affecting the score directly. The ‘every three Bard levels’ mechanic is slightly fiddly, but will work fine.
3.2. Rally Allies
Again, we’ve got another song that only works outside of combat. “If the exact nature of an impending threat is known,” the Bard can sing about how great everyone is and give everyone a +1 bonus to attack rolls, or a +1 bonus to Saving Throws, or a +2 bonus to Morale. The Bard needs to spend three rounds doing this, only affects those 10ft away per level, and the effect lasts one round per level.
This one is lame, and I wonder how much use it ever saw in play. It’s a huge step down from its 1e version, wherein the power could be used while in combat, the Bard could attack during it, and it affected morale and hit probability simultaneously. In its 2e incarnation, it requires a little three-minute concert before walking into a fight that you know is coming, making the whole thing rather situational. Also, the variable range is odd, considering that anyone who hears the Bard should benefit from this. It’s little wonder that all later iterations of the feature look nothing like this, and I’m inclined to follow that path.
I think the best option is to template this power on the Cleric’s Chant, which provides a variety of combat bonuses as long as you keep up the chanting and stay put. If the Bard is willing to strum and sing to the exclusion of casting spells or swinging a sword, and can keep it up while the battle rages, then let’s give all three of the bonuses to allies during the fight. Like a spell, it can be interrupted if the Bard gets hit or silenced.
3.3. Counter Song
A rare Encounter Power in 2e (along with Turn Undead), this makes a 30ft shield of song which counters any magical attacks which use “songs and poetry,” as long as the Bard saves vs. spell on any such attacks. During this song, the Bard is not able to do anything other than walk slowly. The feature description notes that it “does not affect verbal spell components or command words; it is effective against spells that involve explanations, commands, or suggestions.”
This is another very situational ability, primarily because it’s a preventative power designed to stop an incoming attack. The Bard needs to forego useful abilities during a fight under the assumption that the evil spellcaster might use a Suggestion-like spell. 3e partially solved this issue by allowing those under the effect of such spells to receive a Saving Throw every turn in which they could hear the countersong, which I believe to be a change worth copying.
Its specificity is also a hindrance, as it applies to vocal-related spells, but not to spells that require being vocal. This makes the ability subjective, and rife for argument or debate. Preferentially, it should apply to a specific type of spell. For this hack, that’d be spells with Charm Saving Throws.
Adding to these alterations, I’ll remove the range limitation (ability to hear the Bard will work fine) and Encounter-based pacing (the Bard is giving up attacking to do this, so let them sing their countersong for as long as they’d like and as many times as they’d like). Finally, let’s toss the requirement for the Bard to save against the shielded attacks, and instead offer a level-based bonus to those hearing the song, equivalent to the penalty given to those affected by the Bard’s influence power.
4. Skills
The Bard gets a few Nonweapon Proficiencies in 2e: reading/writing, local history, and of course, their musical abilities. Curiously, the rules don’t state that you immediately get the singing and musical instrument NWPs at no cost (as it does with the other skills), it just says that the Bard knows how to sing and play an instrument. One assumes that the NWP is granted, though.
In the hacked Skills, I’ve eliminated reading/writing, so that’s out. This leaves the Bard with three free Skills: Knowledge: History, Performance: Singing, and Performance: Musical Instrument. That should be enough.
5. Bardic Knowledge
The 2e Bard gets a 5% chance per level to “identify the general purpose and function of any magical item.” In 3e, this ability’s scope would be expanded to uncommon knowledge about people and places, which is a great addition, even if it overlaps with potential history checks.
Thankfully, the original progression of this ability corresponds neatly to a d20 check, allowing me to use the Bard’s level as the score for their Bardic Knowledge. With this check, the Bard can see if they know lore concerning a magical item, as well as rumors about people or places. As noted previously, this ability can also be the home for figuring out texts in unknown languages.
6. Armor Restrictions
While the Bard is granted the ability to “wear any armor up to, and including, chain mail”, they’re still restricted like Rogues and Wizards when using thieving skills and when casting spells, respectively. In practical terms, this makes their improved armor allowance into a poisoned pill, as they can’t use two of their most significant abilities if they dare to don a heavier armor.
I’m in favor of giving the Bard a power boost by removing these restrictions. When it comes to Rogue Skills, they’re not using the sneakier stuff, so it’s more feasible that they’d be able to work their trade while kitted out. For their spells, they’re not waving their arms or performing the intricate movements required of Wizards; they’re playing an instrument and singing, which I’d argue is more than possible in chainmail.
Mechanically, this creates an armored caster which clearly has an advantage over the Wizard, though this is mitigated by the hacked Bard’s limiting spell point system. In any case, an armored magic-user has precedence in the Cleric. The ability to wear armor and cast means that the Bard can actually use spells in combat, rather than adhere to the PHB’s suggestion that “a bard will tend to use his spells more to entertain and impress than to fight”, which is somewhat at odds with the number of spells granted to the 2e Bard. Additionally, this protection is a balm for the Bard’s loss of Uncanny Dodge.
To maintain the restriction to ‘chainmail or less’, both Rogue Skills and Magic can be used to set this gate; as with every class in the hack, you can wear any armor you like up until you want to use the class’s special abilities.
7. Soldiers and Scrolls
The Bard gets a smattering of 0-level soldiers at 9th level, and only has a 15% chance of blowing themselves up with a scroll.
As with the Rogue, this is a story for another time.
8. Final Bard Kit
Kit: Bard
Ability Requirements: Dexterity 12, Intelligence 13, Charisma 15
Alignment: At Least Partially NeutralBards are performers and jack-of-all-trades. They are knowledgeable scoundrels who dabble in combat, thievery, and magic. Through the use of songs, they can cast spells and assist their allies.
Bards have the following restrictions:
Bards lose the Climb Sheer Walls, Sneak Attack, and Uncanny Dodge features.
Rogue Skills: Bards cannot use Hide in Shadows or Move Silently. They gain only half the granted skills points: 6 skill points at 1st level, and 3 skill points for each level thereafter.
Bards gain the following features:
Armored: Can wear armor no heavier than chainmail when using Rogue Skills or Songs, without incurring any penalty.
Bard Skills: Gains the Knowledge: History, Performance: Singing, and Performance: Musical Instrument Skills, even if not using the optional Ability Skills rules.
Bardic Knowledge: Gains Bardic Knowledge with a score equal to their level, which can be checked to recall lore concerning a magical item, remember rumors about people or places, or determine the meaning of text written in a language the Bard does not know.
Silver Tongue: Can influence the reactions of crowds and individuals through songs, speeches, or stories. Anyone listening to the Bard must roll a Charm Saving Throw; the Saving Throw score is modified by –1 for every three levels the Bard has obtained. On a failed save, the listeners’ Reaction score is increased or decreased by 3, as determined by the Bard. On a successful save, the score is adjusted opposite of that chosen by the Bard. This ability has no effect on those engaged in combat.
Songs: Gains the ability to weave magical effects through the act of singing and playing a musical instrument. While performing songs, the Bard moves at half speed, cannot perform other actions, and is Flat-Footed. Bards begin their songs at the start of a round, but any effects do not occur until their turn in Initiative (unless continued from previous rounds); damage taken before their Initiative causes the song to be interrupted and its effects to fail.
Spell Songs: Can cast spells as songs by spending spell points.
Spell Points: Has a number of spell points equal to their level. When casting a spell song, the level of the spell is subtracted from the available spell points. No more than 5 spell songs of each level may be cast per day. All spell points are regained through a full night’s rest.
Learning Spell Songs: At 1st level, choose two 1st-level spells to become part of the Bard’s repertoire of songs. Additional spell songs can be learned by finding spells and translating them into songs with a successful Intelligence check; a failed check means the Bard cannot learn that song until gaining another level. Starting at 4th level, and every three levels thereafter, gains the ability to learn the next level of spells, up to a maximum of 6th-level spells at 16th level. Only spells without priced material components can be translated into songs. Once a song has been learned, it is permanently memorized; Bards do not require spellbooks.
Inspiring Song: Can rally and inspire allies in combat. For the duration of the song, allies that can hear it gain +1 to ATTAC and Saving Throw scores, and +2 to Morale scores. This song can be performed for multiple rounds.
Counter Song: Can counter the effects of charm magic. For the duration of the song, allies that can hear it gain +1 to their Charm Saving Throw scores for every three levels the Bard has obtained. In addition, allies already under the power of charm magic can make a Charm Saving Throw against that effect during every round in which they can hear the song, as long as the effect allows for a Charm save. This song can be performed for multiple rounds.
9. Conclusion
The hacked Bard has gone through a lot. I’ve expanded their list of skills, powered up their signature songs, and implemented an entirely new spell system.
The addition of Open Locks and Find/Set/Disarm Traps didn’t need to be added to the Bard kit, but considering that Rogue Skills are one of only two features to be imported from the Rogue class, I felt they needed more of the Rogue’s stuff to justify being a subclass. Without this, they feel like more of a Wizard, which they are decidedly not.
The other feature that is retained is Thieves’ Cant, which the Bard never received in 2e. However, this definitely feels like something the Bard would know, being the knaves that they are.
The Bard’s songs have received a shot in the arm, especially their rally ability. The trade-off is that they need to keep the song running instead of participating in combat, all while leaving themselves open to attacks. It sets the kit up as a support class, but with more bite than it had before.
Spell points are undoubtedly the largest change, but one which I think gives them their iconic spellcasting ability without duplicating the structure of a completely different class. With the Paladin and Ranger, I scraped those systems entirely, but the Bard without spells ceases to be a 2e Bard. This strange spellcasting mechanic retains the magic, but focuses it on the performance ability which defines the class. It also places their spells alongside their ability to buff and protect allies, which makes the whole thing a bit more thematic.
The class is a bit heartier now, with their ability to wear ‘medium’ armor while using their skills and songs. I don’t think this necessarily overpowers the kit, as they’re still nowhere near the Wizard in spell ability or the Rogue in combat prowess, but it does mean that they won’t be shedding armor every time they need to use the powers that make them a useful class, nor ignoring their better armor capability (or features) entirely.
At the end, we’re still left with a Bard that can cast spells, influence others, and do a bit of thief stuff. This class has always been the weird chimera of AD&D, and I don’t think I’ve changed that.
Okay, that’s all the classes! This has been a massive endeavor which has consumed three months of my life. I’d love to say that’s a wrap, but there’s one bit still left to look at: Dual-Classing and Multi-Classing. Pray for me.
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