ROGUE - BARD

Description:  In every era and every region throughout the world, traveling 
musicians and performers have wandered throughout the land, moving from town to 
town and making a living by plying their trade as artists of sound and motion.  
Bards compose music, sing songs, recite ancient legends and oral histories, and 
otherwise entertain any who will listen.  Bards often seek not only to entertain 
but also to inform, as they are lovers of knowledge and ancient stories and 
legends and enjoy nothing so much as sharing these with others and rekindling 
the passions and traditions of days gone by.  Many Bards work in the employ of 
royal or noble courts to honor and entertain their patrons through their 
performance, while others wander far and wide and play for their supper in 
village inns and festivals.  An emerging population of 'professional' 
entertainers also exists, those who sponsor themselves and others in their line 
of work in the interest of 'artistic freedom' or simply to be able to realize 
the profits of their labors for themselves.  The particular skills and 
repertoire of Bards varies with national culture and individual preference, but 
all Bards are skilled at some variety of live performance--some traditional and 
some obscure or unusual--as all Bards are entertainers at heart.

Description:  Bards use six-sided hit dice and the THAC0 and saving throw 
progression of Rogues.  Bards begin with 2 weapon and 4 non-weapon proficiencies 
and gain new weapon and non-weapon slots every 4 levels.  Bards must have scores 
of at least 13 in Intelligence, 12 in Dexterity, and 15 in Charisma.  Because 
their role as artists requires a degree of professional detachment and the 
ability to accept variety (and reflective of the traditionally neutral position 
of Bards in times of conflict), they must be at least partly neutral in 
alignment, though they may be good, evil, lawful, or chaotic if they wish.

Weapons & Armor:  Bards are well-rounded generalists and can become proficient 
in any weapon they desire, though as a matter of style few Bards become 
proficient in large or bulky weapons and they often embellish or gild their 
weapons to enhance their appearance.

Bards can wear any armor up to and including chain mail, though they cannot use 
shields.  Note that wearing armor heavier than leather will negatively affect 
many of a Bard's thieving abilities.

Thief Abilities:  Bribe Official, Detect Magic, Detect Noise, Pick Pockets (most 
often used for sleight of hand tricks), Read Languages

Bards gain 30 discretionary points at 1st level and 20 discretionary points at 
each level thereafter.  A Bard cannot spend more than half of his or her 
allotment of discretionary points on any one skill at any level.  Note that 
unlike Thieves, Bards do not gain additional thieving abilities as they increase 
in level.

Special Benefits:  Bards are Rogues who specialize at dealing with people and 
with information.  They are dabblers in a wide variety of skills, though they 
are true masters of none, except for the art of dealing with other intelligent 
beings.  Bards can select non-weapon proficiencies from the General, Rogue, and 
Wizard lists without penalty.  All Bards are entertainers of one sort or 
another, and their particular entertainment skills are often put to good use 
when adventuring, allowing the following abilities:

Entertainment:  Bards are very skilled at a wide variety of types of 
entertainment, and at every level of experience (including 1st level) they can 
improve any Bonus or Preferred Proficiency that they know by 1.  This bonus can 
be applied repeatedly to the same proficiency or to several different skills as 
a Bard advances in level, but it can only be applied to proficiencies that can 
reasonably be used for some sort of entertaining performance (e.g., Ancient 
History, Etiquette, or Seamstress/Tailor could not be improved in this fashion).

Bards can use their skills in the art of Entertainment to raise money by 
performing in arranged engagements in inns, at festivals, for noble courts, and 
so on, or can simply perform on the street.  Suggested rules for such 
performances can be found on pgs. 110-114 of the Complete Bard's Handbook.  DMs 
are also strongly encouraged to use the 'Reputation' rules on pgs. 101-105 to 
reflect the popularity and notoriety of a Bard as a performer, and to consider 
implementing other ideas in Chapter 8:  "Role-Playing Bards".

If a DM does not have access to this supplement, Bards should still be able to 
perform on street corners or any other locale and be able to realize a small 
income.  The DM should make an estimate of the general economic conditions where 
the Bard chooses to perform and then have the Bard select a performance-type 
proficiency and how long (in hours) he or she wishes to spend performing.  The 
Bard should then make proficiency checks for the performance skill being used 
and in Local History (in order to accurately judge and appeal to local tastes 
and preferences) and consult the following table, based on the number of 
successful checks (0 = both fail, 1 = one succeeds but the other fails, 2 = both 
succeed).  The Bard's total income for the day is determined by multiplying the 
hours spent performing by the hourly income below:

		Successful Checks
Conditions	0	1	2
Horrid		-	1d3 cp	1d4 cp
Poor		1d2 cp	1d6 cp	1d8 cp
Fair		1d4 cp	1d12 cp	1d4 sp
Good		1d8 cp	1d3 sp	1d8 sp
Excellent	1d2 sp	1d6 sp	1d4 gp
Fabulous	1d4 sp	1d12 sp	1d8 gp

A Bard who knows the Crowd Working proficiency and makes a successful check 
against it can earn double the normal amount.  This basic framework can be 
adapted to performing in scheduled engagements, which usually provide higher or 
at least more stable income.  Street performances may be regulated by local 
government, and Bards performing on the street have a significant chance to be 
molested by thieves, so they will generally seek more secure performance venues 
when possible.

A Bard of 9th level or above gains the ability to establish a performing 
company.  The details of this are left to the DM, but in general the Bard must 
either establish a stronghold of some sort (typically with a theater or other 
performance hall included), though a Bard could also establish a wandering 
artistic troupe.  If this is done, the Bard will attract 3d6 0-level performers, 
who have no class or level but are able to pay their own expenses and also bring 
in an additional 1d6 g.p. each month in fees for the Bard.  At the DM's option, 
1d6 of these performers may have sufficient potential to be trained as full-
fledged Bards, though this will require 1d6 months of mentoring and tutelage by 
the PC Bard.

A Bard with a stronghold or established performing group will also attract 3d6 
0-level soldier/laborer followers; these soldiers are fans of the Bard and his 
or her art and will serve as roadies, security guards, construction crew, and 
other miscellaneous tasks.  These soldiers will serve for no more than necessary 
upkeep, but they will not be replaced if they are killed in combat.

Language Lore:  Bards are skilled in many forms of spoken and written 
communication, learning a wide variety of languages in the course of their 
study.  For every two levels of experience, a Bard gains a free proficiency slot 
that must be devoted to languages, either to learn new languages or to improve 
proficiency in languages already known.

Bards also gain the Read Languages thieving ability, but in addition, a Bard may 
attempt to use his or her linguistic skills to initiate communication with a 
creature whose language he or she does not understand.  The creature must have a 
spoken language and at least Low intelligence, and must be within 10' of the 
Bard and paying full attention to him or her (including during a performance).  
By successfully rolling his or her Read Languages percentage each time an 
attempt is made to interpret the speech of the creature or to meaningfully 
communicate back to it, the Bard can successfully interact.  A failed roll 
simply indicates a total lack of understanding, and carries no other ill 
effects.  Penalties to this roll may apply if there are many distractions nearby 
(e.g., combat, a thunderstorm) or if the Bard and the subject creature are of 
radically different species (e.g., communicating with an intelligent reptile or 
insect).

Once they reach 10th level, Bards gain the ability to make use of all written 
magical items, regardless of normal class restrictions.  This allows the Bard to 
use scrolls with either priest or wizard spells, though their incomplete 
understanding of the magical energies being invoked means that there is a 15% 
chance of the item malfunctioning in some way (sometimes in deadly fashion and 
sometimes harmlessly), in addition to any normal spell failure chance for scroll 
spells of very high level, as per the Dungeon Master's Guide section regarding 
magical scrolls (note that a Bard's effective wizard level for this purpose is 
only half of his or her true level).

Leadership & Influence:  In addition to performing for money, Bards can use 
their talents and natural Charisma to sway or impress others.  This allows them 
to attempt to improve (or inflame) the mood of those watching or listening to 
their performances (note that creatures preparing to attack the Bard will likely 
not pay attention to attempts to influence them).  After 1d10 rounds of 
performing, the Bard must make a proficiency check for a performance proficiency 
of some type.  If this succeeds, all NPCs observing the performance (even if 
they are not paying close attention) must save vs. paralyzation with a penalty 
of -1 per three levels of the Bard (rounding down).  Those failing their save 
are moved by the Bard's performance and have their reactions modified by one 
level in the desired direction (e.g., from "Indifferent" to "Friendly").  Those 
who save are unmoved, but those who save with a natural 20 have their reactions 
modified by one level in the direction opposite that intended by the Bard.

In a similar fashion, Bards can attempt to hearten and rally their allies in 
stressful situations, granting bonuses of +2 to morale, +1 to attack rolls, and 
+1 to saving throws.  A Bard can do this even while engaged in combat by making 
a successful proficiency check against any vocal-type performance skill and 
spending one round.  If the check fails, this ability will not work for the 
battle in question, but if it succeeds the above bonuses will be gained by all 
allies of the Bard within 40' for as long as he or she continues to sing (or 
chant, or recite poetry, etc.).  The effects end immediately if the Bard is 
killed, incapacitated, or otherwise silenced, but as long as the Bard is 
conscious he or she can continue to rally and inspire his or her allies to 
ferocity and courage in battle.  Use of this ability does not interfere with his 
or her fighting ability, but it does preclude spell or magical item use or other 
activity requiring intense concentration.

If a Bard has an opportunity to rally his or her allies with tales of heroism 
and heartening melodies before a battle begins, requiring 1d4 rounds and a 
successful proficiency check, the above bonuses will persist for one round per 
level of experience of the Bard for all allies within 40' at the time of the 
performance, regardless of whether the Bard continues to perform.  Thus, he or 
she could incite the troops on to do great deeds of bravery and could then cast 
spells, fight, or even be killed without canceling these bonuses.  The sole 
exception is that if the Bard is seen to flee from the field of battle for any 
reason the effects end immediately.  Note that this applies only if the Bard is 
clearly seen retreating or running away; turning invisible or otherwise 
disappearing does not affect the bonus.

DM's Note:  In Battlesystem mass combat, any unit within 1/3" per level of a 
Bard that fails a morale check can be rallied in a single Battlesystem round 
back to full fighting ability.

Performance Magic:  Bards have a limited ability to use wizard magic, though 
their method of spell use is rather different from that of a typical wizard.  A 
Bard's spell progression is described on pg. 42 of the Player's Handbook; this 
represents the number of spells of each level that can be used by a Bard.  A 
Bard learns spells in the same fashion as a wizard, but the total number of 
spells he or she can learn of each level is only half the number normally 
allowed for his or her Intelligence score.  In addition, because they are only 
dabblers in the arts of magic any spell cast by a Bard takes effect at only half 
his or her actual level (rounding down).  Bards are limited to learning spells 
from the Realms of Enchantment, Illusion, Lore, and Universal Magic.

Unlike Wizards, Bards never need to memorize their spells; rather, their spell 
progression represents the maximum number of spells he or she can cast of that 
level each day.  Instead, Bards approach their magic as they would their 
performances in the arts, as part of a repertoire that can be called up and used 
on command.  Bards must have any appropriate material components on hand for 
their spells, but in lieu of performing standard verbal or somatic components 
they must use a performing skill in order to cause their Performance Magic to 
take effect.

Thus, in order to cast a spell requiring a verbal component, a Bard must select 
a verbal-analogue proficiency from the list below and make a successful 
proficiency check.  If the check succeeds, the spell can be cast normally; if 
failed, the spell effect is lost.  Note that a roll of 20 always fails.  If a 
spell requires both verbal and somatic components, then a separate proficiency 
check must be made for each component.  Allowed performance proficiencies are:

Verbal:	Chanting, Jest, Musical Instrument (wind), Poetry, Singing, 
Whistling/Humming

Somatic:	Dancing, Juggling, Musical Instrument (percussion or string), 
Prestidigitation, Tumbling

Example:  A Bard wishes to cast suggestion, which has both Verbal and Material 
components.  He or she must first of all have the required material components 
on his or her person (though not necessarily in hand at the time of 
spellcasting.  When the spell is to be cast, the Bard chooses to cast the spell 
through the use of a joke (using the Jest proficiency).  The Bard has a 
proficiency score of 16 in Jest, and must make a successful check at the time 
the spell is cast or else the spell will fail.  The Bard rolls a 7 and the spell 
takes effect normally.  If he or she instead cast spider climb, with Verbal and 
Somatic components, a check would have to be made against a proficiency from 
each of the above lists.

The specific performance used depends on the Bard's whim and need not be used 
for all spells a Bard uses, or even each time he or she uses any one specific 
spell (e.g., a Bard could cast taunt through a Jest and Dancing, and later that 
same day could taunt by the use of Poetry and a Musical Instrument).

DM's Note:  Perusing Chapter 6:  "Magic" (pgs. 74-83) in the Complete Bard's 
Handbook is highly recommended, as it contains some new bard-specific spells as 
well as several new magical items.  The section on pgs. 81-83 about altered 
magical item effects for certain items (particularly magical musical 
instruments) should be used as a reference for the enhanced effects a Bard might 
enjoy from using such items.

Rumor & Legend:  Bards learn all manner of bits of regional lore and information 
and how to spin such stories and history into fanciful and entertaining stories.  
Bards thus automatically gain free Local History proficiency with respect to 
their native region, and this proficiency improves by 1 for every three levels 
of experience (rounding up).  In addition, because Bards are so skilled at 
picking up bits of songs, stories, and legends in their travels, a Bard can use 
their Local History proficiency at half the normal chance of success in any area 
to which he or she travels after spending only a single day talking with the 
locals.  

Bards are keep in touch with those around them and make a point of staying on 
top of local events.  As a result, anytime rumors are generated for PCs, Bards 
learn twice the normal number.  In addition, a Bard is able to 'compare notes' 
with what he or she has 'heard through the grapevine' with any rumor he or she 
hears, which allows them to attempt a Local History proficiency check to 
determine whether a rumor he or she hears is true or false.  If the check 
succeeds, the Bard learns whether the person telling the rumor believes it to be 
true.  If the check succeeds by 10 or more, the Bard learns whether the rumor is 
in actually true in fact, regardless of whether the person relating the rumor 
believes it to be true.  A natural 20 on this check always gives a result 
opposite the truth.

Bards also have extensive knowledge of famous people, places, and things, 
particularly magical items and legendary figures.  Bards therefore have a 5% 
chance per level of experience of being able to identify the general purpose and 
function of a magical item, the general nature or purpose of a building or 
structure, or the importance of a person.  A Bard must be able to spend at least 
1d10 rounds examining the thing in question and mulling over his or her stores 
of information about such items, though actual handling or physical contact is 
not required.  It must be stressed that this ability does not necessarily detect 
the presence of magic within an object (though a famous item could probably be 
identified by its appearance), but it might reveal the presence of a curse or a 
legend of evil or good alignment surrounding an item or a place.  This ability 
does not reveal specific magical powers or bonuses, save for those that can be 
inferred from history, legend, and background about the item.

Special Hindrances:  Although Bards can wear any armor up to chain mail, they 
most commonly wear leather armor or no armor at all, so as to not impede their 
spellcasting or their thieving abilities.  They also like to avoid presenting a 
threatening appearance, and the use of armor or the carrying of large, heavy, or 
obvious weapons carries with it an implicit lack of trust in the good faith and 
good will of others.  As artists, Bards seek that good will as a matter of 
professional pride, and they shy away from habits or actions that might reflect 
badly upon them or their reputation.  This is not a restriction as such, but 
rather a tendency or preference of most Bards.

Although Bards are dabblers in a wide variety of skills, they are not truly 
masters of anything save the art of entertainment.  Thus, unlike most other 
Rogues they cannot gain new thieving abilities, and they likewise cannot 
research spells, scribe scrolls, brew potions, or create permanent magical items 
(unless the DM wishes to introduce certain special magical items created by and 
for Bards and generally usable only by them).  Though they cannot use magical 
scrolls of any kind until they reach 10th level, Bards can learn spells from 
wizards and can teach spells to wizards.  However, because their methods of 
studying magic are so different they have only half the normal Chance to Know 
Spells when trying to learn magic in this fashion.  Their spellbooks are rather 
different from those of standard wizards as well, and this penalty applies when 
trying to learn a spell from a book in the same way as when learning a spell 
from a tutor.  When learning spells from or teaching spells to other Bards (or 
from a Bardic spellbook), they suffer no such penalty.

Bonus Proficiencies:  Local History, Reading/Writing
Required Proficiencies:  Acting, Ancient History, Artistic Ability, Blather, 
Chanting, Contortionist, Craft Instrument, Crowd Working, Dancing, Disguise, 
Etiquette, Gaming, Grooming, Jest, Juggling, Jumping, Language (any), Musical 
Instrument, Persuasion, Poetry, Prestidigitation, Reading Lips, Religion, 
Seamstress/Tailor, Seduction, Sign Language, Singing, Spellcraft, Tightrope 
Walking, Tumbling, Ventriloquism, Voice Mimicry, Whistling/Humming


***DISCLAIMER*** 

As with all postings by me of classes or races, it should be noted that portions 
of the information contained herein were inspired by or derived from information 
in published works of TSR, Inc., and may contain references to those works, 
quotations or passages of text (especially in the area of 'Character 
Description', where applicable sections from TSR works were often carried over 
more or less intact into my campaign world), or particular powers or abilities 
invented by TSR staff writers.  No relationship with TSR, Inc., is to be implied 
by this use, nor is any attempt being made to solicit profit or remuneration of 
any kind.  I have read the TSR Online Policy document, and have tried to 
accommodate the stipulations contained therein. 

In instances where I have lifted an essentially complete class or race without 
significant alteration, I have not included these in my postings but instead 
have inserted a reference to the appropriate D&D sourcebook for those curious in 
including it in their campaign.  Only variations that include a significant 
component of original work, alteration, or reformulation (including the 
compositing elements from various TSR sources into new combinations) of have 
been included in this set of postings. 


<a href="mail to:tjaden@u.washington.edu">Jason Eric Nelson </a> < tjaden@u.washington.edu >