Ten D&D Ideas for Bards

#10 - The Little Mermaid
The Little Mermaid bard is an idea I had a while ago. The idea of a bard who loses his voice is a nice one - or, like the nymph Eco, one who can only repeat what is told to him by way of some curse. The Silent Casting feat is a must-have, of course, and it should be agreed with the DM that it comes naturally to the bard as a starting feat... or at least, for the duration of his curse, after which it can be replaced or not.

The Story: This bard was an extremely talented singer in the beginning. The sort that could easily make a living from street performance alone, as his voice enticed people into listening for long periods and tipping his efforts well. Until the fateful day he had the idea of singing a limerick for a sorceress who happened to ignore him on said street: she cast a curse upon him that he wouldn't be able to speak or sing until he had earned a right to a voice again. The variations are infinite: he can be doomed to only say and sing the words in the limerick that doomed him. Or repeat only the last thing he's told. Or he can only be able to speak when he has something of true relevance to say.

The Quest: His quest and first priority are, of course, recovering the ability to sing. Again, the variations are enormous: he may only be able to sing once he attained a certain level; he may have to complete a series of sidequests or a number of tasks (like improve the life of a number of people); he may have to find and kill the sorceress that cursed him; or he may have to find a specific Remove Curse scroll, as rare as a donkey born without balls.

Favored Instrument: Anything that can effectively be accompanied by voice. A guitar works well, an accordion makes for some comic relief, a harp would go well with repeating only the last thing said to him. Pays homage to the Greek tradition.

Music Type: Depends on what instrument he uses, but the more expressive, the better. He may use music as a way to communicate and give away how he is feeling, since he cannot speak.

Roleplay Tips: It is hard to roleplay a character with major impediments. I know - I used to roleplay a blind samurai, and I still used the verb "to see" very often, although he could not. This guy would use song to express himself: fear, anger and love may be easy, but try playing your way into making someone understand you're hungry, or ill, or you know there's a trap up ahead. Writing would be a way to go over it, but if it can be expressed through gestures and song, it is preferable. Once he regains his voice, assuming he can, this guy can be either a regular chatterbox - because he hasn't spoken in so long and has so much to say - or a very quiet person - since through his years of silence he became accustomed to not speaking and making himself understood in few or no words.

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#09 - The Blind
There is a Japanese legend about a blind bard who was once bothered by spirits. He played so well even a dead princess and her court demanded to hear him. The bard was oblivious to the fact everyone he sang to every night was dead, and he was in fact sitting in front of a large, ancient cemetery. Eventually, a monk discovered what was happening, and decided to help the bard escape certain doom. After all, once he finished the epic poem he was singing, the dead princess would most certainly want to keep him.

So the monk painted the bard's body with a spell meant to keep him invisible. That way, when the princess' goons came to pick him up, they would be unable to see him and assume he disappeared, so the bard would be freed. The problem is, when the monk painted the bard's body, he forgot the ears. When the princess' guard came to pick him up the following night, he saw only a pair of floating ears, which he immediately ripped away from the invisible head to bring to the princess, assuming the bard had in fact disappeared and only the ears were left. Thus the bard became deaf.

Playing someone like this requires a lot of adjustments and agreements with the DM. It's hard to do, but with the right feats and adjustments, it may be a very interesting character with very interesting... views on life. (pun obviously intended)

The Story: This bard was born blind (in which case, level and feat adjustment apply for him to be able to function fairly normally) and learned how to play at a very young age, eventually becoming very good. So good in fact, his influence reaches even the spirits. Since the bard is blind and cannot see who is and isn't undead, he treats the undead as regular living people - including any damage, enchantment and critical hit he may deal when using music. And I realize that even if we do not see them, they are still undead and take damage as such, but it's just a way to put it. His sight or the lack thereof has nothing to do with his ability, which comes exclusively from the way he plays.

The Quest: In keeping up with the original legend and the bard's influence on the undead, you may choose to give him a quest to bring peace to revolted souls. It is his sworn duty to aid spirits in passing to the other side through song, and exorcising places haunted by the undead.

Favored Instrument: In the original legend, the bard plays a string instrument. I would go with a blow instrument here, though. it would be easier for a child to learn and doesn't need as much maintenance as a string instrument.

Music Type: Calm, soothing songs. Check out any CD with Celtic music performed on a flute and you get a slight idea. The kind of song you'd play to take a quiet snooze.

Roleplay Tips: This is the most tranquil fellow anyone will meet. There are certain limitations to the actions he may take, being blind: he would need some aid in certain tasks, his speed would be much inferior to that of normal characters, the Blind Fight feat is, of course, a must. Still, this is a very calm guy. He believes he was granted a power, which he must use for good. Still he is also aware he will not be able, in his lifetime, of turning every single revolted spirit out there. So he goes about his business quietly and does his thing without worrying much. In dialog, keep in mind the guy is blind. Voice tone and way of speech are more important to him than facial expressions. He is also likely to be a good diplomat and an argumentative fellow. Not being able to see, he must pay careful attention to what is said. It is his only clue if someone tries to fool or trick him.

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#08 - Drummer Stereotype
In the musical circle, the drummer is seen in pretty much the same light we in D&D see the Half-Orc: a brute, rather stupid (or very stupid, depends if you like Half-Orcs or not) and not so much a musical professional as someone who can bang the pots and pans. It's a stereotype that can be explored easily in D&D, seeing as we do have Half-Orcs and we do have bards. And especially since the drums are closely associated with savage tribes (barbarians, for instance), we may have a multiclass in hands right here. Keep in mind, though, while I'm using the Half-Orc as an example, you don't need to make the Drummer into one. A regular Human barbarian works just as well.

The Story: He was a mediocre warrior in his tribe. He wasn't as good physically as most of the other tribe members. In battle, they started putting him in the back, banging a drum to raise the morale, instead of charging along with the others and not only getting very hurt, but also embarrassing himself and his tribe's good name. Once he had the drums, though, he was a prodigy in keeping his people going for as long as needed. And if an enemy happened to cross the attack line, he could always attack as easily as any other.

The Quest: Well, if he is so good in his tribe, why the Hell would he want to leave? Same reason as any drummer: he wants recognition for his musical talent. When you realize you suck at something most of your peers can do, yet exceed expectations in something they cannot, you want to be recognized. Not only by said peers, but by everyone. If his tribe already recognizes him, is time for the world to. He's going to go out there and reach for fame as a barbarian and as a bard.

Favored Instrument: The drums, obviously.

Music Type: You have two choices here. I like both, one more than the other. You can either go to YouTube and check Yoshiki's drum solos... or you can listen to some traditional African war drums or taiko drums. Given the fact this guy is a barbarian as first class, my preference should be clear.

Roleplay Tips: Bard or no bard, he started off as a barbarian and should be roleplayed as such. With the difference this is a barbarian who's holding drumsticks instead of the usual club. Forget everything you remember ever associating with bards: he's not delicate, he's not polite, he's not patient or overly effective with words. He is no diplomat. He likes his food hot and plenty, his beer mug full, fast and loud music, and will punch in the face anyone who ever thinks he is dumb. He thinks himself to be very good (and is, in fact) and will show it in every available occasion, becoming a little peeved if you disagree. He is quick to anger and prone to violence.

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#07 - Desperado
In the movie Desperado (1995), Antonio Banderas (brrr) plays a mariachi - a street music performer in Mexico - out to kill the son of a bitch who murdered his wife and shot him in the hand, impairing his ability to play the guitar. I think we had enough impairments with #10 and #9, this guy is all about his story, quest and attitude. No huge adaptations, no great modifications, just build a bard and crank some personality in until it's coming out his ears!

The Story: His life was once good. He was a successful bard, maybe running his own show house, or working at his favorite inn. Maybe he had a wife and kids. Maybe he had siblings and parents. Maybe he had a dog named Biscuit. However you want to do it, this guy was once the happiest man alive. Until this one son of a bitch arrived, set fire to the show house / inn, raped and murdered his wife, tortured his kids to death, drowned his siblings, hung his parents, and kicked Biscuit. And then, like most bad guys do, beat a very brave retreat. Maybe it was done out of spite, maybe it was a spur of the moment thing. It doesn't matter. What matters is, this bard's life was once perfect, now it's a world of shit, and someone has to pay for it. If you want to run a bit away from the whole "wife and kids died" thing, you can. Make it personal: the one son of a bitch made the bard's life into living Hell, that's where you want to get. How you get there is just gravy.

The Quest: The one son of a bitch, or group of sons of bitches, however you wish to put it. This bard was down in the dumps after all that shit happened, but he is all better now. And he is set on getting revenge for what was done to his life in the worst possible way. This guy is a little crazy. He will go to every length, cross every taboo and slay away anyone he must to get to the one son of a bitch.

Favored Instrument: Once again, we're tempted by the string instruments, which allow for the type of music most closely associated with this bard.

Music Type: Angry music, fast music. This is a guy who once sang his woes, how his life was good and now it's not. That's over though: now, he only sings about revenge, death, destruction and anger. Very appellative to the teenage and revolted (two words which should be synonyms by the way).

Roleplay Tips: He is completely obsessed. For a long time in the campaign, or even the whole duration of the campaign, he thinks of nothing else than the one son of a bitch. He will not take sidequests unless it may lead him to his enemy. He will refuse the whole main quest, unless it provides clues to the whereabouts of the one son of a bitch. He talks of nothing else, goes to bed set on doing the son of a bitch harm, and awakens with the same idea. With the continuity of the campaign, he may get new interests: he makes friends with the rest of the party, perhaps, gets a love interest maybe, thinks of rebuilding his life. This is still all wishful thinking and secondary, though. In his mind, he can only go on as he was, once the one son of a bitch is gone, and by his hand. Eventually it becomes not only a question of revenge, but a whole obstacle he must cross if he is to go on with his normal life.

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#06 - The Gipsy
What I like about the Gipsy is the possibility to, once again, join two classes. You have a guy who starts off as a bard and takes up rogue levels in the future. His prime occupation is as a street performer and a bard, but if the business if faltering, he may also choose to relieve some patrons of the tips in their pockets. Bard and rogue are two classes understood as very closely related (they were even approached in the same book: Song and Silence), and it's about time we make the best of the rogue's skills and the bard's casting.

The Story: A run-of-the-mill story. This guy may come from a long line of street performers, and his whole life he has earned a living by his talent. Of course, talent alone won't get you food, lodgings and some luxuries unless you're pretty damn good, and in some places street performers are arrested... so you have to turn to something else. For him, it was normal: his whole family and peers did it. He sought a solo career when his group disbanded, or he can be the last of his kin. It's a very simple bio which frees your character into a very broad quest possibility.

The Quest: Anything goes here. Maybe he picked the wrong pocket. Maybe someone liked to hear him and has a task for him to accomplish. Maybe he took an interest in this or that person or affair. Maybe he wants to know if someone from his group or family is still alive somewhere, and seeks distant relatives whenever he can.

Favored Instrument: Strings again, especially if by the denomination Gipsy you remembered La Bamba.

Music Type: Cheerful, carefree music. Something that anyone would enjoy hearing. Again, La Bamba comes to mind. Since he is a street performer, he plays music that anyone could enjoy, and anything that would make people feel a little happier, thus a little more inclined to part with their money. Tunes people can dance to are also good picks. Or, maybe he is the sort of person who does risqué stuff people actually have fun listening to...

Roleplay Tips: Let's get one thing straight here: this is a street performer by career. Money is very important to him. No matter how much he has, he wouldn't mind having a little more, the easier the better. He doesn't need to actively pick pockets, but if it means tomorrow's meal is guaranteed, well, let's do it. Still, he is an artist at heart, and may choose to try to earn tips before resorting to thievery. He is easygoing and enjoys laughter, this being what he hopes people will feel as well when he plays. Since he performs on the street, he may be a multitasking entertainer: he plays an instrument, sings, tells jokes, he is probably able of some acrobatic feats, and he is a very sly and cunning speaker. The sort that could sell ice to penguins if needed. In daily life as in battle, these are all skills he uses often and well.

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#05 - Elvis
One of the cool things about D&D is how easily you can change a core setting to suit your needs. We always assume D&D is set in a more or less medieval world, but if you change a couple of things and read the right books, you can make your setting go fast-forward into the Renaissance, for instance. It is based on this premise that Elvis shows up.

The Story: He was taught by someone very traditional as music goes, but as he grew up, he started trailing away from tradition and into new and uncharted territory of music. When he was old enough and knowledgeable enough to start composing, he found a completely new style, something nobody else had heard before. He met difficulties with his master, but the ones who heard him seemed to love the way he played. He eventually kicked the old method in the rear and set off to do his own thing, and bring this new musical style to people.

The Quest: Fame, recognition and fortune are his main goals. This guy invented something good and he wants to share it with everyone. He wants people to hear it, and others to play similarly. His greatest enemy is tradition here - in music, in thought, in everything. This is a revolutionary person with revolutionary ideas.

Favored Instrument: Strings, string, strings! ...actually, depending on what "new and exciting" musical style you want to give him, so will the instrument change. Strings still wins, since it's versatile. If you could pull a piano, it would also work... but we all know a bard with a piano is one of those very difficult and very troublesome things that DMs and players alike don't want to touch with a ten foot pole.

Music Type: It depends on your setting. If it's medieval and everyone is listening to traditional Celtic music, introduce something that is close but forward in time, like folk or new age music. Or you could just tell that to fuck itself and get a song style nobody would ever think of at the era the setting is happening on.

Roleplay Tips: He is very ahead of his time in thought, so he's very liberal. It is hard to find something he still considers taboo. He has a clear idea, in music as in society, of how things should be. And a very clear conscience that they're not like that. This doesn't necessarily mean he is a revolted person, but that he is trying to change the world in some way. In a setting where things like divorce are considered forbidden and unthinkable, he thinks if two people don't love each other, they shouldn't have to put up with each other "until Death do us part", for instance. This will bring him many enemies, especially in the Lawful alignment. His roleplay situations arise mainly from the clash between his way of thought and everyone else's.

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#04 - Portuguese Fado Singer
Fado is pretty much the Portuguese blues. And I'm well aware I have just ignored a series of fado styles which have nothing to do with being depressed and blue over the things you must do or go through because of destiny. Still, the most famous fado is the one that goes on about woes and sadness. It has a very particular style, and it is widely accepted that most people who sing or play it have some woes of their own, from where they derive the inspiration and the soul. If you want to play an angst-y character and, like me, you dislike emos, you've just found your guy.

The Story: He has one of the saddest stories in the book, and sings it whenever possible. From day one, his life was shit: he is the youngest of several siblings in a poor family, his father died at sea, no matter how much he struggled he was never really able to make it. Lost loves, a life of trials and tribulations, general bad luck. He became a wanderer in a desperate attempt to flee death, poverty and a feeling of longing, which seem to follow him everywhere still. He started singing and playing to relieve his heart and soul, and eventually discovered it was actually a way to turn a GP or two.

The Quest: Whatever it is, it is something he did not bring upon himself. Something that came about due to the circumstances - destiny is ever present in this guy's life, and his quest must also be closely related to destiny. After all, not every single Chosen One out there has to be epic, heroic, brave and strong. Some of them can just mope their way through the quest, dooming the day they ever entered it and getting frustrated over the fact things didn't go as planned.

Favored Instrument: There is only one instrument that goes with fado, and that's the Portuguese guitar.

Music Type: If you don't know at this point, we have a problem. This is exactly what I'm talking about.

Roleplay Tips: This guy can be roleplayed in a variety of ways, depending on how annoying to all other party members you want him to be. After all, if this guy is mostly a depressed and sad person, he is bound to irritate the shit out of those which are not. A backup story not even the most joyful of gnomes could find something funny about is a good base. You don't need to make him into an emo: he doesn't need to wear black eyeliner, have suicidal tendencies and cry a lot. That's not what fado is. He is sad, sure, but he goes on, ever hopeful for the day when things will take a turn for the best. He doesn't need to constantly complain and brood, but he has an overall negative view on life. There is probably something for which he yearns, or someone - that is the essence of fado. He may have had it and miss it, or he may never have had it and want it badly, yet knowing it is most likely out of his reach since destiny wants him to take another road. He is not frustrated, he simply feels something is amiss in his life.

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#03 - He Shall Sing on Your Grave
Another class fusion, this time we're going to pick one of my favorite prestige classes out there: the assassin. Maybe the idea of someone who kills stealthily and someone who plays an instrument and sings don't go well together in your head. Yet keep in mind that music is mainly a way of expressing yourself. So is carving your initials on someone's face. In a way, it's just creative outlet, and may work out if you do it right. Most people get to the assassin class by means of the rogue, and I'm here to present an alternative.

The Story: He always liked song, particularly unlikely songs about gruesome things, on the same line of work as he is. A good way to pull this is having him start as a bard, which would be his prime occupation. Maybe he was forced to learn an instrument due to parental or community pressure. Maybe he taught himself how to do it at an age when he still wasn't murdering people. The interesting part of his tale begins once he actually becomes an assassin, and starts expressing what he knows, sees and does through music. The occupation bard is his cover-up so that socially, he is not condemned or discovered. Sure, he sings about gruesome things, but it's all cool. Everyone's got their thing, right? Some may assume he is actually a genius for the way he describes things he (supposedly) never lived through. Plus, few things are probably as satisfying as writing a song about how someone lost their life to an assassin's hands... your own.

The Quest: Feel free to assign to him any quest, or none at all. He's a bard by day and an assassin by night, one covers for the other, none the wiser. Maybe he is on the brink of being found out, maybe he was hired for a gig on either of his jobs, maybe he just happened to be playing at the inn where the party was staying and they found his song about blood and guts too realistic to be the product of just some demented head.

Favored Instrument: Since he is only a bard part-time, he can play something bards generally don't, like the aforementioned piano. For combat purposes, he is still an assassin and can effectively cast assassin spells. It is unlikely he would need the bard spells, but if he should, he also has means to take confrontations to a place where, he knows, the instrument of his preference exists. If you think it's complicated, fit him with a classical instrument: cello, for instance, or violin.

Music Type: His music lives through the lyrics. I would advise something on this line of work, whatever the musical style is. Some of you are going to immediately associate heavy metal with this bard, but I'd advise you to check some spoken word or the really alternative stuff (like the one above). It can get way creepier.

Roleplay Tips: This guy is obviously proud and intelligent, and it tickles him that he can freely talk about what he does in his other job without anyone asking questions. He is, after all, boasting and getting paid for it. Still, openly admitting you are a murderer, even if masked into art, is a dangerous thing. This is an overly careful man with a gift to talk plenty yet say little. He's suspicious of everyone, and the more suspicious he gets, the more he wants to hand them clues about what he does. It's something that thrills him and the reason why he keeps at it. Maybe he is a real wacko and wants to be caught, and maybe he thinks he can outsmart guards, adventurers and anyone else who wants to follow the leads he leaves behind. Remember, this is happening at an age when if you don't find the bard and have him sing, you only get hearsay about his work.

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#02 - Don Juan de Marco
When you think of the bard, you think of him being more or less the way music artists are. And this include the fans. And what would any of us do with a faithful legion of fans of the opposite sex? ... What wouldn't we do... ?

The Story: He entered the musical business perhaps out of vocation, or perhaps because he noticed it was a good way to pick up girls. He has real talent, and maybe studied under some of the best, but he has no elevated yearnings for artistic outlet or fame and fortune in mind. He only thinks about one thing, and that's tail. Probably this would also be the reason why he started adventuring: husbands get jealous, patrons on a village tire of their women all paying attention to the same guy, maybe he did something he shouldn't and it was time to split. Plus, how is he supposed to meet more women if he doesn't move around from time to time?

The Quest: Women. He is good at wooing them and enjoys doing it. It doesn't matter who it is, or if he really has romantic or sexual intents, he enjoys the power his music has over them, and will woo them even if he has no romantic or sexual intent, just for kicks. The more he can entice the better, and if a particularly stubborn one shows up, he just found himself something to work on, a goal to reach. Like most people of this sort, however, he tires easily. As soon as one is conquered, he already has his eye on the next one.

Favored Instrument: Anything goes here, so as long as you can play some romantic tunes on it.

Music Type: There are several types of romantic or sexually themed bard. He can be romantic, he can be extremely direct (speaking of which, pardon the douchebag that shows up on that last vid). Or he can suit his music to specific targets: figure out what each lady likes, and deliver it.

Roleplay Tips: Rogue wiles are one of his tools, only he steals hearts and affections instead of coins and goods. This is not a guy who actively wants to break hearts, he just likes to flirt, and uses whatever tools he has at his disposition. It is possible most of his amorous interests are strongly, yet shortly, lived. He loves each and every woman he meets unconditionally and forever, until the next one comes along that is. In fact, he probably never thought his actions can have devastating effects in other people's lives. Even when someone points it out, he doesn't find it so serious: it's all good fun, after all.

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#01 - Brother Cletus
Brother Cletus is my favorite bard project, and one I actively want to make happen. It is simple, obvious and funny. I first got the idea from listening to this song, of course. Yet another try at multiclass, we're talking about someone who starts off as a cleric and later takes levels as a bard.

The Story: He was originally a cleric who got transferred from a small village (where people worshipped at the temple regularly) to a huge city (where people find religion a little boring). In trying to bring religion to the people in a less tedious way, because he truly has a vocation as a cleric and is quite devoted, he started to notice people likes music, especially high-paced music. He began adapting song into the worship method, and effectively brought some more people back to the temple of his faith. Once the practice was set in one temple, he moved on to others of the same area, and in time he had room to dedicate to something in a larger scale: travelling about teaching his deity isn't a bore, not as stuck up as people take it and converting the unbelievers.

The Quest: Converting and demistiftyng the image of his deity is his main quest. Even with a chaotic-aligned deity, people usually see the gods as someone who is too far from them to care, or for them to care. They fear the gods, and want to keep a distance from them so as not to be intimidated. The rituals, in fact, are intimidating: methodology, strict rules, formal clothing. Brother Cletus here sees his religion in a different way: it is for people, it doesn't need to be overly formal, it can be enjoyable and you don't need to fear it. This is the image of his deity he wants to pass on, and he does it through song. And since he is a cleric, he yearns to aid as many people as possible (if good-aligned), keep harmony (neutral-aligned) or "sell" the deity's favors (evil-aligned).

Favored Instrument: You want him to have something he can easily sing with wherever he goes. We're gonna stumble on the guitar again, of course, but it can be anything where you can play a catchy tune.

Music Type: Gospel music. Any song and lyric can be adapted into the same beat, so you can as easily have him sing about doing good for your neighbor or that the gods will grant you priviledge for smithing him.

Roleplay Tips: First and foremost, he is a devoted cleric with modern views on his deity. His faith cannot be shattered, he is absolutely sure of what he's doing and he treats the deity as his best buddy. Then he loves music, of course, and uses it as means of worship. In battle, different songs can be adapted to different bardic music traits: just lurk a bit around YouTube and you'll find gospel songs for every occasion. Plus, if you've seen enough videos concerning gospel and its singers, you already pretty much know how to roleplay him. Oh, glory!