GemStone IV Wiki - User contributions [en]

Cobbling punch/Cobbling hallmarks

2020-11-07T19:55:44Z

CMNABRIT: /* Known Cobblers & Existing Hallmarks */

==Cobbling Punches & Hallmarks==
The Cobblers of Elanthia can punch their own custom hallmark onto the soles of their creations (as well as the names of the cobbler and/or the owner of the shoes) with the use of a [[cobbling punch]].

(Please feel free to edit and add your own cobbler name & hallmark to the list.)

==Known Cobblers & Existing Hallmarks==

{| class="wikitable sortable"
!Character !!Hallmark
|-
|Akenna ||a peach wreathed by wyrwood leaves
|-
|Archales ||an iridescent dragonfly: an iridescent blue dragonfly holding a sewing needle: an iridescent green dragonfly holding a sewing needle: a dragonfly on a broken crown: a scaled drake holding a broken crown
|-
|Avawren ||a wren in flight clutching a black rose
|-
|Dannia ||a crossed paintbrush and lockpick
|-
|Dirvy ||a scripted letter "D" overlaying a fat orange pumpkin
|-
|Eruheran ||a soaring drake overlaying a jagged mountain peak
|-
|Jastalyn ||a haphazard pile of colorful miniature music sheets with errant notes scattered about. Bloody punch: a haphazard pile of miniature music sheets spattered with blood
|-
|Kittai ||a panther paw print encircled by a dirge-vaon vine
|-
|Kyaloria || an embellished letter 'K' replete with loops and curlicues
|-
|Laelithonel ||a nacre-inlaid leaping narwhal
|-
|Lasentra ||a peacock set upon a ring of fairy primrose is stamped on the sole at the forefoot, its tail extending the length of the shoe to the heel
|-
|Leafiara ||a pair of musical notes with leaf-shaped heads
|-
|Merelle Hart, House Cordwainer||a silkworm moth (logo for [[The Looking Glass]] as a Fashion House MHO)
|-
|Obsalyn||a series of interlocking jade cogs and gears intertwined with an onyx rose
|-
|Ordim ||a muffin split cleanly down the middle
|-
|Orenda ||a fall of thorn-entwined roses
|-
|Rovvigen ||a wreath of swirling flames cradling a crystal ball
|-
|Rozy ||an adorable wide-eyed pudgy kitten
|-
|Tawariell Andrenae ||a gilt-edged moonflower
|}

[[Category:Cobbling]]

Beginner's guide to playing a bard

2015-03-16T17:31:49Z

CMNABRIT:

{{Work-in-progress}}

Are you interested in traveling the lands making merry and singing your way through your adventures? A life as a [[Bard|bard]] may be the life you want.

=Overview=

'''Bards''' are one of the three [[Semi|semi]] professions in [[Elanthia]], this means that they hunt using a combination of physical and magical attacks. They are also a [[Hybrid profession|hybrid]] class, using magic from both elemental and mental spheres. The exclusive [[Bard Base|bard spells]] are sung, which is unique among all the professions. Instead of [[CAST (verb)|casting]] and [[Stackable|stacking]] spells for a long time at once, bards sing their spells continually, periodically renewing them.

In general, bards have a number of very interesting spells and abilities. For instance, they are able to sing [[1009|shields]], [[Sonic Weapon Song (1012)|weapons]] or [[Sonic Armor (1014)|armor]] into existence. They are also capable of [[1004|purifying gems]] to improve their value or create orbs and they also possess the unique ability to learn about objects by [[Loresinging|singing to them]].

=Character Creation and Skills=

==[[Race|Racial]] Selection==

While each race may have particular mechanical advantages or disadvantages when it comes to particular hunting styles as a bard ([[Guides_by_Whirlin:_Two_Hander,_One_Hander,_Archer,_Pure,_Two_Weapon_Bard_Guide#Race_and_Stat_Considerations|which are covered in detail elsewhere]]), one of the most important reasons to select a particular race is role play. If you like, you can be a [[Dwarf|Dwarven]] poet who writes long epics about ale; an [[Aelotoi]] loremaster who preserves the story of her people through song; a [[Forest gnome]] who just wants to share some limericks with the world; a [[Halfling]] who busks for tarts; or even something less stereotypical, you can do it. So choose the race you want to play and go from there.

==[[Statistics]]==

New players should refer to the general guide on [[New_Players%27_Guide#Stats|statistics for new players]] for an overview of all the statistics available to them as well as general advice for setting their statistics if they have not already done so.

The primary and [[Mana_point#Mana_Stats|mana statistics]] for bards are [[Influence|influence]] and [[Aura|aura]]. This means that when setting statistics, bards will receive a free +10 points to each of influence and aura and these statistics will have twice the effect on the number of [[Training point|training points]] (TP) a bard receives at each level compared to the other statistics. In addition, these statistics will both affect how many mana points they have.

In general, there are two extreme cases for setting statistics. One extreme is to set statistics for maximum growth while the other involves setting statistics for maximum TPs and enjoyment or playability at lower levels. For bards, setting statistics for maximum TPs would mean setting aura and influence statistics high at the outset. This means that the character will generally have fewer total statistic points at high level, since these have the highest growth rate. Most players try to strike a balance between these two extremes (sometimes by optimizing their total number of statistics points for mid-level play, around levels 50-60).

Determining the best way to set statistics for growth is very easy to do using a ''stat cruncher'', but it is not generally recommended to set statistics this way, since it makes a character very challenging to play early on (especially for new players). There is also not very much to discuss since there are generally few ways of doing it.

When setting statistics for early level playability, it is helpful to consider the character's race (which changes statistic growth rates and bonuses) and intended hunting style for a particular character. All lower-level bards will primarily engage in some sort of physical combat, whether [[Melee|melee]] or [[Ranged Weapons|ranged]]. These are both affected by a character's [[strength]] statistic, albeit in different ways. For melee weapons users, strength affects their total [[Attack Strength|attack strength]] (or AS) and only indirectly affects their [[Roundtime|roundtime]] (RT), by changing how easily they become encumbered. Meanwhile, strength directly affects a ranged weapons user's RT and their [[dexterity]] statistic affects their AS. For melee weapons users, their [[agility]] and dexterity bonuses affect their RT. In general, all bards who use melee combat will want to set all three of these statistics relatively high at lower levels and those who use ranged will want to make sure their strength and dexterity are reasonable.

Other statistics which can be useful to set high early on include [[discipline]] and [[logic]], which together help determine the size of one's [[Experience|experience pool]] and the latter also determines a character's rate of experience absorption. A reasonable setting for [[constitution]] is also advisable since this determines a character's total number of [[Health point|health points]].

==[[Skill]]s==

Here is a description of some of the skills you generally want to train during your life as a bard. This is intended to provide a broad overview since detailed guides for particular builds already exist (look [[Guides_by_Whirlin:_Two_Hander,_One_Hander,_Archer,_Pure,_Two_Weapon_Bard_Guide|here]] for details).

The [[Training points|training point]] (TP) costs for each skill are listed in many places, including the main [[Bard|bard page]] and the cost of physical and mental TPs (PTP/MTP). The values listed in all these places are for a full single training, skills that are trained beyond a full single training are subject to a penalty (an additional training is double the TP cost) so if one is considering to double train in a skill, one will pay three times the listed number of training points to do so.

Since all characters start at level zero, skills can be ''fully single trained'' (e.g. can have ranks in the skill equal to the character's level plus two) for the same cost as training a skill up to the character's level. Similarly, being ''fully double trained'' means that the character has ranks in a skill equal to twice their level plus four. However, there are some skills which should be kept equal to the character's level to reap the maximum benefit for the training points. This is referred to as being ''single trained'' as opposed to ''fully'' single trained here.

===Core Skills===

These are the skills that all bards should train every level. Since bards may choose a variety of different weapons (which necessitate learning different additional skills), this list is relatively short and the total cost is relatively low. In this and all training tables on this page ''Cost'' refers to the PTP/MTP cost to train a skill.

{|{{prettytable}}
|+'''Absolute Core Skills for all Bards'''
|- bgcolor="Lightgrey"
| '''#'''
| '''Cost'''
| '''Skill'''
| '''Reasoning'''
|-
|1x
|4/0
|[[Physical Fitness]]
|Necessary for full [[Hitpoint|hitpoints]], good as a cheap defense for [[Creature maneuver|maneuvers]] and for [[Redux|redux]].
|-
|2x
|
|Weapon Skill
|Whatever the weapon choice, the training should be maxed out (fully doubled).
|-
|1x
|0/17
|[[Spell Research]]
|Learning new spells, improving the effectiveness and duration of others.
|-
|1x
|0/5
|[[Harness Power]]
|Should be exactly at the character's level (not ''fully 1x'') for 3 mana at each level.
|-
|Total
|4/22
|
|
|-
|}

'''Weapon Skill'''

Bards can use a variety of different weapons successfully and whichever one you choose is entirely up to you. However, no matter the weapon choice, its corresponding skill should be fully double trained. The cost to double train in a weapon each level ranges between 9/3 for [[Edged Weapons|edged weapons]], [[Thrown Weapons|thrown weapons]] or [[brawling]] to 21/6 for [[Two Handed Weapons|two handed weapons]].

Depending on weapon choice, bards should choose additional skills to learn. For example, an edged weapon user will probably fully single train in [[Shield Use|shield use]] for an additional 5/0 TPs to increase their [[Defensive Strength|DS]] or an [[Ranged Weapons|archer]] will fully double train in [[perception]] for 0/9 TPs to increase their [[Attack Strength|AS]].

'''Harness Power'''

Training in harness power will increase your [[Mana|mana]] pool by three with single training. This is very useful to bards, even if they primarily hunt using physical weapons since it allows a bard to sing more [[Buff spells#Bard Base|buff songs]], increasing their attack and defensive capabilities.

'''Spell Research'''

Bards have access to both the [[Bard Base|bard base]] and [[Minor Elemental|minor elemental]] spell circles. Both of these circles contain useful spells and bards should fully single train in [[Spell Research]]. However, since it is not possible to use spells with a spell number higher than one's level, it is not recommended to train above one's level in either circle (training a little in the other circle, however, is recommended).

Due to the large number of beneficial songs at low levels, focusing on the bard base until title (level 20) is generally a good idea. Many bards then switch to the minor elemental spell circle for a while until they have enough magical power to use some of the more mana-intensive bard songs in combat.

====Defensive Core Skills====

The following is a list of skills which will provide a bard with additional defensive capabilities. While it is possible to train ''all'' of these skills at each level, many bards will not do so. In general, all bards should pick at least two or three of these skills to train at every level and these choices will depend on a particular bard's hunting style.

{|{{prettytable}}
|- bgcolor="Lightgrey"
|+'''Defensive Core Skills for Bards'''
| '''#'''
| '''Cost'''
| '''Skill'''
| '''Reasoning'''
|-
|1x
|6/6
|[[Dodging]]
|Dodging helps one avoid incoming attacks entirely.
|-
|1x
|8/4
|[[Combat Maneuvers]]
|Adds attack strength, defense or other special abilities.
|-
|1x
|5/0
|[[Shield Use]]
|For bards who use a one handed weapon and are looking for something else to do with their other hand.
|-
|1x
|0/3
|[[Perception]]
|It's relatively cheap, provides maneuver defense, helps spot traps.
|-
|}

'''Dodging'''

Since bards sing their spells and occasionally renew these songs, which brings them out of hiding, they necessarily hunt in the open. Thus, training in dodging is a good idea. Dodging increases [[Defensive Strength|DS]] and is a way to avoid being hit entirely. It is also not a very expensive skill to train for bards.

Note that bards also gain 20 effective ranks of dodging skill from [[Song of Mirrors (1019)]] and this bonus increases by one for every two ranks in bard base beyond the first 19. While this does help a bard dodge, the rate of increase is insufficient to make up for skipping this skill.

'''Combat Maneuvers'''

There are combat maneuvers that directly add to [[Defensive Strength|defensive strength]] (DS), [[Target Defense|target defense]] (TD) or general maneuver defenses ([[Combat Movement]], [[Combat Focus]] and [[Cunning Defense]], respectively) and training in a particular offensive combat maneuver also provides defense against that maneuver when it's used by an attacker.

In addition, while it is listed here as a defensive skill, single training in combat maneuvers is a must for melee weapons users since it adds +1 [[Attack Strength|AS]] for every two ranks. Bards who are users of ranged weapons may wish to skip this skill entirely except to train in the defensive combat maneuvers (ranged users should be aware that [[Multi-Fire]] sounds cool, it is not actually very good).

'''Shield Use'''

In order to be successful using the [[Sonic Shield Song (1009)]], a bard needs to train in shield use. However, not all weapon choices require shields (e.g. [[Polearm Weapons|Polearm]] and [[Two Weapon Combat]] users typically do not use shields), so it is not strictly necessary to train in this skill at all. However, if a bard chooses a hunting style that requires shield use, they should fully single train in this skill.

'''Perception'''

All characters, regardless of class, are required to train some perception. It is probably a good idea to get at least ten or twenty ranks of perception to effectively find hidden paths to new hunting grounds. Furthermore, bards are widely recognized as being among the best [[Picking Locks|pickers]] in the game (second only to [[rogue]]s) and if a bard wishes to pursue this skill, single training in perception would be to their advantage.

Of course this skill is also useful for maneuver defense and it's relatively cheap to learn. As mentioned earlier, bards who wish to hunt with ranged weapons should fully double train this skill (for +0/6 TPs).

===Threshold Skills===

These are skills that a bard can learn once and then forget about training ever again. Once again, the costs listed here are the costs to single train a skill each level.

{|{{prettytable}}
|- bgcolor="Lightgrey"
| '''#'''
| '''Cost'''
| '''Skill'''
| '''Reasoning'''
|-
|60
|5/0
|[[Armor Use]]
|60 ranks is required to use augmented chain with minimal spell and maneuver hindrance.
|-
|10+
|3/0
|[[Climbing]]
|For low- to mid-level hunting grounds, somewhere around 10-15 should be enough to get around. You can add more ranks as necessary.
|-
|5+
|3/0
|[[Swimming]]
|For low to mid-level hunting grounds, somewhere around 5-10 should be enough to get around. You can add more ranks as necessary.
|-
|25
|0/6
|[[Elemental Mana Control]] or [[Mental Mana Control]]
|24 ranks for perfect sharing and an additional one for [[MANA (saved post)|double incanting ability]].
|-
|25
|0/8
|[[Mental Lore, Telepathy]]
|Each train adds +2 seconds to spell song duration, benefits to spells based on summation chart.
|-
|}

'''Armor Use'''

It is very common for bards to wear augmented chain eventually, so training once or twice per level up to 60 ranks is typically recommended. For this skill, you can train new ranks in spurts, training enough armor use ranks to wear armor in the next [[Armor|AsG]] up from the one they currently wear all at once and then stop training in armor use for a few levels or so. Note that bards have the ability to create their [[Sonic Armor (1014)|own armor]], so it is not necessary to continue buying new armor each time as long as the bard has sufficient mana to maintain their armor.

'''Mana Control'''

Since bards are [[Hybrid profession|hybrid]]s, they can benefit from training in both [[Elemental Mana Control]] and [[Mental Mana Control]]. While mental mana control benefits one [[1013|bard spell]], it is not strictly necessary to train in either of these skills. However, these skills are useful for sharing mana with other characters and training in one of them can be especially useful if the bard has a hunting partner who shares one of these spheres (e.g. a [[wizard]] or [[sorcerer]] for elemental or an [[empath]] for mental magic).

If a bard would like to share mana with others, training in elemental mana control is generally recommended since more professions have access to the elemental sphere than the mental sphere. In this case, training in 24 ranks of elemental mana control will give the best sharing and adding an additional rank (bringing the total to 25) will allow the bard to [[MANA (saved post)|multicast]] minor elemental spells.

'''Lore Training'''

As a hybrid class, bards benefit from lore training in both elemental and mental spheres. As far as the elemental lores go, only [[Elemental Lore, Air]] is useful to bards. Training in this lore improves sonic gear ([[Sonic Weapon Song (1012)|weapons]], armor and shield) as well as providing benefits to a few other songs. This can be fully single trained, but depending on available training points at lower levels, one may prefer to forgo this in favour of the mental lores for a while.

Bards have two mental lores which can be useful. [[Mental Lore, Telepathy]] increases the duration of bard songs, which is especially beneficial for lower level bards with limited mana pools, as well as increasing the power of other spell songs. Training up to 25 ranks in this skill will give a bard an additional +5 AS from [[Kai's Triumph Song (1007)]], so this is often used as a stopping point. [[Mental Lore, Manipulation]] helps a bard [[1004|purify gems]] and eventually [[1030|make heads explode]] in addition to benefits for other spells which can be explored in more detail in the [[Lore chart|lore chart]].

===Additional Training===

Finally, these are additional skills that a bard should learn when they have TPs to spare (they should not sacrifice their core training for these skills).

{|{{prettytable}}
|- bgcolor="Lightgrey"
| '''#'''
| '''Cost'''
| '''Skill'''
| '''Reasoning'''
|-
| 5
| 7/3
| [[Multi-Opponent Combat]]
| Enables [[MSTRIKE (verb)|mstrike]] for [[Melee|melee]] attacks on two opponents at once.
|-
|
|0/4
|[[Magic Item Use]]
|This skill increases the odds of activating magic items, increases duration of spells.
|-
|
|0/4
|[[Arcane Symbols]]
|Enables the use of [[scrolls]], increases duration of spells invoked.
|-
|
|0/8
|[[Mental Lore, Manipulation]]
|Increases the benefits and abilities of spells.
|-
|1x
|0/8
|[[Elemental Lore, Air]]
|Increases the benefits and abilities of spells, more flares for sonic gear.
|-
|0.5-1x
|2/2
|[[Survival]]
|Helps skinning, helps foraging, helps move around in tricky places.
|-
|0.5-1x
|2/1
|[[First Aid]]
|Helps skinning, decreases [[Roundtime|RT]] for eating [[Herb|herbs]], allows effective wound tending.
|-
|}

'''Multi-Opponent Combat'''

Some training in this skill provides additional protection against multiple foes, but more importantly, five ranks enables the melee weapons users to attack two opponents at once. Further training allows a bard to attack more opponents, but five ranks is generally sufficient (archers should basically not bother with this skill).

'''Magic Item Use and Arcane Symbols'''

Both of these skills allow a bard to access spells they otherwise cannot access through either magical items or scrolls. Training in one or the other (or both) likely depends more on a bard's friends than anything else (e.g. a bard who is friends with a [[sorcerer]] might find scolls are especially useful).

'''First Aid and Survival'''

Both of these skills are relatively cheap and are reasonable to fit into a bard's training. However, while they are beneficial these skills are not necessarily trained by all bards. Bards who wish to obtain skinning tasks through the [[Adventurer's Guild]] should train at least 0.5x in a combination of these skills.

Otherwise, some training in first aid (maybe 10-20 ranks) is good for reducing the roundtime from eating herbs. This can be especially useful if a bard chooses to live in a town with a small population and therefore few [[empath]]s. Some survival training is helpful for bards who wish to hunt in marshy areas and wish to avoid being stuck or bards who wish to hunt in areas that cause weather-related damage.

=Spells and Songs=

Although bards are [[semi]]s, not [[pure]]s, they are often considered the most pure of the semis. They also have some fairly unique utility spells that are worth exploring and the spells from the [[Bard Base|bard base]] are cast in a relatively unusual way. As such, it is worthwhile to review the magic of bards in some detail.

==What are spell songs?==

Basically, all of the spells in the [[Bard Base|bard base]] spell circle actually ''spell songs'', which are ''sung'' for a period of time instead of being cast once and left alone. As a result, whether you are a new player or simply new to being a bard, spell songs are a bit odd at first. It might help to think about other spells as a brief phrase the caster says before flicking their wrist and making it happen, while a bard's spell song is something the bard continually hums as they go along through life.

The primary difference between bard songs and other spells in [[Elanthia]] is that bard songs cannot be [[Stackable|stacked]] while resting until a maximum duration is reached. Instead, they are initiated and then renewed for some cost of [[Mana|magical power]] which is often less than the initial casting cost. Most of the songs a bard would like to sing constantly are renewed automatically, but the maintenance required for the spell songs make them at least slightly more complicated than the spells in any other spell circle in the game (and possibly more difficult for new bards to maintain all at once). However, it is very easy to get the hang of them and have your bard humming along in no time at all.

===How to spell songs work?===

To start singing a song a bard uses the [[INCANT (verb)|incant verb]] like they would for any other spell:

<div {{log}}>
>incant 1003 <br>
You begin to sing of heroic deeds and bolster your confidence.
</div>

To see the songs a bard is currently singing, use the [[SONG (verb)|song verb]] to check the status of the songs. Doing this will yield a list of all the songs the bard is singing, indicate approximately how long it will be before the songs renew and the renewal cost of these songs. For example,

<div {{log}}>
>song status <br>
You are currently singing: Fortitude Song <br>
Your song magic remains strong. It will be a few minutes before your song renews. Your current renewal cost is 1 mana.
</div>

Here we see that this particular bard is singing a single song that was either started only recently or was recently renewed (note that it is possible to use [[SPELL (verb)|spell active]] to check the exact time remaining on your song). In addition, note that although [[Fortitude Song (1003)]] costs three mana to cast initially, its renewal cost is only one mana.

When a bard's songs renew, they will see this message:

<div {{log}}>
Your song renews.
</div>

And they will note that the appropriate amount of mana has been deducted from their total. Spell songs are thus relatively simple to keep running all the time since many of them are renewed automatically.

===Managing Songs with a Small Mana Pool===

However, lower level bards may encounter issues with their mana pool if they sing too many songs at once. This is both due to the multi-song penalty and due to increased maintenance costs for renewal with more ranks in bard base (this is a trade-off for other improvements to the spell songs).

The multi-song penalty is an additional mana cost for renewal which applies whenever a bard is singing at least three songs (with an increasingly higher penalty for more songs). The exact mana cost from this penalty depends on the total number of songs being sung and the number of ranks a bard has in the [[Bard Base|bard base]] spell circle as well as the bard's [[discipline]] and [[logic]] statistics.

To save mana while continuing to sing songs, a bard might find it useful to stop singing a spell song with a low upfront cost, such as [[Fortitude Song (1003)]] and resume singing it after their songs have renewed. To stop singing a spell song, a bard should use the [[STOP (verb)|stop verb]] just like they would for any other spell:

<div {{log}}>
>stop 1003 <br>
You stop singing Fortitude Song.
</div>

If a bard does this, the effects of the song will not stop immediately. Instead, they will stop a bit after renewal. Thus, it is possible to stop singing a song just before renewal and start singing it again once the other songs are renewed to save mana while still receiving the benefits of having their songs running all the time. Note that this is only beneficial if a bard's multi-song penalty is more than 2 mana points.

A bard may also wish to refrain from singing all of their songs at once until they are much more experienced (both so their mana pools are bigger and their songs last longer). Additionally, if a bard finds that they do not have enough mana remaining to renew their songs and their songs are about to renew, the bard may wish to stop singing some songs with a high renewal cost (such as [[1007|Kai's Triumph]], which can be costly depending on the number of bard base ranks known) or, if resting, a bard can use '''stop singing''' to stop singing all of their songs at once. This may be preferable to suffering nervous system injuries caused by attempting renewal with insufficient mana.

==Overview of Available Spells and Songs==

''Add intro here''

===Sonic Gear===

''Add summary here''

===Attack Spells and Songs===

Here is a brief summary of the attack songs available to bards and some situations where they can be useful. Additional information on each spell can be found on the individual spell pages.

'''Bard Base Attack Songs'''

*[[Holding Song (1001)]]: Lowers a target's [[Defensive Strength|DS]] by 10%, can affect multiple creatures.
*[[Vibration Chant (1002)]]: Can force a target to drop a weapon with the possibility of weapon destruction and injury (including possible stuns). Good against creatures that carry weapons.
*[[Lullabye (1005)]]: Sing a target to sleep or into a restful state, making them easier to attack later on (or making them leave the bard alone, at least). Does not work on the undead.
*[[Stunning Shout (1008)]]: Stuns or disorients a target as well as doing critical damage.
*[[Song of Depression (1015)]]: All not joined to the caster suffer -20 [[Target Defense|TD]] and receive additional [[Roundtime|RT]] for their actions.
*[[Song of Rage (1016)]]: Forces a target into offensive [[stance]], lowering their defenses. Also forces the target to engage the bard singing this song (possibly useful in group hunts when another group member is injured or performing some task that results in RT).
*[[Song of Sonic Disruption (1030)]]: An extremely destructive song that can inflict [[Disruption critical table|disruption]] injuries on all who are not in the bard's group. This song is stronger while playing an instrument (especially a two handed one).

[[Song of Noise (1017)]] is not quite an attack spell, however, it makes it difficult for everything in the room to cast spells. This song is therefore useful when hunting creatures that cast nasty spells. However, it also makes it difficult for members of a bard's group to cast spells, so bards should perhaps avoid singing this song while hunting with other casters, and it makes song renewal difficult as well, so bards should be sure to [[STOP (verb)|stop]] this song before renewal and resume singing it after renewal.

'''Minor Elemental Attack Spells'''

*[[Elemental Blast (409)]]: Blasts a target with elemental energy.
*[[Elemental Wave (410)]]: Possible knockdown of all ungrouped targets.
*[[Weapon Deflection (412)]]: A target suffers -25 [[Attack Strength|AS]]. While this spell is used by some creatures, bards can usually do better for a lower mana cost with Vibration Chant.
*[[Elemental Saturation (413)]]: A target suffers -25 [[Target Defense|TD]].
*[[Elemental Strike (415)]]: Hits a target with elemental energy, possibly inflicts a [[critical]] injury.
*[[Elemental Dispel (417)]]: Can cause a target to forget a prepared spell, make one of its spells fall or make it lose all of its mana. This is another spell that some creatures cast and is not so common for adventurers to use.
*[[Major Elemental Wave (435)]]: Like elemental wave, except much better and with a possibility to critically injure ungrouped targets.

Out of these spells, the elemental waves are probably the most popular for adventurers to use with the others being used much less, if at all.

'''Magical Hunting Notes'''

While bards are the most magical of the semi professions and have a lot of attack spells, they do not typically have sufficient mana pools to maintain their buff songs while also using a lot of magical attacks at low levels. As a result, lower level bards (prior to about level 30) may avoid magical attacks for the most part (possibly making exceptions for a bit of Vibration Chant or Lullabye) and rely primarily on physical attacks for their hunts.

===Buff Spells===

[[Buff spells]] are spells which enhance a character's [[Attack Strength|AS]], [[Casting strength|CS]], [[Defensive Strength|DS]] or [[Target Defense|TD]]. These are typically spells that an adventurer will cast on themselves before going out to hunt or in the case of bards, sing throughout a hunt. Here is a brief summary of the buff spells available to bards.

====Bard Base====
During the early levels, bards typically focus on the [[Bard Base]] spell circle, through which they can access a number of very useful buff songs.
{{Bard Base buff spells}}

====Minor Elemental====
After learning [[Traveler's Song (1020)]], bards will sometimes shift to studying the [[Minor Elemental]] spell circle, which gives them access to even more buff spells.
{{Minor Elemental buff spells}}

Note that since many of these spells are not self-cast limited and this circle is shared by other professions (especially [[sorcerer]]s and [[wizard]]s), it is possible to ask other adventurers for assistance if you do not yet know these spells. Do not be shy about asking your friends for help with some ''silveries'', ''brights'' and ''guards'', even if these are spells that you will eventually learn yourself.

=Society=

There are three societies in Elanthia: the [[Order of Voln]], the [[Council of Light]] and the [[Guardians of Sunfist]]. These societies are mutually exclusive all impart members with some sorts of bonus to AS, DS and TD as well as other mechanical benefits and drawbacks which are briefly summarized in the [[New Players' Guide#Societies|New Players' Guide]]. It is worthwhile to note that since bards are able to [[1012|create weapons]] that don't need to be blessed and can easily [[1020|transport groups to town]], some of the major benefits of joining the Order of Voln are a bit redundant.

However, there is not necessarily a single society which is best for all bards, so bards can and do join whichever society they find suits them the best. While it is always a good idea to join a society as soon as possible, it is a good idea to consider both the mechanical benefits and roleplay decisions when choosing a society (or a player can choose a society for the mechanical benefits and roleplay from there). Thus, if a bard decides that she would really enjoy liberating the souls of the [[undead]], joining Voln may be the way to go, even if another society might be better for her mechanically.

=Instruments=
With a lot of practice, bards can become master musicians. Instruments even benefit some bard spellsongs:
*[[Holding Song (1001)]]
*[[Traveler's Song (1020)]]
*[[Song of Sonic Disruption (1030)]]

=Roleplaying a Bard=

''Stuff goes here.''

=See Also=
*[[Bard]] (main article)
*[[New Players' Guide]] (a comprehensive beginner's guide for new players of any profession)
*[[Loresinging]]
*[[Guides by Whirlin: Two Hander, One Hander, Archer, Pure, Two Weapon Bard Guide|Whirlin's Bard Guide]]
*[[The Art of Roleplaying in GemStone IV (guide)]]
*[[Player Guide Contest]]
*[[New Players' Guide/Archales' bard guide]]
=References=
*[http://www.play.net/gs4/info/professions/bards.asp Bard profession on Play.net]
*[http://www.play.net/gs4/info/npg/home.asp GemStone IV New Player Guide on Play.net]

[[Category:Guides]]
[[Category:Bard]]
[[Category:Professional Guides]]
[[Category:New Player| ]]

Archales' bard guide

2015-02-18T02:27:47Z

CMNABRIT: /* Songs */

=='''Preface'''==

“Music and martial arts share much in common, both wrestle with complex rhythms and elusive melodies.”(Nameless Bard)

This discourse is humbly submitted to my fellow practitioners, with an ear towards helping bards, both fresh from the guild, and those pushing the limits of our art. I can only hope that by aiming for goals so high I will not stray too far from my intended target. In those sections where I touch upon guild secrets I will encrypt them with a simple guild cipher that should make it easily understandable to the duly initiated. A~s~R.

=='''Introduction'''==

While I cannot quite claim to have tried every possible medley of weapons and tactics as a bard, I have made a game attempt at trying as many as possible over the years. I hope to cover as many different combat styles and techniques as I can accurately remember after decades of wanderlust and bar fights. Thankfully, the basic rules of engagement for combat as a bard remain rather constant despite your weapon of choice. The first is patience, chance favors the well prepared, so it is never a bad decision to take a moment to evaluate both yourself and your foe. Try to know as much about your foe as possible, is it a warrior, does it use a bow, is it magically inclined? These important considerations are best decided before descending into the heat of battle. As a bard, you will be most vulnerable at the beginning of a fight, generally speaking, your odds of survival increase the longer the battle goes on due to your array of disabling spells and maneuvers.

The second rule has many names, timing, rhythm, awareness, etc., it speaks to understanding the weapons and armor of combatants, as well as the more pedestrian observations about distance and terrain. The use of songs such as holding (1001), depression (1015), noise (1017) and Tonis (1035), to control the pace of the battle and setup your physical attacks is key to success in the field.

The third rule is misdirection, all good gleemen love a little sleight of hand, and the battle field is not so different from the stage, the foe the audience and you the consummate performer. If the foe is a warrior, use your songs and magic to draw them off guard, or incapacitate them. If the foe is a mage or cleric, use your weapon and maneuvers to close ground and kill them swiftly. If the foe can use both, use your best attack be it blade or song to kill or maim them immediately.

The fourth rule is balance or harmony between mind and body, magic and arms, abstract as it might sound at first this rule has a rather pragmatic basis. Even the loudest singers will find times when their voice fails them, the strongest lancer may be too wounded to use any weapon but his voice, every bard learns to strike a balance between mana and stamina through the use of tactics and experience.

=='''Instruments'''==

I’ll begin with the very basic necessity of diligently practicing and maintaining one’s instrument. While there are as many different kinds of bards, as there are facets on a gem it is my humble opinion that any worth their salt should learn to play at least one instrument. Beyond being a wonderful way to pass the time on long trips, a bard’s instrument can help them focus their own musical gifts in rather profound ways.

I will discuss the benefits of playing in more detail when I discuss songs later on, but it is wise to start practicing early and often when you are just starting out, so that playing and caring for the instrument becomes part of a routine. Playing ‘well’ takes practice, becoming ‘adept’ requires practice, talent, and training from the bard guild, there are four musical skill levels novice, apprentice, journeyman, and adept. Bards are able to tune instruments of a given class once their skill in playing it reaches an apprentice level, which makes practicing go faster and easier on the ears. *NOTE* Training from novice to adept in a particular instrument class, can take anywhere from several weeks for the very diligent, to several months for the easily distractible.

There are five different classes, woodwinds, horns, necked-stringed, stringed, and percussion but there is only one question when choosing an instrument, will it be one or two handed? Only percussion class is one-handed, they are not as expressive and yield half the benefits of a two handed instrument, however they are far safer to use in the field as they allow for a shield to be wielded. All other instruments require both hands, but are doubly effective at amplifying songs such as holding(1001), traveller’s song (1020), and sonic disruption (1030). My advice is to first become adept with a two handed class, then learn a percussion instrument to use in battle once you have your full repertoire of attack songs and enough mana to use them. Yes, I left out bagpipes on purpose because I think they are an abomination to the ears, and should not be inflicted on others. Don't like it write yer own guide.

=='''Armor & Weapons'''==

Enough flowery talk and theory for the time being, let us explore the basics of armor and weapons, I’ll start with armor since it’s pretty straight forward you wear it, and boo boos hurt less. Bards have the flexibility to wear several different types of armor, but for most only three will ever be needed. To start off, double leathers (AsG8) are great, low spell hindrance and you can still move around pretty good without much armor training (8ranks). Eventually, most bards want more protection and choose brigandine (AsG12), it takes a blow much better and won’t keep you from casting (35ranks). Most experienced bards stop at augmented chainmail (AsG15) it covers everything but the head and neck (50ranks for maneuver 90ranks for spell hindrance). *Warning* Notice the huge spike in spell hindrance if you attempt to wear armor accessories such as helmets, aventails, or gorgets. Heavier armor could be trained for but you would find your magical abilities severely hampered in heavy armor.

There are lots of weapons, but there are three basic categories unarmed, melee, and ranged. Melee weapons have basically two categories one handed and two handed although a small handful of weapons are able to be gripped in order to wield them one or two handed. The benefits of using a one handed weapon are that it allows you to use a shield and generally attack faster than you would using a two handed weapon. The drawback to light weapons is that they generally do not do as much damage as the heavier two handed weapons, you can compensate for that by either aiming your shots or attacking in flurries using multi-strike. Two handed weapons are generally heavier and slower than one handed weapons and preclude the use of a shield, however they are better at parrying incoming attacks and do more damage when they strike. Use your songs to create an opening in your foe’s defenses before striking to mitigate the increased risk of being exposed during longer attack round times.

I’ll cover unarmed combat quickly since all you need are hands and feet. The basic skill for this style is brawling, it relies on quick punches and kicks in combination to subdue a foe, there are four basic attacks with this style, jabs, punches, grapples, and kicks. Jabs are used to set up better positioning on your foe, punches are good follow ups and do more damage than jabs, grapples are take downs used to temporarily immobilize your foe, and kicks are the slowest but also the most damaging. The gloves and boots designed for unarmed combat will allow you to make use of flares and defensive enchantments on your gear making you harder to hit. Although there are brawling weapons, they will make it slightly harder to land your jabs, grapples, and punches, but will provide an extra chance for a flare with each attack.

Ranged weapons include hurling and archery, they lend themselves to sniping, which is not a particular strong suit for bards, however we can compensate for that using vibration chant (1002) to shatter weapons and shields, lullabye (1005) it is very easy to hit a sleeping target, and using song of Tonis (1035) to fire as fast as possible even while aiming. Both styles require excellent perception, the distinction is that hurling requires training in combat maneuvers to be most effective and it does not for archery. Ranged weapons are generally very fast and very deadly if you can aim them correctly. There is an increased chance of losing ammunition or hurled weapons using ranged attacks so be sure not to break the bank on arrows, or hurling weapons as they will have to be replaced over time.

=='''Songs'''==

Songs are unique to the bard profession and are unlike any other magic in Elanthia, they can affect both the bard’s own defense and attack abilities, and lower a foe’s physical and magical defenses, they can affect an entire area or be narrowly focused on a single target. Best of all they can be renewed consciously by the bard at lower mana costs and with no fear of armor hindrance, but if you forget many of them renew automatically. There is a risk of…umm side effects from many songs including injury, dismemberment, and even death in some cases, learning a song is in no way the same as having mastered the use of said song. Songs can be incanted to auto target or you can specify using sing first, second, third foe, etc. There are limits to how many songs a bard can sing simultaneously, any time you sing more than three songs you are subject to a multi-song penalty, which is based on the number of songs you are actively singing, songs known, your discipline, and logical aptitude (statistics).

Song of holding (1001) is the first song we learn, it may seem underwhelming at first, but reducing the defenses of a foe by ten percent becomes rather significant when fighting a dangerous foe. The song can be focused at a single target or can be sung unfocused to affect multiple attackers, the number of foes affected is increased by one for every seven songs known beyond 1001. Additionally playing an instrument while singing this song will increase the reduction in defense by roughly 5 points if using a one handed instrument, or 15 points if using a two handed instrument.

Vibration chant (1002) makes a weapon or shield vibrate hard enough to slip from a foe’s grasp, above a certain warding threshold the song will shatter any non-magical weapon or shield, even when it does not shatter the target will incur round time while it struggles to regain its grip. The warding threshold for shattering weapons is lowered with training in manipulation lore.

Fortitude song (1003) is the first of our auto renewing songs that you will learn and it provides a flat bonus of ten to your defensive strength. Although it only costs three mana to sing it up and one mana to renew it does contribute to multi-song penalties and many bards find it is actually more efficient to start the song and then stop it immediately and manually renew it after your other songs to avoid it being counted in the melody.

Purification song (1004) is a utility spell that allows a bard to use vibrations to remove imperfections from a gem, each successful attempt increases the value of the gem by roughly ten percent. Pay close attention how a gem responds when you attempt to purify it repeatedly, it will begin by glowing, then humming, then improving somewhat, after that point it will begin to crack and groan from the strain and becomes much more likely to shatter from the vibrations, possibly taking a large chunk of your hand along with it. Training in mental lore – manipulation will reduce the risk of shattering a gem. Occasionally a gem will twist and turn in response to your song and all of its imperfections will be removed, these are commonly called orb gems, and can be used to imbed or bless magical spells into the gem. If you train in trading this can be a very lucrative skill set to develop, high quality bard purified orbs are in high demand among clerics for use as chrism gems.

Lullabye (1005) is a staple of almost all bard’s repertoires it does not require a warding roll and will put most living creatures into a deep sleep, or at least make them drowsy enough to be slowed (adds round time to most actions the target attempts). This spell does not work as well on undead although it will slow them it will not put them to sleep.

Song of luck (1006) is the first of our group songs while the song is running it has a chance to activate any time you or a group member attempts or defends against a combat maneuver the song provides in effect a second attempt and the better of the two attempts is applied. Luck will not always favor the bard sometimes you have a choice of a bad attempt and a terrible attempt, the more songs you know the more likely it is that the luck will be good. The song works for maneuver and attempting to disarm traps for certain but I also suspect it may help with other tasks such as picking pockets and foraging, I just can’t prove it.

Kai’s Triumph song (1007) is a real crowd pleaser and one of the reasons bards are always a welcome addition to any hunting party. It provides a base bonus of ten (+10) to attack strength to you and anyone joined to your group. This bonus increases by one (+1) for every song known above 1007, up to a bonus of twenty (+20) attack strength at twenty songs known. This song only affects melee, ranged, and magical bolt attacks, it will not raise you or your group’s casting strength. You can increase the bonus to attack strength even further by training in mental lore telepathy your attack will increase by one (+1)at each of the following ranks 3, 7, 12, 18, 25, 33, 42, 52, 63, 75, 88, 102 Along with improving attack strength, once you learn nineteen songs you and your group will experience increased health recovery. This song will also help you and your group recover from the shear fear effects caused by undead however it will not help with warding it off in the first place.

Stunning shout (1008) is a useful attack song for physical bards that focus on air lore for extra flares and extra speed from sonic weapon (1012) and song of Tonis(1035), that will disable a foe for three rounds of combat. The initial strike isn’t usually lethal but does do damage based on how strongly you ward the target, every three ranks of air lore increases the damage for the initial strike by one (+1). Here’s the formula: 10 base damage + trunc((endroll - 100) × .250)) + (EL: Air ranks ÷ 3). The secondary critical is based on comparing your level versus your target’s and how well you warded the target, it will usually stun or knock them down. The tertiary critical will either stun or disorient the target, an effect very similar to being drunk. This spell is handy for keeping multiple foes from attacking while you finish off another.

Song of Valor (1010) is a song every bard should use and provides a bonus of ten (+10) to your defensive strength, an additional plus one (+1) to defensive strength is granted for every two bard songs known beyond 1010. This spell also helps to ward against fear based attacks. Song of Peace (1011) creates a minor sanctuary that follows the bard wherever they go preventing hostile actions and most creatures will avoid entering the area. This spell works best in an empty room, and each foe near your level will increase the chances of failure. Some kinds of demons summoned by a sorcerer are able to disrupt or even break a minor sanctuary. Training in the songs and telepathy lore can help you prevent a demon from interfering or breaking a sanctuary.

Sonic shield song (1009) creates a shield of air with a base enchantment of ten (+10) the enchant increases by one (+1) for every two songs known, so by the time a bard learns the song it will be equivalent to three enchantments (+15), this increase can go as high as seven enchants (+35), with fifty (50) songs known. Training in air lore reduces the dodge hindrance by one shield size at twenty (20), fifty (50), and one hundred (100) ranks. The default sonic shield is a medium, but many other shield sizes can be specified by the bard after preparing the song.

Sonic weapon song (1012) creates a base enchant of (+10) the enchant increases by plus one (+1) for every two songs known, against the living there is a chance for a second sonic flare on every strike that lands. When used against the undead the weapon will have its’ base enchant and will not flare. Air lore training increases the chances of a second flare by 3% at the following ranks 3,7,12,18,25,33,42,52,63,75,88,102

Song of Unraveling (1013) is the most precise way to dispel, it can be focused to remove a specific spell from a target, using sing {target}(spell #). Sung unfocused it dispels 1 active spell from a target, you can manually renew it to continue removing spells, if no magic is active on the target, it will begin to drain mana This song imposes a warding pushdown on the target, reducing the target’s warding attempt by -1 for every two songs known, focusing on a particular spell, will nullify the warding pushdown. Used on a weapon or shield the song will remove blessing, or elemental blade spells. It works on magic items, wands can be used to recover mana quickly in the field. Be sure to use this song before magically impairing (1001,1005,1015) a target, the most recently applied spells are removed first, which would strip away your spells before removing any of the target’s own magic. Spirit and higher level spells will be harder and require more mana to unravel.

Sonic Armor (1014) creates a base armor of three enchants (+15) the enchant increases by (+1) for every two songs known up to seven enchants (+35). Nearly weightless and it can be used to create anything from robes to platemail. Sonic armor has a slight vulnerability to impact damage like falling or getting hit by rocks, but resistant to elemental damage, the resistance increases with more songs and training in air lore. Song of

Depression(1015) gives anyone outside your group a warding penalty of twenty(-20) TD, this penalty does not affect the initial cast, the spell also slows the target making all their actions take longer.This song is very useful for setting up warding spells to be more effective for your group. Telepathy lore increases the warding penality by -1 TD at ranks: 1, 2, 3, 5, 8, 10, 14, 17, 21, 26, 31, 36, 42, 49, 55, 63, 70, 78, 87, 96 (total -20 TD and adds +1 to RT at ranks: 10, 25, 45, 70, 100 (total +5 RT).

Song of Rage(1016) attempts to enrage a target, forcing them into a more offensive stance, giving round time the target will only attack you when under the song’s effect. The song can be manually renewed to stack the offensive push down and add to the target’s round time. Used after depressing(1015) a target, the round time imposed increases. Most bards will agree this song is too mana intensive to use on anything except casting foes that are too hard to hit with their guard up.

Song of Noise(1017) disrupts the flow of mana, and prevents the use of magic in the area, the effect is so powerful that it can even prevent your own songs from renewing. The song’s effects will follow the bard as they move, but takes a few seconds to catch up, allowing a brief window for the bard to renew or cast. The song’s effect has limits repeated attempts to cast by multiple foes may eventually break through, knowing more songs will allow you to stop more spells before the song fails.

Song of Power(1018) creates a mobile mana focus that will follow the bard as they move, increasing mana recovery for everyone grouped to the bard. This song is very unstable and losing control will severely injure or even kill the bard and others nearby. To mitigate the risks be sure to stop and start the song manually, the longer you sing the more unstable it will become. Using the song in an existing mana focus or while another bard is singing 1018 will cause a nearly instant catastrophic failure, you will lose control, and the mana will likely catch fire around you, the resulting explosion can kill you and others. Do not fall asleep after a hunt with this song running, it kills more bards every year than any hunting ground.

Song of Mirrors(1019) creates mirror images of the bard making it harder for foes to hit them, the song grants the equivalent of twenty(20) dodge ranks, this increases by one(+1) for every two songs known. I can't say enough about how fantastic this song is, was, continues to be, but it doesn't need much explaining. Even if you do not outright dodge an attack those magical dodge ranks will still make you harder to hit by raising your defensive strength. An from a style point of few, I always get a kick out of having mirror images obscuring my true form, maybe i'm just creepy like that...

Singing Sword Song (1025) creates a free floating weapon the bard can control with their mind, stuns and wounds to your head or nerves, will impair it’s attack strength and being calmed or asleep it will stop all attacks. The spell does not flare and is rather slow, polearms or heavy crossbows work the best. It is able to hit hidden targets, but will not begin attacks unless the bard is visible The melee attack strength formula is: 1+ [weapon bonus + (combat maneuver ranks/2) + ((songs known -25)/2) + (manipulation lore ranks/2) + (inf + aura bonus)/2] For ranged attack strength the formula is: 1+[weapon bonus+(perception ranks – 40)/2 + (ambush ranks – 40)/2 + (songs known -25)/2 + (manipulation lore ranks/2) + (influence + aura bonus/2)] Tell weapon to attack {target}, to start attacks. Tell weapon to return, will make the weapon reappear in your room, very useful if you move around a lot while hunting. Tell weapon to cease will cause the weapon to immediately stop attacking. These formulas are based on math I did on a napkin while drinking at the tavern.

Sonic Disruption(1030) attempts to ward anything in the area not in your group, playing an instrument while using this song increase the damage.
Manipulation lore increases the damage factor by +6 damage for every 10 ranks, at 15 ranks the bard can focus the song at a single target, for half the mana cost. With 30 ranks the bard can sing the open version as if accompanied by a one handed instrument, at 60 ranks your song becomes equivalent to using a two handed instrument, at 75 ranks you’ll be able to focus on a single target as if accompanied by a two handed instrument. It is safer to use a one handed instrument since you can use a shield while playing. I suppose with brawling training you might be safe enough playing a two handed instrument in the field. This song is extremely dangerous to other players use discretion when singing the open version as anyone passing through is likely to be maimed or killed.

Song of Tonis(1035) speeds up you and your group, imparting a bonus of twenty (20) dodge ranks and lowering your round time by -1. Training in air lore lowers round time by -1 at 30, and 75 ranks, (-3RT total.) Air lore will also increase the group’s dodge bonus by +1 at ranks 1, 2, 3, 5, 8, 10, 14 17, 21, 26, 31, 36, 42, 49, 55, 63, 70, 78, 87, 96. Telepathy lore will increase the duration of the song, the bonus is +1 second per rank for the first 20 ranks of telepathy lore. Every 2 ranks of telepathy lore thereafter will increase the song's duration +1 second. The total maximum duration addition for 100 ranks is 60 seconds. In case I hadn’t mentioned it before, it is important to remember that every two ranks of telepathy lore lengthens the duration of all your songs by two (2) seconds, longer song durations means fewer renewals in the field.

Troubadours Rally(1040) will attempt to stand the bard and their group to their feet with no round time and remove calm, stuns, binds, webs, or immobility afflicting the bard or their group. Invoked by shouting 1040, this spell will not attempt to aid the group if the bard remains incapacitated. In other words you have to save yourself, to save the others. Not all the effects may break on the first try, if it does stand you up, it will provide a bonus to breaking webs, binds, or immobility for you and the group. Stun, immobility, and web effects for the Bard are removed at a base rate of 60% -2% per second remaining in the effect's duration, +2% per mental mana control rank. The minimum rate is 40% Removes calm and sleep from group members with guaranteed success. Stuns, immobility, and webs are removed at a base rate of 90%, -3% per second remaining in the effect's duration, +3% at telepathy lore ranks 1, 3, 6, 10 15, 21, 28, 36, 45, 55, 66, 78, 91. The minimum rate is 10%.

A word of caution about sonic equipment particularly sonic shields and armor, should you become stunned or injured and are unable to renew your songs all of your sonic gear will immediately dissipate leaving you without your defenses. For this reason I strongly encourage bards to use metal armor, in many hunting grounds, particularly against creatures who pose a danger of falling or hurling rocks, such as gargoyles, pyrothags, stone giants, illoke, or krynch. Sonic equipment can also be dispelled.

=='''Secrets of the Bard Guild revealed'''==
'''Spoiler Alert in game secrets discussed below'''

Traveler’s song(1020) will magically teleport the bard an their group to the nearest bar or tavern, it will work anywhere you can use a gold ring. The song has a chance of failure and a long list of side effects, even when it works. Milder side effects include severe disorientation, and extreme thirst, which is one reason I carry a flask of strong drink at all times. On a failure, the bard may lose all their mana, suffer massive head and neck wounds, and or be teleported to a dangerous area. Playing an instrument will help your chances of success, as will anchoring yourself to a specific inn. Once anchored, a bard will always return to that inn on a successful attempt. To anchor, travel to the inn, you can only anchor where you land using 1020. Then create a song as long as you can manage in one breath, using details about the inn, the bar, the ale, etc.When you have your song written, prepare 1020, then sing your song, if it works a circle of mana will enfold you and sink into the ground.

In addition to our own spell circle, bards can sing in a wide variety of tones and have the unique ability to loresing to weapons, armor, and items allowing us to discern their properties. To create a loresong hold an item in your right hand, and use loresing (message) you can separate the verses using a semicolon. The first verse of a loresong must contain the item name, the second half asks the question. Say you have a drake dagger;

loresing drake dagger so simple and plain;let your true value now be explained

would tell you how much silver the dagger is worth. There are keywords that will provide certain information about items, they are value/weight, purpose, realm/skill, ability, and in some cases quality, while these keywords help successfully identify information about an item they are by no means required. However your songs do need to at least come close to rhyming, contain the item name, a question, and involve two or more verses.
The general order of loresong keywords to use varies based on the type of item, the key words are weight, purpose, realm, magic, skill, ability, and quality.

The first verse for all items is to begin by asking for its weight or worth, this will provide you with an exact item weight and an approximate value in silvers which may or may not accurately reflect prices on the open market.

On the second verse asking an item for its purpose will let you identify if it is magical, a weapon, or just plain jewelry. Asking for the quality of an instrument or lockpick will give you the relative quality of the pick and determine if the instrument is in tune.

On the third verse, use the keyword magic or realm will let you identify any enhancive properties, and the magical sphere of any spell inside the item, as well as the number of charges. If the item is a weapon using the keyword skill will give an exact enchant.

Four verses is usually enough glean everything about an item, asking for its ability will give you a precise spell name, and will identify the exact bonuses imparted by any enhancive properties present in the item, as well as any possible restrictions to the item’s use. Starting out you will need to invent new verses each time, after a bit of practice you’ll be able to reuse older rhymes to accommodate new items.

=='''Advanced Loresongs'''==

One technique not covered in the section on loresongs, was the concatenation technique, with this approach the item name always has to be contained in the second verse and as you progress you simply add an additional line to the existing verses, building it into a four or six line song. Concatenation is a technique far more favorable to the experienced rather than the bard fresh off the turnip farm. The technique was developed by a bardess named Morgatha Cywenth.

You will occasionally come across an unusual item with a very detailed loresong, the story it tells will obscure the resonance of the more mundane features like worth, magic, and enchant, some of these items may even prove harmful to the bard. In these rare instances you might be able to get additional information by bringing the item to the crystal at the abandoned inn in Wehnimer's Landing.

Loresongs can be sung at a target or object in the same room as the bard.

loresing :tone ::target and then the message.

Loresongs can be used to identify an owner of a weapon that has been lost, however this feature is rather time sensitive so best to try with a few hours of the item going missing. It can also be used to determine what size lock a box has, similar to the way calipers work for locksmiths, use the key word lock when attempting this technique. One final use is to loresing for the quality of lockpicks and instruments, be sure to use the key word quality when attempting this technique. Lastly, remember everyone is a critic! If you are feeling lazy loresing some place private, or sing in bardish.

=='''Training & Combat Advice'''==

With regard to how to approach song progression, I suggest learning elemental defense I (401), then focus on bard spells up to song of peace (1011), this will give you twenty (+20) defensive strength and a way to make an area safe. For those who don’t plan to use sonic equipment right away this is a good point to go back to minor elemental spells, disarm enhancement(404) helps with aiming, elemental wave (410) is good for crowd control, and elemental blade (411) will let you put flares on your ammunition. For those who do plan to use sonics, focus on the bard list through traveler’s song (1020), this will give you a way to teleport out of wilderness. Then train in elementals until you learn elemental targeting (425) the casting and attack strength bonuses are invaluable, especially once you learn the bard songs up to troubadour’s rally (1040). To summarize: 401, 1001 - 1011, 402-411 for archers, 1012 -1020, 402/411 - 425, 1025 – 1040, 430.

For a brawler I suggest double training(2x) in brawling and one and half training (1.5x)for dodge, combat maneuvers, physical fitness, single train (1x) in spells, harness power, and lores. Brawling bards combine sonic flares and the extra speed from song of Tonis (1035), focus on air lore for extra speed and improving your chances for a double flare on your sonic weapon. This build does not expressly require a shield but I’d strongly recommend it as sonic shields cause less hindrance to dodging and you’ll need the extra defense. Try learning the feint, sweep, cheapshots, and dirt- kick combat maneuvers. Feint allows you to give the target round time and force them into a more offensive stance, and at 5 ranks it can be used bare handed. Similarly many of the cheapshot maneuvers can be used without a weapon, they can be used to prevent casting, force stance, and give round time as well, but work best on plate armor or foes with more than two legs.

For a one handed weapon and shield user I recommend double training in the weapon of choice, and choosing either single training (1x) dodge and shield use, or double training (2x) shield use and either half training(.5x) dodge or dropping dodge training all together and using a tower shield, single train(1x) in spells, combat maneuvers, physical fitness, harness power, and lores. For bards who train heavily in shield use I suggest learning the shield bash, feint, cheapshot, sweep, and dirtkick combat maneuvers and focusing on air lore to maximize your potential for double flares and to reduce the dodge penalty from your shield. Shield bash for those who double train in shield and or sweep for those who study it less, will provide a knock down maneuver, which is a necessity for those creatures that like to topple over, or when you run low on mana before a song renewal.

For a two weapon wielding bard I recommend double training (2x) in two weapon combat and either edged or blunt weapons, single training in dodge, combat maneuvers, physical fitness, spells, harness power, and lore, with as much multi-opponent combat as you can manage to squeeze in. I suggest learning the hamstring, feint, sweep, and dirt kick combat maneuvers. Most two weapon combat bard are whirling dervishes that combine small fast sonic weapons, multi-strike, and song of Tonis (1035) to maximize the chances of flares. Focus on air lore is recommended, but telepathy lore can be just as useful for slowing down your foes and raising your attack strength bonus from Kai’s Triumph (1007). Hamstring works very well with two weapons, it gives round time, and a nasty leg injury which will hamper the target’s ability to dodge your follow up attacks. Feint will also be useful for creating an opening to make the most of your double striking abilities.

For lancers, I recommend double training (2x) polearms, and single training (1x) dodge, spells, combat maneuvers, physical fitness, harness power, and lores. Polearm training is more expensive than one handed weapons, making it harder to train in tertiary skills such as skinning, climbing, or first aid. Lances hit hard, but are unwieldy, if you can’t swing them fast enough, try using a hammer of kai, or naginata. For bards training in polearms while expensive, is easier than learning two handed weapons and provides access to the charge maneuver which is the most lethal knock down maneuver. Try learning the feint, charge, combat mastery, and dirtkick maneuvers. Polearms also work well with singing weapon (1025), I suggest using the halberd base. This build can focus on manipulation lore, flares are not as important on large weapons, and it will improve your purification song(1004), make your singing weapon’s (1025) attack stronger, and improve the damage from 1002 and 1030.

For archery double train (2x) ranged and perception, and single train (1x) dodge, spells, physical fitness harness power, and lore. Bard archers shoot from the open which precludes training in ambush, but it raises your attack strength after forty ranks, and provides a bonus to cheapshot maneuvers. Combat maneuvers do not help your ranged attack strength, but can provide defense against maneuvers and allows you to learn some passive combat maneuvers to help with defense, such as combat focus and cunning defense. Archery works well with singing weapon(1025) try using the heavy crossbow or longbow base. For hurlers double train (2x) hurling, perception, and one and a half train (1.5x) combat maneuvers, and single train (1x) dodge, spells, physical fitness, harness power, and lore. This is a physical heavy build and might require you to sacrifice dodge training in order to use a shield more effectively. Both builds should make use of vibration chant to remove a target’s shield.

For pure bards I recommend trying something else until you become a great lord then converting your skills over to a more magical build. Training is generally as close to 2x spells as you can manage while still being double trained in shield use, and single trained in lore, harness power. Many magic centered bards learn brawling to help with defend while playing an instrument, this becomes a moot point after you attain seventy five ranks of manipulation lore which will make your sonic disruption (1030) as damaging as possible even when focused and not require an instrument at all. These bards are very good at purifying gems and using vibration chant, I recommend learning 24 ranks of mental mana control in order to utilize song of unraveling to conserve your mana reserves in the field. Blue and crystal wands generally return the most mana when using song of unraveling (1013) it can also be used effectively against foes that have mana reserves but do not generally wear spells.

Racial considerations.

Well you can’t really help what race you are, and in the interest of full disclosure I have met bards from almost every race and culture during my years. Having said that, the most talented bards are usually very good with people and are highly influential, this lends itself to erithians and elves, perhaps most notably Lorenthrans. However, you will also find many successful half-elves and giantmen among the guild due to our superior combat ability. Keep in mind I am speaking in generalities and there are outliers, perhaps the most powerful bard I ever met was a gnome.

=='''Conclusion'''==

Please remember this has all been my opinion and take my advice with a grain of salt. I hope that my commentary has helped and I thank you for indulging me until the end. Now go do something dangerous and ill advised! Archales sur-Rocine

Archales' bard guide

2015-02-18T02:23:17Z

CMNABRIT:

=='''Preface'''==

“Music and martial arts share much in common, both wrestle with complex rhythms and elusive melodies.”(Nameless Bard)

This discourse is humbly submitted to my fellow practitioners, with an ear towards helping bards, both fresh from the guild, and those pushing the limits of our art. I can only hope that by aiming for goals so high I will not stray too far from my intended target. In those sections where I touch upon guild secrets I will encrypt them with a simple guild cipher that should make it easily understandable to the duly initiated. A~s~R.

=='''Introduction'''==

While I cannot quite claim to have tried every possible medley of weapons and tactics as a bard, I have made a game attempt at trying as many as possible over the years. I hope to cover as many different combat styles and techniques as I can accurately remember after decades of wanderlust and bar fights. Thankfully, the basic rules of engagement for combat as a bard remain rather constant despite your weapon of choice. The first is patience, chance favors the well prepared, so it is never a bad decision to take a moment to evaluate both yourself and your foe. Try to know as much about your foe as possible, is it a warrior, does it use a bow, is it magically inclined? These important considerations are best decided before descending into the heat of battle. As a bard, you will be most vulnerable at the beginning of a fight, generally speaking, your odds of survival increase the longer the battle goes on due to your array of disabling spells and maneuvers.

The second rule has many names, timing, rhythm, awareness, etc., it speaks to understanding the weapons and armor of combatants, as well as the more pedestrian observations about distance and terrain. The use of songs such as holding (1001), depression (1015), noise (1017) and Tonis (1035), to control the pace of the battle and setup your physical attacks is key to success in the field.

The third rule is misdirection, all good gleemen love a little sleight of hand, and the battle field is not so different from the stage, the foe the audience and you the consummate performer. If the foe is a warrior, use your songs and magic to draw them off guard, or incapacitate them. If the foe is a mage or cleric, use your weapon and maneuvers to close ground and kill them swiftly. If the foe can use both, use your best attack be it blade or song to kill or maim them immediately.

The fourth rule is balance or harmony between mind and body, magic and arms, abstract as it might sound at first this rule has a rather pragmatic basis. Even the loudest singers will find times when their voice fails them, the strongest lancer may be too wounded to use any weapon but his voice, every bard learns to strike a balance between mana and stamina through the use of tactics and experience.

=='''Instruments'''==

I’ll begin with the very basic necessity of diligently practicing and maintaining one’s instrument. While there are as many different kinds of bards, as there are facets on a gem it is my humble opinion that any worth their salt should learn to play at least one instrument. Beyond being a wonderful way to pass the time on long trips, a bard’s instrument can help them focus their own musical gifts in rather profound ways.

I will discuss the benefits of playing in more detail when I discuss songs later on, but it is wise to start practicing early and often when you are just starting out, so that playing and caring for the instrument becomes part of a routine. Playing ‘well’ takes practice, becoming ‘adept’ requires practice, talent, and training from the bard guild, there are four musical skill levels novice, apprentice, journeyman, and adept. Bards are able to tune instruments of a given class once their skill in playing it reaches an apprentice level, which makes practicing go faster and easier on the ears. *NOTE* Training from novice to adept in a particular instrument class, can take anywhere from several weeks for the very diligent, to several months for the easily distractible.

There are five different classes, woodwinds, horns, necked-stringed, stringed, and percussion but there is only one question when choosing an instrument, will it be one or two handed? Only percussion class is one-handed, they are not as expressive and yield half the benefits of a two handed instrument, however they are far safer to use in the field as they allow for a shield to be wielded. All other instruments require both hands, but are doubly effective at amplifying songs such as holding(1001), traveller’s song (1020), and sonic disruption (1030). My advice is to first become adept with a two handed class, then learn a percussion instrument to use in battle once you have your full repertoire of attack songs and enough mana to use them. Yes, I left out bagpipes on purpose because I think they are an abomination to the ears, and should not be inflicted on others. Don't like it write yer own guide.

=='''Armor & Weapons'''==

Enough flowery talk and theory for the time being, let us explore the basics of armor and weapons, I’ll start with armor since it’s pretty straight forward you wear it, and boo boos hurt less. Bards have the flexibility to wear several different types of armor, but for most only three will ever be needed. To start off, double leathers (AsG8) are great, low spell hindrance and you can still move around pretty good without much armor training (8ranks). Eventually, most bards want more protection and choose brigandine (AsG12), it takes a blow much better and won’t keep you from casting (35ranks). Most experienced bards stop at augmented chainmail (AsG15) it covers everything but the head and neck (50ranks for maneuver 90ranks for spell hindrance). *Warning* Notice the huge spike in spell hindrance if you attempt to wear armor accessories such as helmets, aventails, or gorgets. Heavier armor could be trained for but you would find your magical abilities severely hampered in heavy armor.

There are lots of weapons, but there are three basic categories unarmed, melee, and ranged. Melee weapons have basically two categories one handed and two handed although a small handful of weapons are able to be gripped in order to wield them one or two handed. The benefits of using a one handed weapon are that it allows you to use a shield and generally attack faster than you would using a two handed weapon. The drawback to light weapons is that they generally do not do as much damage as the heavier two handed weapons, you can compensate for that by either aiming your shots or attacking in flurries using multi-strike. Two handed weapons are generally heavier and slower than one handed weapons and preclude the use of a shield, however they are better at parrying incoming attacks and do more damage when they strike. Use your songs to create an opening in your foe’s defenses before striking to mitigate the increased risk of being exposed during longer attack round times.

I’ll cover unarmed combat quickly since all you need are hands and feet. The basic skill for this style is brawling, it relies on quick punches and kicks in combination to subdue a foe, there are four basic attacks with this style, jabs, punches, grapples, and kicks. Jabs are used to set up better positioning on your foe, punches are good follow ups and do more damage than jabs, grapples are take downs used to temporarily immobilize your foe, and kicks are the slowest but also the most damaging. The gloves and boots designed for unarmed combat will allow you to make use of flares and defensive enchantments on your gear making you harder to hit. Although there are brawling weapons, they will make it slightly harder to land your jabs, grapples, and punches, but will provide an extra chance for a flare with each attack.

Ranged weapons include hurling and archery, they lend themselves to sniping, which is not a particular strong suit for bards, however we can compensate for that using vibration chant (1002) to shatter weapons and shields, lullabye (1005) it is very easy to hit a sleeping target, and using song of Tonis (1035) to fire as fast as possible even while aiming. Both styles require excellent perception, the distinction is that hurling requires training in combat maneuvers to be most effective and it does not for archery. Ranged weapons are generally very fast and very deadly if you can aim them correctly. There is an increased chance of losing ammunition or hurled weapons using ranged attacks so be sure not to break the bank on arrows, or hurling weapons as they will have to be replaced over time.

=='''Songs'''==

Songs are unique the bard profession and are unlike any other magic in Elanthia, they can affect both the bard’s own defense and attack abilities, and lower a foe’s physical and magical defenses, they can affect an entire area or be narrowly focused on a single target. Best of all they can be renewed consciously by the bard at lower mana costs and with no fear of armor hindrance, but if you forget many of them renew automatically. There is a risk of…umm side effects from many songs including injury, dismemberment, and even death in some cases, learning a song is in no way the same as having mastered the use of said song. Songs can be incanted to auto target or you can specify using sing first, second, third foe, etc. There are limits to how many songs a bard can sing simultaneously, any time you sing more than three songs you are subject to a multi-song penalty, which is based on the number of songs you are actively singing, songs known, your discipline, and logical aptitude (statistics).

Song of holding (1001) is the first song we learn, it may seem underwhelming at first, but reducing the defenses of a foe by ten percent becomes rather significant when fighting a dangerous foe. The song can be focused at a single target or can be sung unfocused to affect multiple attackers, the number of foes affected is increased by one for every seven songs known beyond 1001. Additionally playing an instrument while singing this song will increase the reduction in defense by roughly 5 points if using a one handed instrument, or 15 points if using a two handed instrument.

Vibration chant (1002) makes a weapon or shield vibrate hard enough to slip from a foe’s grasp, above a certain warding threshold the song will shatter any non-magical weapon or shield, even when it does not shatter the target will incur round time while it struggles to regain its grip. The warding threshold for shattering weapons is lowered with training in manipulation lore.

Fortitude song (1003) is the first of our auto renewing songs that you will learn and it provides a flat bonus of ten to your defensive strength. Although it only costs three mana to sing it up and one mana to renew it does contribute to multi-song penalties and many bards find it is actually more efficient to start the song and then stop it immediately and manually renew it after your other songs to avoid it being counted in the melody.

Purification song (1004) is a utility spell that allows a bard to use vibrations to remove imperfections from a gem, each successful attempt increases the value of the gem by roughly ten percent. Pay close attention how a gem responds when you attempt to purify it repeatedly, it will begin by glowing, then humming, then improving somewhat, after that point it will begin to crack and groan from the strain and becomes much more likely to shatter from the vibrations, possibly taking a large chunk of your hand along with it. Training in mental lore – manipulation will reduce the risk of shattering a gem. Occasionally a gem will twist and turn in response to your song and all of its imperfections will be removed, these are commonly called orb gems, and can be used to imbed or bless magical spells into the gem. If you train in trading this can be a very lucrative skill set to develop, high quality bard purified orbs are in high demand among clerics for use as chrism gems.

Lullabye (1005) is a staple of almost all bard’s repertoires it does not require a warding roll and will put most living creatures into a deep sleep, or at least make them drowsy enough to be slowed (adds round time to most actions the target attempts). This spell does not work as well on undead although it will slow them it will not put them to sleep.

Song of luck (1006) is the first of our group songs while the song is running it has a chance to activate any time you or a group member attempts or defends against a combat maneuver the song provides in effect a second attempt and the better of the two attempts is applied. Luck will not always favor the bard sometimes you have a choice of a bad attempt and a terrible attempt, the more songs you know the more likely it is that the luck will be good. The song works for maneuver and attempting to disarm traps for certain but I also suspect it may help with other tasks such as picking pockets and foraging, I just can’t prove it.

Kai’s Triumph song (1007) is a real crowd pleaser and one of the reasons bards are always a welcome addition to any hunting party. It provides a base bonus of ten (+10) to attack strength to you and anyone joined to your group. This bonus increases by one (+1) for every song known above 1007, up to a bonus of twenty (+20) attack strength at twenty songs known. This song only affects melee, ranged, and magical bolt attacks, it will not raise you or your group’s casting strength. You can increase the bonus to attack strength even further by training in mental lore telepathy your attack will increase by one (+1)at each of the following ranks 3, 7, 12, 18, 25, 33, 42, 52, 63, 75, 88, 102 Along with improving attack strength, once you learn nineteen songs you and your group will experience increased health recovery. This song will also help you and your group recover from the shear fear effects caused by undead however it will not help with warding it off in the first place.

Stunning shout (1008) is a useful attack song for physical bards that focus on air lore for extra flares and extra speed from sonic weapon (1012) and song of Tonis(1035), that will disable a foe for three rounds of combat. The initial strike isn’t usually lethal but does do damage based on how strongly you ward the target, every three ranks of air lore increases the damage for the initial strike by one (+1). Here’s the formula: 10 base damage + trunc((endroll - 100) × .250)) + (EL: Air ranks ÷ 3). The secondary critical is based on comparing your level versus your target’s and how well you warded the target, it will usually stun or knock them down. The tertiary critical will either stun or disorient the target, an effect very similar to being drunk. This spell is handy for keeping multiple foes from attacking while you finish off another.

Song of Valor (1010) is a song every bard should use and provides a bonus of ten (+10) to your defensive strength, an additional plus one (+1) to defensive strength is granted for every two bard songs known beyond 1010. This spell also helps to ward against fear based attacks. Song of Peace (1011) creates a minor sanctuary that follows the bard wherever they go preventing hostile actions and most creatures will avoid entering the area. This spell works best in an empty room, and each foe near your level will increase the chances of failure. Some kinds of demons summoned by a sorcerer are able to disrupt or even break a minor sanctuary. Training in the songs and telepathy lore can help you prevent a demon from interfering or breaking a sanctuary.

Sonic shield song (1009) creates a shield of air with a base enchantment of ten (+10) the enchant increases by one (+1) for every two songs known, so by the time a bard learns the song it will be equivalent to three enchantments (+15), this increase can go as high as seven enchants (+35), with fifty (50) songs known. Training in air lore reduces the dodge hindrance by one shield size at twenty (20), fifty (50), and one hundred (100) ranks. The default sonic shield is a medium, but many other shield sizes can be specified by the bard after preparing the song.

Sonic weapon song (1012) creates a base enchant of (+10) the enchant increases by plus one (+1) for every two songs known, against the living there is a chance for a second sonic flare on every strike that lands. When used against the undead the weapon will have its’ base enchant and will not flare. Air lore training increases the chances of a second flare by 3% at the following ranks 3,7,12,18,25,33,42,52,63,75,88,102

Song of Unraveling (1013) is the most precise way to dispel, it can be focused to remove a specific spell from a target, using sing {target}(spell #). Sung unfocused it dispels 1 active spell from a target, you can manually renew it to continue removing spells, if no magic is active on the target, it will begin to drain mana This song imposes a warding pushdown on the target, reducing the target’s warding attempt by -1 for every two songs known, focusing on a particular spell, will nullify the warding pushdown. Used on a weapon or shield the song will remove blessing, or elemental blade spells. It works on magic items, wands can be used to recover mana quickly in the field. Be sure to use this song before magically impairing (1001,1005,1015) a target, the most recently applied spells are removed first, which would strip away your spells before removing any of the target’s own magic. Spirit and higher level spells will be harder and require more mana to unravel.

Sonic Armor (1014) creates a base armor of three enchants (+15) the enchant increases by (+1) for every two songs known up to seven enchants (+35). Nearly weightless and it can be used to create anything from robes to platemail. Sonic armor has a slight vulnerability to impact damage like falling or getting hit by rocks, but resistant to elemental damage, the resistance increases with more songs and training in air lore. Song of

Depression(1015) gives anyone outside your group a warding penalty of twenty(-20) TD, this penalty does not affect the initial cast, the spell also slows the target making all their actions take longer.This song is very useful for setting up warding spells to be more effective for your group. Telepathy lore increases the warding penality by -1 TD at ranks: 1, 2, 3, 5, 8, 10, 14, 17, 21, 26, 31, 36, 42, 49, 55, 63, 70, 78, 87, 96 (total -20 TD and adds +1 to RT at ranks: 10, 25, 45, 70, 100 (total +5 RT).

Song of Rage(1016) attempts to enrage a target, forcing them into a more offensive stance, giving round time the target will only attack you when under the song’s effect. The song can be manually renewed to stack the offensive push down and add to the target’s round time. Used after depressing(1015) a target, the round time imposed increases. Most bards will agree this song is too mana intensive to use on anything except casting foes that are too hard to hit with their guard up.

Song of Noise(1017) disrupts the flow of mana, and prevents the use of magic in the area, the effect is so powerful that it can even prevent your own songs from renewing. The song’s effects will follow the bard as they move, but takes a few seconds to catch up, allowing a brief window for the bard to renew or cast. The song’s effect has limits repeated attempts to cast by multiple foes may eventually break through, knowing more songs will allow you to stop more spells before the song fails.

Song of Power(1018) creates a mobile mana focus that will follow the bard as they move, increasing mana recovery for everyone grouped to the bard. This song is very unstable and losing control will severely injure or even kill the bard and others nearby. To mitigate the risks be sure to stop and start the song manually, the longer you sing the more unstable it will become. Using the song in an existing mana focus or while another bard is singing 1018 will cause a nearly instant catastrophic failure, you will lose control, and the mana will likely catch fire around you, the resulting explosion can kill you and others. Do not fall asleep after a hunt with this song running, it kills more bards every year than any hunting ground.

Song of Mirrors(1019) creates mirror images of the bard making it harder for foes to hit them, the song grants the equivalent of twenty(20) dodge ranks, this increases by one(+1) for every two songs known. I can't say enough about how fantastic this song is, was, continues to be, but it doesn't need much explaining. Even if you do not outright dodge an attack those magical dodge ranks will still make you harder to hit by raising your defensive strength. An from a style point of few, I always get a kick out of having mirror images obscuring my true form, maybe i'm just creepy like that...

Singing Sword Song (1025) creates a free floating weapon the bard can control with their mind, stuns and wounds to your head or nerves, will impair it’s attack strength and being calmed or asleep it will stop all attacks. The spell does not flare and is rather slow, polearms or heavy crossbows work the best. It is able to hit hidden targets, but will not begin attacks unless the bard is visible The melee attack strength formula is: 1+ [weapon bonus + (combat maneuver ranks/2) + ((songs known -25)/2) + (manipulation lore ranks/2) + (inf + aura bonus)/2] For ranged attack strength the formula is: 1+[weapon bonus+(perception ranks – 40)/2 + (ambush ranks – 40)/2 + (songs known -25)/2 + (manipulation lore ranks/2) + (influence + aura bonus/2)] Tell weapon to attack {target}, to start attacks. Tell weapon to return, will make the weapon reappear in your room, very useful if you move around a lot while hunting. Tell weapon to cease will cause the weapon to immediately stop attacking. These formulas are based on math I did on a napkin while drinking at the tavern.

Sonic Disruption(1030) attempts to ward anything in the area not in your group, playing an instrument while using this song increase the damage.
Manipulation lore increases the damage factor by +6 damage for every 10 ranks, at 15 ranks the bard can focus the song at a single target, for half the mana cost. With 30 ranks the bard can sing the open version as if accompanied by a one handed instrument, at 60 ranks your song becomes equivalent to using a two handed instrument, at 75 ranks you’ll be able to focus on a single target as if accompanied by a two handed instrument. It is safer to use a one handed instrument since you can use a shield while playing. I suppose with brawling training you might be safe enough playing a two handed instrument in the field. This song is extremely dangerous to other players use discretion when singing the open version as anyone passing through is likely to be maimed or killed.

Song of Tonis(1035) speeds up you and your group, imparting a bonus of twenty (20) dodge ranks and lowering your round time by -1. Training in air lore lowers round time by -1 at 30, and 75 ranks, (-3RT total.) Air lore will also increase the group’s dodge bonus by +1 at ranks 1, 2, 3, 5, 8, 10, 14 17, 21, 26, 31, 36, 42, 49, 55, 63, 70, 78, 87, 96. Telepathy lore will increase the duration of the song, the bonus is +1 second per rank for the first 20 ranks of telepathy lore. Every 2 ranks of telepathy lore thereafter will increase the song's duration +1 second. The total maximum duration addition for 100 ranks is 60 seconds. In case I hadn’t mentioned it before, it is important to remember that every two ranks of telepathy lore lengthens the duration of all your songs by two (2) seconds, longer song durations means fewer renewals in the field.

Troubadours Rally(1040) will attempt to stand the bard and their group to their feet with no round time and remove calm, stuns, binds, webs, or immobility afflicting the bard or their group. Invoked by shouting 1040, this spell will not attempt to aid the group if the bard remains incapacitated. In other words you have to save yourself, to save the others. Not all the effects may break on the first try, if it does stand you up, it will provide a bonus to breaking webs, binds, or immobility for you and the group. Stun, immobility, and web effects for the Bard are removed at a base rate of 60% -2% per second remaining in the effect's duration, +2% per mental mana control rank. The minimum rate is 40% Removes calm and sleep from group members with guaranteed success. Stuns, immobility, and webs are removed at a base rate of 90%, -3% per second remaining in the effect's duration, +3% at telepathy lore ranks 1, 3, 6, 10 15, 21, 28, 36, 45, 55, 66, 78, 91. The minimum rate is 10%.

A word of caution about sonic equipment particularly sonic shields and armor, should you become stunned or injured and are unable to renew your songs all of your sonic gear will immediately dissipate leaving you without your defenses. For this reason I strongly encourage bards to use metal armor, in many hunting grounds, particularly against creatures who pose a danger of falling or hurling rocks, such as gargoyles, pyrothags, stone giants, illoke, or krynch. Sonic equipment can also be dispelled.

=='''Secrets of the Bard Guild revealed'''==
'''Spoiler Alert in game secrets discussed below'''

Traveler’s song(1020) will magically teleport the bard an their group to the nearest bar or tavern, it will work anywhere you can use a gold ring. The song has a chance of failure and a long list of side effects, even when it works. Milder side effects include severe disorientation, and extreme thirst, which is one reason I carry a flask of strong drink at all times. On a failure, the bard may lose all their mana, suffer massive head and neck wounds, and or be teleported to a dangerous area. Playing an instrument will help your chances of success, as will anchoring yourself to a specific inn. Once anchored, a bard will always return to that inn on a successful attempt. To anchor, travel to the inn, you can only anchor where you land using 1020. Then create a song as long as you can manage in one breath, using details about the inn, the bar, the ale, etc.When you have your song written, prepare 1020, then sing your song, if it works a circle of mana will enfold you and sink into the ground.

In addition to our own spell circle, bards can sing in a wide variety of tones and have the unique ability to loresing to weapons, armor, and items allowing us to discern their properties. To create a loresong hold an item in your right hand, and use loresing (message) you can separate the verses using a semicolon. The first verse of a loresong must contain the item name, the second half asks the question. Say you have a drake dagger;

loresing drake dagger so simple and plain;let your true value now be explained

would tell you how much silver the dagger is worth. There are keywords that will provide certain information about items, they are value/weight, purpose, realm/skill, ability, and in some cases quality, while these keywords help successfully identify information about an item they are by no means required. However your songs do need to at least come close to rhyming, contain the item name, a question, and involve two or more verses.
The general order of loresong keywords to use varies based on the type of item, the key words are weight, purpose, realm, magic, skill, ability, and quality.

The first verse for all items is to begin by asking for its weight or worth, this will provide you with an exact item weight and an approximate value in silvers which may or may not accurately reflect prices on the open market.

On the second verse asking an item for its purpose will let you identify if it is magical, a weapon, or just plain jewelry. Asking for the quality of an instrument or lockpick will give you the relative quality of the pick and determine if the instrument is in tune.

On the third verse, use the keyword magic or realm will let you identify any enhancive properties, and the magical sphere of any spell inside the item, as well as the number of charges. If the item is a weapon using the keyword skill will give an exact enchant.

Four verses is usually enough glean everything about an item, asking for its ability will give you a precise spell name, and will identify the exact bonuses imparted by any enhancive properties present in the item, as well as any possible restrictions to the item’s use. Starting out you will need to invent new verses each time, after a bit of practice you’ll be able to reuse older rhymes to accommodate new items.

=='''Advanced Loresongs'''==

One technique not covered in the section on loresongs, was the concatenation technique, with this approach the item name always has to be contained in the second verse and as you progress you simply add an additional line to the existing verses, building it into a four or six line song. Concatenation is a technique far more favorable to the experienced rather than the bard fresh off the turnip farm. The technique was developed by a bardess named Morgatha Cywenth.

You will occasionally come across an unusual item with a very detailed loresong, the story it tells will obscure the resonance of the more mundane features like worth, magic, and enchant, some of these items may even prove harmful to the bard. In these rare instances you might be able to get additional information by bringing the item to the crystal at the abandoned inn in Wehnimer's Landing.

Loresongs can be sung at a target or object in the same room as the bard.

loresing :tone ::target and then the message.

Loresongs can be used to identify an owner of a weapon that has been lost, however this feature is rather time sensitive so best to try with a few hours of the item going missing. It can also be used to determine what size lock a box has, similar to the way calipers work for locksmiths, use the key word lock when attempting this technique. One final use is to loresing for the quality of lockpicks and instruments, be sure to use the key word quality when attempting this technique. Lastly, remember everyone is a critic! If you are feeling lazy loresing some place private, or sing in bardish.

=='''Training & Combat Advice'''==

With regard to how to approach song progression, I suggest learning elemental defense I (401), then focus on bard spells up to song of peace (1011), this will give you twenty (+20) defensive strength and a way to make an area safe. For those who don’t plan to use sonic equipment right away this is a good point to go back to minor elemental spells, disarm enhancement(404) helps with aiming, elemental wave (410) is good for crowd control, and elemental blade (411) will let you put flares on your ammunition. For those who do plan to use sonics, focus on the bard list through traveler’s song (1020), this will give you a way to teleport out of wilderness. Then train in elementals until you learn elemental targeting (425) the casting and attack strength bonuses are invaluable, especially once you learn the bard songs up to troubadour’s rally (1040). To summarize: 401, 1001 - 1011, 402-411 for archers, 1012 -1020, 402/411 - 425, 1025 – 1040, 430.

For a brawler I suggest double training(2x) in brawling and one and half training (1.5x)for dodge, combat maneuvers, physical fitness, single train (1x) in spells, harness power, and lores. Brawling bards combine sonic flares and the extra speed from song of Tonis (1035), focus on air lore for extra speed and improving your chances for a double flare on your sonic weapon. This build does not expressly require a shield but I’d strongly recommend it as sonic shields cause less hindrance to dodging and you’ll need the extra defense. Try learning the feint, sweep, cheapshots, and dirt- kick combat maneuvers. Feint allows you to give the target round time and force them into a more offensive stance, and at 5 ranks it can be used bare handed. Similarly many of the cheapshot maneuvers can be used without a weapon, they can be used to prevent casting, force stance, and give round time as well, but work best on plate armor or foes with more than two legs.

For a one handed weapon and shield user I recommend double training in the weapon of choice, and choosing either single training (1x) dodge and shield use, or double training (2x) shield use and either half training(.5x) dodge or dropping dodge training all together and using a tower shield, single train(1x) in spells, combat maneuvers, physical fitness, harness power, and lores. For bards who train heavily in shield use I suggest learning the shield bash, feint, cheapshot, sweep, and dirtkick combat maneuvers and focusing on air lore to maximize your potential for double flares and to reduce the dodge penalty from your shield. Shield bash for those who double train in shield and or sweep for those who study it less, will provide a knock down maneuver, which is a necessity for those creatures that like to topple over, or when you run low on mana before a song renewal.

For a two weapon wielding bard I recommend double training (2x) in two weapon combat and either edged or blunt weapons, single training in dodge, combat maneuvers, physical fitness, spells, harness power, and lore, with as much multi-opponent combat as you can manage to squeeze in. I suggest learning the hamstring, feint, sweep, and dirt kick combat maneuvers. Most two weapon combat bard are whirling dervishes that combine small fast sonic weapons, multi-strike, and song of Tonis (1035) to maximize the chances of flares. Focus on air lore is recommended, but telepathy lore can be just as useful for slowing down your foes and raising your attack strength bonus from Kai’s Triumph (1007). Hamstring works very well with two weapons, it gives round time, and a nasty leg injury which will hamper the target’s ability to dodge your follow up attacks. Feint will also be useful for creating an opening to make the most of your double striking abilities.

For lancers, I recommend double training (2x) polearms, and single training (1x) dodge, spells, combat maneuvers, physical fitness, harness power, and lores. Polearm training is more expensive than one handed weapons, making it harder to train in tertiary skills such as skinning, climbing, or first aid. Lances hit hard, but are unwieldy, if you can’t swing them fast enough, try using a hammer of kai, or naginata. For bards training in polearms while expensive, is easier than learning two handed weapons and provides access to the charge maneuver which is the most lethal knock down maneuver. Try learning the feint, charge, combat mastery, and dirtkick maneuvers. Polearms also work well with singing weapon (1025), I suggest using the halberd base. This build can focus on manipulation lore, flares are not as important on large weapons, and it will improve your purification song(1004), make your singing weapon’s (1025) attack stronger, and improve the damage from 1002 and 1030.

For archery double train (2x) ranged and perception, and single train (1x) dodge, spells, physical fitness harness power, and lore. Bard archers shoot from the open which precludes training in ambush, but it raises your attack strength after forty ranks, and provides a bonus to cheapshot maneuvers. Combat maneuvers do not help your ranged attack strength, but can provide defense against maneuvers and allows you to learn some passive combat maneuvers to help with defense, such as combat focus and cunning defense. Archery works well with singing weapon(1025) try using the heavy crossbow or longbow base. For hurlers double train (2x) hurling, perception, and one and a half train (1.5x) combat maneuvers, and single train (1x) dodge, spells, physical fitness, harness power, and lore. This is a physical heavy build and might require you to sacrifice dodge training in order to use a shield more effectively. Both builds should make use of vibration chant to remove a target’s shield.

For pure bards I recommend trying something else until you become a great lord then converting your skills over to a more magical build. Training is generally as close to 2x spells as you can manage while still being double trained in shield use, and single trained in lore, harness power. Many magic centered bards learn brawling to help with defend while playing an instrument, this becomes a moot point after you attain seventy five ranks of manipulation lore which will make your sonic disruption (1030) as damaging as possible even when focused and not require an instrument at all. These bards are very good at purifying gems and using vibration chant, I recommend learning 24 ranks of mental mana control in order to utilize song of unraveling to conserve your mana reserves in the field. Blue and crystal wands generally return the most mana when using song of unraveling (1013) it can also be used effectively against foes that have mana reserves but do not generally wear spells.

Racial considerations.

Well you can’t really help what race you are, and in the interest of full disclosure I have met bards from almost every race and culture during my years. Having said that, the most talented bards are usually very good with people and are highly influential, this lends itself to erithians and elves, perhaps most notably Lorenthrans. However, you will also find many successful half-elves and giantmen among the guild due to our superior combat ability. Keep in mind I am speaking in generalities and there are outliers, perhaps the most powerful bard I ever met was a gnome.

=='''Conclusion'''==

Please remember this has all been my opinion and take my advice with a grain of salt. I hope that my commentary has helped and I thank you for indulging me until the end. Now go do something dangerous and ill advised! Archales sur-Rocine

Archales' bard guide

2015-02-18T01:52:01Z

CMNABRIT: /* Songs */

Archales' bard guide

2015-02-18T01:46:20Z

CMNABRIT: Created page with " =='''Preface'''== “Music and martial arts share much in common, both wrestle with complex rhythms and elusive melodies.”(Nameless Bard) This discourse..."