D&D 5E Bards. They are silly. Is there a way to make them NOT silly?

[rgoodbb]

I have wanted for a long time to do a Bard/Monk combo called Tango.

All his powers come from dance. Cool Dance, not Morris-Dance (sorry. May be fun but not cool). Kicks and mesmerising performance weaving entertainment and movement into something else. Not sure how powerful said PC would be but a (unique?) concept nonetheless.

Bard is so versatile that it could be anything that currently struggles to meet your concept.

Simply put, A Bard could probably do anything.

 

[mrpopstar]

In any event, Gygax's bard seems to have ultimately been abandoned in favor of the more rascally ministral of Schwegman.

Rascally minstrel for the win!

 

[Aldarc]

The 5th Edition bard covers the 4th Edition incarnations well enough, but it doesn't do so in such a way as to move the class forward in terms of maturation of overall concept. — It feels reductive in terms of being defined by magic use as opposed to the things that make it special and unique.

I think the argument speaks largely to the communal gripe that 5th Edition relies too heavily on spellcasting. The bard is a victim of that.

I increasingly do wish that the bard was toned down in spellcasting to level 5 spells, as per ranger and paladin, and that Expertise was redesigned for both the bard and rogue.

 

[mrpopstar]

I increasingly do wish that the bard was toned down in spellcasting to level 5 spells, as per ranger and paladin, and that Expertise was redesigned for both the bard and rogue.

I'd love to see the bard's expertise focus on Charisma-based ability checks, the rogue's expertise focus on Dexterity-based ability checks, and the Ranger's expertise focus on Wisdom-based ability checks.

Then we'd have all of the experts performing like experts in the pillars/challenges we expect.

 

[mrpopstar]

Expertise. Your proficiency bonus is doubled for any Charisma check you make.

or

Expertise. Your proficiency bonus is doubled for any Charisma check you make that uses one of your skill proficiencies, or your proficiency with musical instruments.

or something

#offthetopofmyhead

 

[Tony Vargas]

I increasingly do wish that the bard was toned down in spellcasting to level 5 spells, as per ranger and paladin...

Don't do any class the disservice of wishing the ignominy of half-casting on them...

...well, except non-casting classes, of course. ;P

 

[Mad_Jack]

No no no. I said NOT silly. The opposite of this. So I guess the question becomes, "What is the opposite of a motivational speaker?"

Actually, I believe the idea you're looking for is known as "Command Presence" in military terms...
When a bard casts magic or inspires someone, they're literally changing the world by the power of their voice and their will alone.

The musical instrument or speech is only there to focus and enhance the effects of the Bard's force of personality - just as much as a sorcerer, their magic is directly connected to their willpower. When the bard plucks the strings of his lute , he's plucking the strands of Fate itself.

 

[Tony Vargas]

So I guess the question becomes, "What is the opposite of a motivational speaker?"

A de-motivational speaker?

A motivational mime?

 

[Saeviomagy]

Ways to take a bard's inspire ability seriously:
1. Adventuring is a grim and gritty life. A bit of levity reminds you that life is worth living, and taunts can genuinely distract, enrage and confuse a foe. Hit points, saves and attack rolls are such vague concepts that they can represent pretty much any benefit or drawback. So the comedy bard... is being played straight.
2. The noble speech. Even mid-combat. Bards don't need to use instruments any more, and a stirring speech motivates you and demotivates your foes.
3. Tactics. Anything requiring timing requires rhythm. If you know that the third note of the 5th bar is when you and the rogue coordinate an attack on the 3rd-last foe you attacked, that's an edge. And you know that if the wizard is singing the counter melody, you know he needs some space for that fireball that's coming. And unlike calling out "hit the one with the crown!" or "make room for a fireball", anyone not in on the practice doesn't know what you are up to.
4. Deception. If you spend the first round of combat attacking on the beat, letting your foes get used to the rhythm, and then break the beat in the next round, your foes will be at a disadvantage.
5. Annoyance. Even humans often find the music of other humans irritating. Imagine how annoying elven music is to orcs, or gnomish music to kobolds.

 

[BookBarbarian]

A de-motivational speaker?

A motivational mime?

A de-motivational mime? Hmm. that may be redundant.