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Message: <blockquote data-quote="Messageboard Golem" data-source="post: 2010421" data-attributes="member: 18387">The Quintessential Bard is the 15th book in Mongoose Publishing's Quintessential series. Each is a 128-page book dedicated to a single class or major race from the traditional d20 rulebook. The Quintessential Bard delves into the mysteries of one of the least respected or played of the main hero classes, the Bard. Although the Bard combines the ability to cast spells with reasonable combat bonuses, a skill list almost as extensive as the Rogue's and at least two potent, and completely unique, abilities, the Bard class has often been considered a jack-of-all-trades, much less powerful than its more specialised companions. The brief introduction of this book makes it clear that the author does not agree with this assessment and aims to set the Bard aside and highlight clearly the Bard's role during adventuring.The book, as is traditional with the Collector's series, begins with a selection of Character Concepts. There is a full 12 pages of concepts to choose from. These concepts outline a basic history that can be incorporated into a character's background and present players with "seeds" around which to build their new character. The character concepts section is usually one of my favourites in a Quintessential book, presenting new and novel takes on the traditional classes, and the Quintessential Bard does not disappoint. Given the diverse nature of the Bard, it is no surprise that the author presents some truly original concepts, many of which players might not have considered for a Bard character before. Included, among others, are the Artist, the Aspirant, who aims to replicate the achievements of his mythical heroes, the Cantor, a Bard dedicated to the principles of his God, the Naturalist, a Bard whose roots lie deep within the Druid order, the Storm Crow, whose mission in life is to immortalise the stories of the fallen on the battlefield, and the Wily Vagabond, driven by an insatiable wanderlust to journey the world in search of adventure.In the second chapter, the Prestige Bard introduces the readers to a selection of new prestige classes, each especially suited to Bard characters. The book presents the reader with eight completely distinctive prestige classes, all of which could easily be incorporated into play. The classes each present a unique selection of abilities, each tending to specialise in one or two of the class abilities that they inherit from Bard. The Dream Dancer aims to enter the hearts and souls of her audience through the dance and learns to blend with her magic in such a way that she can influence her audience in a manner that would impress the most accomplished enchanter. The Elder brings the ancient secret of tribal lore to the game with a class perhaps more suited to NPC characters. The Grand Master aims to embrace all the intricacies of Bardic Music, including the mysteries introduced in this book. The Jester, again perhaps of more interest to the Game Master for his characters, is an inspired creation, combing an idea taken from many medieval stories with some interesting abilities that would make the character a welcome and intriguing addition to any courtly roleplaying session. The Seneschal is another class of interest to those that like to play in courtly intrigues and would make a worthy adventurer in such campaigns, carrying out the duty of his King and Court while at the same time having every reason to explore the local dungeons and mysterious castle ruins. The Seneschal's class abilities might not be particularly strong but he will rarely be without assistance should he need it. The Singer of the Dawn corrects one of the most severe weaknesses of the Bard class. Since the majority of the Bard's spells come from the enchantment school and bardic music is mind affecting, undead pose a significant problem for Bard characters. The Singer of the Dawn taps into the soul-twisting power of song and uses it against undead. For all those bards that have ever wandered undead-infested dungeons, unable to take direct action, the Singer of the Dawn is a must-have option. The Soul Taker finally breaks through the do-gooder mould of the Bard. For the Game Master looking for a villain with a little panache, the Soul Taker will make the local Bard over into something truly terrifying to behold. After encountering one of these beguiling women, your players will never risk thinking the local bard harmless again, assuming that is, they survive the encounter. Finally, the class completes with the World Singer, the only class in the book to specialise in (or even continue) bard spell progression. The World singer combines the music of the bard and his magic into an offensive weapon comparable to any wizard.Although some might be disappointed with the lack of emphasis on spellcasting ability, the prestige Bard chapter presents both players and Game Masters with a selection of classes just "dying" to enter play. Every class comes complete with an inspirational description and this chapter alone is a store-house of ideas for Game Masters looking for a new story, villain or ally for their campaign.Tricks of the Trade begins, obviously enough for the Bard class, with some new uses for the traditional Bard skills. There are some nice little touches here. For anyone interested in the swashbuckling aspects of the class the insult option presented under the Innuendo skill deserves a look. My only complaint with this part of the chapter would be that it does not go far enough and considering the later emphasis on the Bardic Knowledge ability, it would have been nice to see some support Bard Knowledge options for the Knowledge skills as well as the Gather Information skill. After skills, the chapter moves on to minor musical effects that can assist a character or group of characters in performing certain actions. Although at first sight this might appear to be overpowering - giving the bard yet more bonuses for using his perform skill - the effects are well thought out and with the exception of the Battle Hymn, not really useful in combat. Nothing in the section should unbalance game play and the low level Bard should enjoy using these abilities to good effect. Finally, the Tricks of the Trade chapter completes with a section on the various Professions that a Bard might follow. There is nothing particularly inspiring here but as a source of quick-reference rules for making a little extra money between games, it could not be better presented.After a brief foray into new Feats for the Bard character, all of which are well written and carefully balanced, the reader comes to the Tools of the Trade. The chapter begins with a description of masterwork instruments, providing some minor bonuses in exchange for finding a skilled craftsman to create your instrument. This is followed with Invested Instruments, allowing the Bard character to invest his instrument with a minor extraordinary or supernatural effect in exchange for a Feat. Both of these brief sections, used by colourful players, should allow them to bring out an intriguing side of the Bard stereotype, creating a personalised instrument that will mean as much to them as any +2 longsword ever meant to a Fighter. This is followed up with a selection of magical instruments that a bard can manufacture or discover. In contrast to the normal content of one of these chapters, the Quintessential Bard presents the reader with a vast array of magical items, with only six mundane tools beyond the initial section on instruments. All of these items are carefully crafted with the ideals and flavour of the Bard class in mind but that has not prevented the author from introducing some interesting and quite powerful items that could be used at higher levels of game play. The Greater Bell of Dominion, for example, could form the core of a whole campaign in its own right as the Bard character aims to claim its power and find the true leader of his homeland. The chapter finishes with two new types of magical item - the magical crafts and compositions. Magical crafts are minor magic items. With the extent of other items already in the game, these items are probably superfluous. The effects can be achieved elsewhere far more easily and more reliably. Compositions allow a group of musicians to create almost any magical effect. They seem a little too easy to manufacture and the range of possible effects too large but, if they are unbalanced, it is close to the mark and many game masters might enjoy having these unusual magic items in their games.The Power of Lore is a nice chapter outlining in detail the possible uses and expanded rules concerning the Bardic Knowledge class ability. Anyone that plans to use their Bardic Knowledge should read this chapter carefully. The chapter, though, is probably of more use to Game Masters needing a little help adjudicating this very general class ability. If there is a flaw in this chapter it lays at the end with the extraordinary uses, many of which could have done with a more complete description. The Recognise Stories option, especially, sounds interesting but seems a little lacking, giving neither player nor Game Master enough information to use the ability.Mysteries of Music are the real heart of this book. At 20 pages, this is an enormous expansion on the Bardic Music class ability. The Mysteries, as presented, are each a collection of four spell-like affects that operate under the same basic rules as the original bard music ability, including required ranks in perform. Access to each new mystery requires the expenditure of a Feat. Each of the mysteries is associated with an instrument or type of performance. There is a wealth of magical abilities within this chapter and something for almost any type of character. There are over thirty different mysteries presented, more than 120 separate powers of various levels, ranging from the actor's ability to shroud his true self to the sacred music that can support and power divine spells.Mysteries is followed by the Bard Spells chapter. Again, the author shows his meticulous eye for game balance and brings the Bard a selection of spells that are both interesting and still appropriate to the Bard's spell list. Included are spells that amplify the bard's diplomatic skill, a selection of powers that amplify the area of effect of bardic music and a selection of interesting, double-edged telepathic abilities that could be either a blessing or a curse depending on how they are used. The chapter is short and there are only sixteen spells presented but each is a welcome and balanced addition to the Bards' repertoire.The book finishes its explorations with two chapters, Bardic Duels and Venues. These chapters expand on the Bard's culture. How much use these chapters will get is very much dependent on the campaign. Bardic Duels will likely get at least one use in any campaign where there is a Bard character. The rules are extensive and a little over complicated. Still, in a formal setting, these rules can allow a Bard to shine for reasons other than his ability with a rapier. Venues does provide a wealth of information on different types of Venue and outlines a few examples, many of which are just stories waiting to happen. The rules for Venues will probably not get as much use. They are simple enough but I suspect most Game Masters prefer not to get dragged down into the nitty-gritty details of Venue design.The book, on an artistic level, is adequate though, with only a black & white interior and sketch-like pictures, the artistic quality is less than some other d20 products. I would go as far to say that the Quintessential Series is not about artwork, though, but about the content of the writing. Like all the Quintessential series, there are good things and there are bad things in the Quintessential Bard. From the point of view of someone that happens to like Bards, I would have to say that Quintessential Bard comes out with more good than bad by quite some way. I am personally of the opinion that if a book of this type does not produce at least one idea that you do not like than the author has not done his job right. These books are supposed to appeal to a wide range of people and there are as many different styles of play as there are players. The Quintessential Bard aims to set the Bard up as an interesting character type in its own right and in this, I think that the book succeeds. The prestige classes, the mysteries and the Feat presented all go a long way toward settling the issue of how the Bard character can aid his fellow adventurers during game. On a personal note, the book also addresses one of my own gripes, providing some ideas for that most allusive of creatures, the Bard adversary - they can be evil too!</blockquote>

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