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<blockquote data-quote="Wulffolk" data-source="post: 7047833" data-attributes="member: 6871450"><p>Though I have been involved with D&D since 1980, I very rarely have had the chance to be a player. Most of my time playing characters has been online with NeverWinter Nights 1 & 2. My favorite character to play has been various incarnations of a Barbarian/Bard "Skald" concept, heavily influenced by Norse culture.</p><p></p><p>I have played this in multiple forms, as both male and female versions, sometimes replacing the Barbarian part with Fighter or Ranger, almost always as a Human, but once as Half-Elven and once as Half-Orc. What I love the most about this concept is the versatility combined with the RP potential.</p><p></p><p>The idea is that he/she joins with heroes that have the potential to accomplish great deeds. My character witnesses these deeds and composes a saga about the heroes. Of course, it wouldn't be worthy of a saga if the heroes failed, so my Skald inspires the heroes through music and magic, is diverse enough in skills to cover for lack of ability in others, and adept enough at battle to tip the scale in the hero's favor. I try to be the ultimate sidekick, without needing to be the center of attention.</p><p></p><p>My two favorite versions of this concept were:</p><p></p><p>Ragnar Ghost-Wolf (Ragnar the Defiant) who died an epic death defending a fallen pack-mate and was rewarded by other players performing a truly inspired funeral pyre scene. Being influenced by Werewolf: The Apocalypse this character followed a wolf totem, had very beastial mannerisms, and his Bardic Music was wolf howls. He also used the Summon Monster spell as a way for his totem to materialize as a Dire Wolf and help him in battle.</p><p></p><p>Kara Brynmaer (later becoming Dead Kara, Val'Kara) was a Ranger/Bard that served the white aspect of the god of death in this setting. Kara's perefered form of Bardic Music was Curse Song, which she used to demoralize foes by singing their dirge rather than inspiring her allies. She was the last standing member of a party that had attempted to clear a Dwarven hall of a Balor. Though she fought alone for a prolonged period and brought the Balor to the brink of defeat she was struck down just before she could finish the job. In a reversal of fortune, she became the hero of a song written by another Bard.</p><p></p><p>Both died a "good death", and how you die is at least as important as how you live. I strongly prefer perma-death games for this reason. Courage means nothing without consequence.</p></blockquote><p></p>
[QUOTE="Wulffolk, post: 7047833, member: 6871450"] Though I have been involved with D&D since 1980, I very rarely have had the chance to be a player. Most of my time playing characters has been online with NeverWinter Nights 1 & 2. My favorite character to play has been various incarnations of a Barbarian/Bard "Skald" concept, heavily influenced by Norse culture. I have played this in multiple forms, as both male and female versions, sometimes replacing the Barbarian part with Fighter or Ranger, almost always as a Human, but once as Half-Elven and once as Half-Orc. What I love the most about this concept is the versatility combined with the RP potential. The idea is that he/she joins with heroes that have the potential to accomplish great deeds. My character witnesses these deeds and composes a saga about the heroes. Of course, it wouldn't be worthy of a saga if the heroes failed, so my Skald inspires the heroes through music and magic, is diverse enough in skills to cover for lack of ability in others, and adept enough at battle to tip the scale in the hero's favor. I try to be the ultimate sidekick, without needing to be the center of attention. My two favorite versions of this concept were: Ragnar Ghost-Wolf (Ragnar the Defiant) who died an epic death defending a fallen pack-mate and was rewarded by other players performing a truly inspired funeral pyre scene. Being influenced by Werewolf: The Apocalypse this character followed a wolf totem, had very beastial mannerisms, and his Bardic Music was wolf howls. He also used the Summon Monster spell as a way for his totem to materialize as a Dire Wolf and help him in battle. Kara Brynmaer (later becoming Dead Kara, Val'Kara) was a Ranger/Bard that served the white aspect of the god of death in this setting. Kara's perefered form of Bardic Music was Curse Song, which she used to demoralize foes by singing their dirge rather than inspiring her allies. She was the last standing member of a party that had attempted to clear a Dwarven hall of a Balor. Though she fought alone for a prolonged period and brought the Balor to the brink of defeat she was struck down just before she could finish the job. In a reversal of fortune, she became the hero of a song written by another Bard. Both died a "good death", and how you die is at least as important as how you live. I strongly prefer perma-death games for this reason. Courage means nothing without consequence. [/QUOTE]
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