The Bard of Aetolia

Bard of Aetolia class portrait

The Bard is Aetolia’s untethered performer-assassin: a class trained in the Djeirani Theater of Shadows. Acrobatic falchion work, light-shaping magic, and Songcalling combine to serve both spectacle and the kill.

At a glance
TetherUntethered
CityNone (origin: Djeir’s Theater of Shadows)
GuildNone on Sapience; learn from Haratos in the Theater
Skill setsWeaving, Performance, Songcalling
Mirror classNone (untethered)
Sister class in guildNone
Signature mechanicGrace of the Empress (legal assassination under Da’ath Nievva)
Best forPlayers who want acrobatic combat, dramatic flair, and ritualised killing

Bards are performers and assassins both, working out of the Theater of Shadows in the Undercity of Djeir. The art originated as a brutal blend of drama and bloodsport. It survived a civil war, a goddess’s wrath, and centuries of imperial politics. Outsiders could not study it until the year 502 MA, after the Grand Tragedie nearly ended the profession entirely.

The Bard is one of the most distinctive classes in Aetolia. If you want a swordfighter who sings legend into reality and operates under a royal license to kill, this is the only place to find it.

Origin and lore

The Bard tradition began as theater. The Undercity of Djeir hosted plays that blended drama and bloodsport in front of paying audiences. When civil war broke out following the death of Empress Jy’rilia Garilicci, the Theater emerged as a political power, extending its skills from entertainment into aristocratic assassination. So great was its influence that it managed something rare: it united the noble houses of Djeir against it.

The houses planned the slaughter of the Theater. Vascsce, a low-born actor and lover to Nueciale Garilicci, learned of the plan and walked into the noble quarters humming. He felled each house head in a single deadly performance, pouring his soul into his work and stumbling onto the magical art of Songcalling along the way. By dawn, Nueciale was Empress.

She granted Vascsce attro ca pa’sa, the Grace of the Empress, which forgives any crime committed under Djeirani law. The Concordat she established made the sitting Empress patron of the Theater. In exchange, the Theater accepts no contracts on the throne. The accord still stands.

In 501 MA, Master Bard Teclah Neri tried to stage an assassination during a play for Nalibhtavi, the Replete. The goddess took it as a desecration and slaughtered almost every Djeirani Bard. After that, Haratos, Master of the Theater, opened the doors. Outsiders can now learn the craft from him for 40 credits.

Skill sets

The Bard skill sets are Weaving, Performance, and Songcalling.

Weaving is the class’s magical school: an ancient Djeirani discipline that shapes light into illusory objects and effects, drawing on ambient spirit. A skilled weaver can produce countless props, falling stars, and the orbiting globes of light that are the signature of the form. Onyx jewellery helps mitigate the dithering exhaustion that comes from prolonged light-work.

Performance covers the physical half. A Bard wields the falchion with acrobatic flair, finding ways to throw off an opponent’s pace. The skill covers acting, disguises, charm work, and dramatic histrionics in addition to the swordplay. Every traditional Bardic activity falls under Performance.

Songcalling is the voice as a weapon. Each song of power belongs to a collection called The Eminent Ensemble, ballads of legend and myth whose lyrics have impacted people across the ages. By using their soul as a catalyst, a Bard can tap into this musical legendarium and shape the emotions of an audience. Instrument selection is deeply personal: a portion of the Bard’s soul is imbued into the chosen instrument to allow simultaneous play and song.

Skill abilities

Weaving

Performance

Songcalling

Visual style and identity

To properly fulfil their obligations and invoke attro ca pa’sa, a Bard must work with dramatic flourish and elaborate effect. Despite the supposed mundane physicality of Performance, dexterous acrobatics and skilled swordplay are well-honed to provide entertainment and spectacle. Weaving ranges in intensity from pinpricks of light to great shows of illumination depending on the complexity of the act. Among its most distinguishable creations are the globes of bright light which orbit a victim, and the falling stars that signal a serious working.

Selection of one’s instrument is an extremely personal choice. Imbuing a portion of one’s soul into the instrument makes it a prominent feature of the Bard’s ballads and tunes. The hands of a master playing their bonded instrument are a captivating sight.

Side effects of the work

Constant physical exertion wears on the body, and a Bard must respect their limits, taking time to rest and to warm up before any particularly taxing endeavour. The risk of physical exhaustion and injury is intensified by the dithering effect that comes from prolonged Weaving. Complex light-work is extremely taxing and difficult, though its effects can be mitigated by wearing jewellery made from onyx.

Bards cover a wide range of archetypes. Charming rogues, swashbucklers, lively brawlers, and combinations of all three are equally valid reads on the class. Rarely are any two alike given the vast platform for expression that theatrics provide. Murder is an omnipresent facet of even the most sophisticated societies, and a Bard adheres to no strict alignment or morality, choosing their own way.

Who plays this class

The Bard suits players who want a class with strong roleplay theming. The Grace of the Empress is a unique mechanic: it allows legal, ceremonial assassinations through the Ceremony of the Rose, also known as Da’ath Nievva. The ritual is elaborate: a black rose presented to the target, who may accept it (denying the spectacle) or refuse it (committing to a dramatic, legal kill). After the strike, the Bard lays the rose on the corpse, bows, and verbally invokes the Empress’s Grace.

Mechanically, the class rewards players who like to mix acrobatic melee with magical control. Songcalling and Weaving give the Bard a versatile second layer that most other classes do not have. Songcaller burst and falchion finesse mean the Bard can pivot between roles depending on the fight.

Essential, however, is a love of the dramatic and a fondness for stories, whether a grand saga delivered in royal chant or a bawdy tale shared over the spit and sawdust of a seedy inn.

Origin and apprenticeship

The Bard has no city-anchored guild on the continent of Sapience. The Theater of Shadows sits in Djeir, the Undercity ruled by the Garilicci line. The Empress remains the Theater’s patron under the Concordat, and the Bards remain immune from prosecution for assassinations carried out under the Ceremony of the Rose.

Outsider apprenticeship became possible after the Grand Tragedie of 501 MA. Haratos, Master of the Theater, teaches the craft to those willing to invest 40 credits and learn. He is the only path to the class for non-Djeirani players.

Because the Bard is mechanically untethered, you can multiclass freely with either Spirit or Shadow classes and move between cities without losing the class. Race choice is independent of class, so you can play a Bard of any Aetolia race.

Frequently asked questions

The roleplay frame is rich and the skills are forgiving at low rank, but the class rewards setup. If you like learning a kit slowly through trial play, the Bard will reward the time. If you want a straightforward melee class, look at a martial like the Wayfarer or Templar first.

It is the legal cover for assassinations carried out by Bards under the Concordat. Invoking it requires the Ceremony of the Rose: presenting a black rose to the target, who can accept (no kill) or refuse (legal kill follows). After the strike, the Bard lays the rose on the corpse, bows, and verbally invokes the Empress’s Grace. The Bard must also avoid returning to the Theater until the following day.

The Theater of Shadows is in Djeir, the Undercity. It is the historical home of the class. After the Grand Tragedie, the Theater opened to outsiders rather than reconstituting as a Sapient guild. The class remains tied to the Theater, not to any of the four Sapient city-states.

Other classes to consider

Three classes worth a look if you like the Bard profile. Or see Aetolia’s class hub for the rest of the roster.

Infiltrator

Untethered (mechanically) Syssin assassin class with dirks, whips, and Hypnosis. Pick Infiltrator if you like the assassin frame but want the urban Shadow politics of Spinesreach instead of Djeirani theater, and if you prefer mental manipulation to Songcalling.

Predator

Untethered knife-fighter with sitaras and beast companions. Pick Predator if you want a similar untethered killer profile but prefer the wilderness, raw physicality, and animal kinship to performance and stagecraft.

Shapeshifter

Untethered beast-form class that joins one of five Packmoot factions. Pick Shapeshifter if you want maximum class flexibility (zero lesson investment to start) and a transformation-based fighting style.

Back to all 32 Aetolia classes | Aetolia beginner’s guide | Create your Bard and play free