A bard’s life is spent wandering across the land gathering lore, telling stories, and living on the gratitude of audiences, much like any other entertainer. It can be hard to spot the difference between these performers and true bards, though. Discovering the magic hidden in music requires hard study and some measure of natural talent that most troubadours and jongleurs lack. Not every minstrel singing in a tavern or jester cavorting in a royal court is a bard. Bards become masters of the talents they set their minds to perfecting, from musical performance to esoteric knowledge. They have a wide-ranging knowledge of many subjects and a natural aptitude that lets them do almost anything well. Their spells lean toward charms and illusions rather than blatantly destructive spells. But bards are capable of defending themselves in melee if necessary, using their magic to bolster their swords and armor. Many bards prefer to stick to the sidelines in combat, using their magic to inspire their allies and hinder their foes from a distance. The greatest strength of bards is their sheer versatility. The music of bards is an attempt to snatch and harness those echoes, subtly woven into their spells and powers. Bards say that the multiverse was spoken into existence, that the words of the gods gave it shape, and that echoes of these primordial Words of Creation still resound throughout the cosmos. The bard is a master of song, speech, and the magic they contain. In the worlds of D&D, words and music are not just vibrations of air, but vocalizations with power all their own. Whether scholar, skald, or scoundrel, a bard weaves magic through words and music to inspire allies, demoralize foes, manipulate minds, create illusions, and even heal wounds. Laughing as she tunes her cittern, a gnome weaves her subtle magic over the assembled nobles, ensuring that her companions’ words will be well received. The magic of his song fortifies and emboldens them. Humming as she traces her fingers over an ancient monument in a long-forgotten ruin, a half-elf in rugged leathers finds knowledge springing into her mind, conjured forth by the magic of her song-knowledge of the people who constructed the monument and the mythic saga it depicts.Ī stern human warrior bangs his sword rhythmically against his scale mail, setting the tempo for his war chant and exhorting his companions to bravery and heroism. Overall it kept me watching the whole 10 minutes and I enjoyed it but would have liked less dialogue and more action.Monstrous Compendium Volume One: Spelljammer CreaturesĬreate your free Character Bard Class Details Also use more action sequencies and try to visualize the story rather than to tell it trough dialogue. The scenes where they were flying to Egypt and riding the camels were a good exception from this pattern. The scenes consist of the same scheme: characters arrive - characters talk about what they discovered and are going to do - characters go to the next location. This is annoying in live-action, even more in animation. The film consists completely of dialogue and thus is the story completely dialogue-driven. The story itself is good enough and should keep one interested, though I there were some problems with your way of storytelling. The cinematography was basic and had only a few interesting angles (0.51 - 01.00 09.52 - 09.55). The voice acting was the best part of the film, the characters had the voices they needed. I was happy with how it turned out.Īgain - thank you to all - I hope you enjoyed watching.Īlthough the standards for egypt films have been raised much by mobdeli's 'Egyptian Holiday', Secrets of the Lost Tomb can compete with it. I was worried that I would not be able to create an adequate representation. I came up with the rest based on the fact that there were irregularities with the Sphinx head.įireguy789 Thanks for your comments about the Sphinx set. As for whether or not it is true - I was intentionally vague so the viewer would uth be told, the opening paragraph about Emile Baraize and his work on the Sphinx is completely true. The only other possibility (in my mind) was using the tan bricks for the floor as well but I wanted some contrast between the floor and the walls. As for the yellow floor, it was a design decision. Perhaps someday when I have a 'dedicated' studio space. I did briefly consider using sand in the desert sets but due to the fact that I have to move my sets several times during production it wouldn't have worked for me. Thank you for taking the time for that as well.įilmfire96 I agree on both the sand and the yellow floor. I am most appreciative of those of you who provided comments and feedback. Ten minutes is a lot of time to devote to watching a brickfilm so I want to thank you for that. Thank you so much to all of you who watched this video.
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