Power Level Edit
The Bard's power lies in its knowledge of stories. The named can manipulate a figure of power by the knowledge of what role the individual is playing. Just a few words from the Bard can set a hero on a suicidal mission or set enemies against one another. Still as shown when Amadeus launched three successive deadly attacks against the Bard she is susceptible to story plots herself, three being an important number in conflicts. When attacked the Bard teleports to another location making it nigh impossible to kill the named. The Bard's near invulnerability to death as well as her ability to speak make her a truly powerful enemy but she can still be countered by: Shutting her mouth using named power (Squire), continually lethal attacks causing her to retreat (Amadeus), or not having a desire for her to manipulate (Anaxares), the final way is to be a better weaver of stories (Theodosian).
The Bard's role is not to fight but to advise and direct the story. The name is usually apart of a band of heroes not integral to the parties survival but the name helps the group to achieve its major task. The role is not concerned with good that affects individuals on a small scale but mainly guides the party to achieve over arching objectives that will hinder evil or cause drastic shifts in alignment for the populace. This allows her to do "bad" things which do not affect her since the named is concerned with the overall outcome.
The Bard has stated that her original purpose was to maintain balance between Good and Evil, but with the rise and unending reign of the Dead King, she has been forced to carry out only Good-aligned schemes to balance his actions.
The name has existed for as long as stories were told. The Bard appears to die when she considers the current story to be over, but reappears as a different person with the same consciousness in order to observe and manipulate the next phase of history.
The Bard's power lies in the user's knowledge of stories, allowing them to pit foes against one another and utilize both heroes and villains as pawns to enact strategies that thematically allow them victory. These can be stories such as a champion (Rafaella) fighting a monstrous beast (Sabah) to avenge some maidens (which Bard tricked Sabah into killing). If any hero or villain allows the Bard to drawn them into the conversation, she can manipulate them into starting various stories for her own ends. This is displayed when Catherine narrowly escapes entering a story that ends with her death three times in a single short conversation.