Game of Swords

By Darrell Walker (walkerh@coral.indstate.edu)

Author's Notes

This is a "new" Art I just came up with today. I am posting it in character, and because this posting actually takes place well after the current in-character thread, I must take certain liberties. Hopefully no one minds -- I have tried to remain true to everyone's character as he/she has been portrayed up to this point. This is still in the rough draft stage; any comments are more than welcome.

I've noticed a lot of "let's make Faeries tough" Art-making out there. I have tried very hard to balance this, and strongly believe it is something that should be.

Thanks must go out to Robert Jordan and his Wheel of Time as well as West End Games and there Star Wars RPG. Those of you familiar with either will find some of their ideas within.

Introduction

The Game of Swords, an Essay of Glamour Presented during court in a hologram tube via messenger to the Countess Katherin and the Lady Elisabeth

[A six-inch tall image of Aerinn appears before you]

Most of you probably know me by now; my name is Aerinn Moonwater, though I've had many names. The story behind the rediscovery of this Art is an interesting one. One day my good friend Etienne and I were practicing the blades when something not unlike an Epiphany struck me. Suddenly many memories, long forgotten, flooded into me as the Mists parted briefly. I was left with the memory of this long-forgotten Art. Luckily, I was in an extremely safe place at the time, and Etienne was very supportive. The following history has been pieced together by the two of us after much self-discovery and dream-voyaging (what mortals now vulgarly know as hypnosis -- but that is a topic for another day), and is as accurate as can be expected given the fickelness of Glamour and our own crippling of memory by the Mists.

I will use the masculine pronouns for simplicity's sake throughout this missive, but I wish to point out that the following techniques are as easily utilized by women as men. In fact, some of the most formidable Blademasters I have ever known were women.

The Game of Swords dates back to sometime well before the Shattering. Many believe there were warriors before there were wars, and in the same vein, there were Blademasters long before the first Faerie raised arms against another. In fact, the Art was originally developed for court displays and entertainment. It was a game, and it was many of the Fair Folks' favorite. But that was in times of peace. When the Fae began to war amongst themselves, the martial applications of this Art were quickly realized and implemented. It was a sign of the growing Banality in ourselves that we would ever dare to use such a gift of the Dreaming on each other.

This Art was originally developed by Faeries, and I myself utilized long before I became a Changeling. In those days the elements themselves responded to the Glamour inherent in a conflict between two Blademasters, and earthquakes and lightning bolts out of clear skies were common occurrences at such duels. But alas, Banality has taken much from us, and all that is left is the rudiments of the Art. It could be that Faeries in Arcadia still practice it, but my memories of our common homeland are forever taken from me, and Etienne assures me that he never saw such a thing.

As far as we can tell, the Art virtually became nonexistent after the Shattering. Changelings were too concerned with survival against the raging tide of Banality to learn such a time-consuming and specialized Art. Etienne and I both believe that the Art may have surfaced during the Renaissance in Arcadia, but we have no proof of this. This, then is what is left to us.

Though traditionally a Sidhe Art, the Game of Swords can be learned by any willing Fae who has a blade and a teacher. And I myself will teach Commoners if they cannot find another. The Art is traditionally used with Chimerical weapons, though it is possible to use it with more mundane blades. [When used with a blade of non-Chimerical nature, all rolls regarding this Art are at +1 difficulty.] This Art will not function with an iron weapon, and I pity the vengeance the Dreaming enacts on any foolish enough to try it (consider yourself warned, Eric Mikelson). [All these Cantrips last for one Scene unless otherwise noted. Also, though traditionally used agains an opponent using a melee weapon, it can be used against others with a +3 difficulty.]

Also, unlike other Arts, this is a martial Art. The Changeling must be skilled in his weapon to gain any benefits from the Cantrips. [You must have an equal level of melee or higher than The Game of Swords.]

Bunks for these Cantrips usually consist of flashy, showy maneuvers that serve no real purpose in battle but are usually quite impressive. For examples watch any Hollywood production involving swordplay; no offense friend Bilby.

It is at this point that I must caution you, before you read any farther. This Art was initially a game, and later used to further the cause of the Dreaming. If it is ever used against the Dreaming, I am sure there would be dire consequences against the offender by the Dreaming itself. This Art uses Glamour to directly enhance one's combat skills. If the Dreaming does not approve of the way it is used, the consequences will be swift and severe, enacted by the Dreaming itself. If you still want to learn, Eric, I will teach you. For though your path is along a different road than the rest of us walk, I believe your heart to be true. But if I am to teach you, you must swear an Oath to me and to the Dreaming that you will never use it in opposition of the Dream. Enough said -- on to the Art.

Attribute

Perception

* Sense Opponent

The Blademaster opens himself to Glamour, and the Dreaming responds by giving him an empathic link with his opponent. The Blademaster effectively knows what his opponent is going to do a split-second before he does it. Unfortunately, because this is mainly a beginning level of proficiency in the Art, the Blademaster can't really do anything about what is about to happen -- he doesn't have enough time to react. [He does, however, know when an imminent hit is coming, so he can (at the Storyteller's option) get a lowered difficulty to his soak roll.]

Realms:

Actor -- Describes who can be sensed.
Fae -- Describes who can be sensed.
Nature -- Describes what can be sensed.
Prop -- Describes what can be sensed.
Scene -- Used to sense multiple opponents.

Successes: Successes determine the adjustment to the difficulty of soak rolls. All these difficulty modifcations are to a minimum of Difficulty 2.

One success:	No bonus.
Two successes:	-1 Difficulty
Three successes:	-2 Difficulty
Four successes:	-3 Difficulty
Five successes:	-5 Difficulty

** Wall of Steel

At this level of ability, the Blademaster can use his Sense of his opponent to strengthen his defense. He effectively knows where his opponent is going to strike and can parry accordingly. Note that these Cantrips are cumulative. You must use Sense Opponent before using this Cantrip. This is why Blademasters spend so much time "feeling each other out" before the real battle begins. This Cantrip isn't used only to defend yourself, but can be used to defend others.

Realms:

Actor -- Describes who you can defend.
Fae -- Describes who you can defend.
Nature -- Describes what you can defend.
Prop -- Describes what you can defend.
Scene -- Used to defend multiple subjects.

Successes: If you are not dodging or parrying, this Cantrip increases your opponent's Difficulty to hit you. If dodging or parrying, it adds to the total of your defense dice pool (dodge and soak).

One success:	Opponent at +1 Difficulty / +1 to Defense and Soak pool
Two successes	Opponent at +2 Difficulty / +2 to Def. and Soak pool.
Three successes	Opponent at +3 Difficulty / +3 to Def. and Soak pool.
Four successes	Opponent at +4 Difficulty / +4 to Def. and Soak pool.
Five successes	Opponent at +4 Difficulty / +5 to Def. and Soak pool.

*** Dashing Move

Due to your knowledge of your opponent, you can strike through, around, or in spite of his defenses. Sense Opponent must be used first.

Realms:

Actor -- Describes who you're attacking.
Fae -- Describes who you're attacking.
Nature -- Describes what you're attacking.
Prop -- Describes what you're attacking.
Scene -- Used to attack multiple opponents.

Successes: Successes equate to automatic successes for this strike. You must use this Cantrip for each separate strike. Note, if you are using Scene in conjunction with other Realms, you can hit more than one opponent with one strike. Each additional opponents after the first increases the difficulty of the Cantrip by +1. This makes for moves of truly heroic proportions.

One success	+1 success to attack roll.
Two successes	+2 successes to attack roll.
Three successes	+3 successes to attack roll.
Four successes	+4 successes to attack roll.
Five successes	+5 successes to attack roll.

**** Brothers of the Blade

This Cantrip allows two or more Blademasters to fight together in perfect concert. Each must cast Sense Opponent and this Cantrip successfully. The difficulty of the Cantrip is +1 for every Blademaster after the second.

Realms:

Actor -- Describes the recipient(s) of the Cantrip.
Fae -- Describes the recipient(s) of the Cantrip.
Nature -- Describes the recipient(s) of the Cantrip.
Prop -- Describes the recipient weapon(s) of the Cantrip.
Scene -- Allows more than two Blademasters to coordinate.

Successes: Much of this must be roleplayed, but for every Blademaster in the group, Difficulties of all combat rolls are reduce by one. Unlike the other Cantrips this does not automatically last a full scene. This type of concentration and cooperation is very difficult to achieve and even more difficult to maintain for long.

One success:	Lasts 1 turn.
Two successes:	Lasts 3 turns.
Three successes:	Lasts 5 turns.
Four successes:	Lasts 7 turns.
Five successes:	Lasts 1 scene.

***** Turn the Tide

This move is a Blademaster's last resort when faced with a superior foe. When all seems lost it is the true Blademaster who can Turn the Tide and snatch victory from the jaws of defeat.

If the Blademaster is losing the battle, but has performed the other needed Cantrips of this Art successfully, and is Wounded or worse, he may attempt to Turn the Tide. The Blademaster is obviously fighting a superior foe, and if he is worthy (Storyteller's discretion), the Dreaming will come to his aid.

This Cantrip cannot be used while benefiting from Brothers of the Blade; it is used when a lone warrior is facing unbeatable odds (this is not to say that the Blademaster must actually be alone).

Realms:

Actor -- Describes the opponent.
Fae -- Describes the opponent.
Nature -- Describes the opponent.
Prop -- Describes the weapon empowered by the Dreaming.
Scene -- Used to engage multiple opponents.

Successes: If any success is achieved, the Blademaster can ignore wound penalties for one turn.

One success:	-1 Diff. to attack / +1 level damage if hit.
Two successes:	-2 Diff. to attack / +2 levels damage if hit.
Three successes:	-3 Diff. to attack / +3 levels damage if hit.
Four successes:	-4 Diff. to attack / +4 levels damage if hit.
Five successes:	-5 Diff. to attack / +5 levels damage if hit.

The Difficulty to soak this attack is +3 to a maximum of 10.

This is always a magnificient move to witness as Glamour wraps around the Blademaster and his weapon, and the Dreaming guides his failing strength into one last monumental strike. Not only will this be tremendously damaging to the Blademaster's immediate foe(s), but even the most disciplined of troops will flee such a display of power and favour of the Dreaming.

If the Blademaster fails to hit with this attack, the Dreaming is utterly disgusted with him. He loses two permanent Glamour and all his temporary Glamour points, and the Dreaming leaves him to his fate.

Epilogue

After reading this, Countess Katherin and Lady Elisabeth, you can see that it is a dangerous yet powerful tool. As yet Etienne and I are the only fae (to my knowledge) who know of it. I put it and myself at your disposal to use as your wisdom dictates (there are whisperings of a rising House...?). As for me, already my "Epiphany" is leaving me, fading...leaving me to the cold loneliness of the Mists. If you should mention this letter to me, and I don't remember, don't be surprised. And don't be alarmed. Just send friend Etienne at me with his great sword, and the forms will come back to me to be sure!

Lastly, I would like to give tribute, though it may seem strange to you. I would like to honor Whitegold, my companion in the Dreaming, and also Soulguider, who once again has led me to what was lost. No, the blade is not sentient, though it seems so sometimes, but it does have the ability to clear the Mists when it is important.

And lastly, I would like to remember Rashelle, my one true love perhaps. It was to defend ones fair as she is that this Art was first turned to its more grisly of purposes. To this day, I have not failed her, and I pray that I never do. A Faerie praying! you say. Yes, I do pray. She is mortal, as I once was (I can imagine the surprise on your face, Elisabeth!), perhaps one day, when the great gates of Arcadia open once more, she will be brought to the Dreaming, as has always been my dream.

Listen to me, I am rambling again, as is my tendency. Rashelle says she likes it when I ramble...likes the sound of my voice, but you probably do not, and your time is precious.

Good sleep and fortune to you.

Yours in the Dreaming,

Sir Aerinn Moonwater of House Fiona, Favored of the Dreaming
Knight of the Silver Branches
Knight of the Krystal Loch
Defender of the Dreaming

Just your average, every-day freak,
Darrell Walker
walkerh@coral.indstate.edu