https://www.profounddecisions.co.uk/mediawiki-public/api.php?action=feedcontributions&feedformat=atom&user=JamiewEmpire - User contributions [en]2026-04-06T21:45:54ZUser contributionsMediaWiki 1.39.6https://www.profounddecisions.co.uk/mediawiki-public/index.php?title=Liathaven&diff=43400Liathaven2016-04-16T09:19:05Z<p>Jamiew: </p>
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{{CaptionedImage|file=Regionsofliathaven.png|title=Turmoil disturbs the trees of this ancient western forest|caption=Regions of Liathaven|align=left|width=600}}<br />
== Overview ==<br />
Liathaven is the ancient western forest between the [[The Brass Coast|Freeborn]] mountains of [[Kahraman]] and [[Bregasland]] of the [[The Marches|Marches]]. Even in the time of Terunael, the forest was old. There are immense trees in parts of Liathaven that are believed to be thousands of years old, and parts of the forest that even today have seen only a handful of humans pass through them. Liathaven itself is only a spur of a much larger forest that stretches hundreds of miles to the west; a great wood that served as a natural boundary between the [[Jotun]] barbarians in the north and the [[Faraden]] foreigners in the south.<br />
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The wildlife of Liathaven likewise tends to be larger than normal, with [[Mundane_beasts#Big_Cats|forest lions]] and [[Mundane_beasts#Dire_Beasts|dire beasts]] (especially bears, wolves and stags) being comparatively common compared to other parts of the Empire. The weather in Liathaven is changeable, and the territory is known for its heavy storms and strong winds, caught as it is between the temperate Marches and the warmer Brass Coast to the south.<br />
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Most parts of Liathaven have been well-settled by the Navarr - those few Terunael ruins that have not been incorporated into [[steadings]] have mostly been studied by scholars and archaeologists - but occasionally a hitherto overlooked structure will be found, wreathed in vines or buried under centuries of undergrowth. The richest new ruins are found along the borders of the [[Vallorn]]-infested regions of Liath's Heart and Westwood, of course.<br />
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Many of the Striding that walk the Trods around Liathaven are composed of some of the more militant members of the nation, who will stop at nothing to recover their homeland from the Jotun. In Liathaven the ''Duskbourne Striding'' have traveled from around the Empire to reclaim Liathaven to make it their new home. The ''Pathfinder Striding'' sold on all their goods to fund the military units that they use to support the Liathaven resistance. Many of the Stridings in Liathaven such as the ''Y'Basden'', the ''Companions of Tarw'' and the ''Keepers of the Way'' have formed the ''Black Scar'', who spend most of their time organising the resistance to the Jotun in the region. ''Y'Basden'' in particular have been active in the defense of the remaining Navarr.<br />
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==Recent History==<br />
The Jotun began their invasion of Liathaven in the autumn of 346YE, taking advantage of the eastern-focus of the Imperial armies under the domination of [[Empress Giselle]]. They pressed ever eastwards, avoiding the vallorn and seizing many Navarri steadings. The Empire finally lost control of Liathaven in early 349YE despite attempts by the [[Imperial Military Council]] to organize a proper counter-offensive.<br />
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In the thirty years since the forests fell to the orcs, they have used their foothold here to launch regular raids into Bregasland, and as a staging post for their massed assault against the [[Mournwold]] in 349YE. Today, apart from regular raiding bands attacking the Marchers and the occasional forays through the mountains into Kahraman, Liathaven seems quiet - almost peaceful. Despite a slight rise in encounters with vallornspawn, the pessimistic predictions that the Jotun would 'awaken' the Vallorn in Liathaven and cause widespread doom in the territory has so far failed to come true.<br />
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With a [[Accept_Jotun_ceasefire|ceasefire]] agreed with the Jotun by the [[Imperial Senate]] in Summer 377YE, there have been no further attempts to reclaim Liathaven. When the Empire broke the ceasefire early in Autumn 378YE the armies of the [[Brass Coast]] tried to take Liathaven, but the Jotun attacked with seven armies taking all of the territory that was not controlled by the Vallorn.<br />
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==Major Features==<br />
===Liaven's Dance===<br />
Woven between the trees of Liaven's Glen is The Dance; a network of earthen trails marked in the grass and the trees, several miles wide, worn into the ground with the footfall of centuries. The Navarr say that it is a symbol for the [[Navarr_culture_and_customs#The_Great_Dance|Great Dance]] writ large on the earth. Some from [[Urizen]] believe that dancing Liaven’s Dance could grant humans a greater understanding the path of the soul through the [[The_Labyrinth_of_Ages_and_the_Paragons_and_Exemplars|Labyrinth of Ages]]. The [[steading]] of Liaven’s Dance was ancient, dating back to the earliest days after the [[Vallorn]] emerged. It was a regular place of pilgrimage for Navarr practitioners of the [[The_Way|Way]], and a centre for philosophical thought combining the philosophy of the Great Dance with the Virtues. The fact that it is now in the hands of the Jotun barbarians marks a terrible loss for the Navarr and perhaps the Empire.<br />
{{CaptionedImage|file=LiathavenStones.jpg|title=There are mysteries at least as old as Terunael beneath the boughts of Liathaven.|caption=The Stout Watchers, a circle of stones in Liath's Ring.|align=right|width=450}}<br />
==Regions==<br />
===Beacon Point===<br />
The region takes its name from the great beacons built along the southern borders of Liathaven, intended to serve as a warning of any major incursion from the west or the southern Faraden. The beacons are simple but effective - basic messages could be sent quickly to stations in the mountains of neighbouring Kahraman, and relayed back to Liaven's Glen. In this way, the southern regions of Liathaven stayed in contact with the northern regions despite the Vallorn between them, and the presence of some bloodthirsty clans of bandit orcs in the mountains to the south. Today, Beacon Point maintains a single very unreliable trade route through the mountains to Kahraman. Travelers and caravans alike are in constant danger from the vicious peak orcs, and communication with the defenders is very patchy as a result. This has made the plight of the Beacon Point steadings more desperate - their resources are stretched even further by the need to support the steadings of Western Scout.<br />
In Winter 379YE a large force of Jotun troops took Beacon Point.<br />
<br>'''Keywords:''' Forested<br />
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===Liath's Heart===<br />
Forced out of the surrounding regions, the Vallorn has grown powerful in Liath's Heart. It is wrapped tight around the ruins of ''Liath Haven'', squatting at the centre of a miasmic cloud of poison. There are no Navarr steadings in Liath's Heart. Although occasional forays into the region from Liaven's Glen to the east returned triumphant with some fragment of lore or lost treasure, the most accessible ruins have long since been explored or destroyed by rampaging Vallornspawn. With the Jotun in northern Liathaven, the Vallorn is said to be stirring fitfully in its slumber - but there have been no signs to date that the Jotun are making any particular effort to 'conquer' it. <br />
<br>'''Keywords:''' Forested, Vallorn<br />
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===Liath's Ring===<br />
Near the eastern border of Liath's Ring stands '''Mournstead''', a stout steading - the last redoubt of the Navarr in Liathaven to fall to the barbarians. The region was known both for sprawling groves of beggarwood trees, and for the occasional standing stone or dolmen in out-of-the-way places. [[The Marches|Marcher]] [[Landskeeper|Landskeepers]] - especially those from nearby [[Bregasland]] were regular visitors to this part of the forest, and its eerie monoliths. Rumour suggests that the first action of the orcs was to cut them to the ground and bear away the trunks for their victory bonfires, but calmer heads suggest it is much more likely the Jotun will have set their own thralls to harvest the groves for valuable [[Materials#Beggar.27s_Lye|Beggar's Lye]].<br />
<br>'''Keywords:''' Forested<br />
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===Liaven's Glen===<br />
This area of eastern Liathaven was the first area of Liathaven freed of Vallorn influence some two hundred years before the foundation of the Empire. According to some records, the network of trails and earthworks known as '''Liaven's Dance''' was a prototype working designed to weaken the power of the vallorn, eventually culminating in the vast web of [[trods]] that now criss-cross the Empire. Several steadings here were home to experienced [[coven|covens]] of [[Navarr_magical_traditions#Vates|vates]] who oversaw potent [[mana site|mana sites]] and studied the vallorn along the edges of Liath's Heart to the south-west. Many of these vates were killed fighting to protect their homes from the orcs, but some managed to flee into exile. The ''Dancewalker Striding'' was formed of members of the steadings at the Dance who swore to walk the trods here until Liathaven was back under Imperial Control.<br />
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Of particular note is the library at '''Turning Spiral'''. This old steading held a repository of Navarr magical lore that survived the purges of [[Emperor Nicovar]] comparatively unscathed. Tragically, its own defenders were forced to destroy it rather than let it fall into barbarian hands. While some of the books were carried to safety by fleeing vates, many hundreds more were incinerated in magically-fuelled fire as the entire steading was transformed into a conflagration by the defenders (a conflagration that claimed not only their lives, but the lives of at least two hundred orcs). Some of the last vates to leave Turning Spiral never reached the safety of [[Kahraman#Serra Briate|Serra Briante]] to the south - at least two groups are known to have set off but disappeared somewhere in the mountains between Liathaven and Kahraman.<br />
<br>'''Keywords:''' Forested<br />
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===Westwood===<br />
The tainted vegetation of the Vallorn spills westward into this region from Liath's Heart. There were a few steadings here, but they have been abandoned due to the twin threats of the vallornspawn and the Jotun barbarians raiding from the west and north. The last steading abandoned to the vallorn was that of '''Duskwater Tarry''', a steading built on raised platforms in the centre of a freshwater lake that protected a dangerous direct trade route between Western Scout and West Ranging. The inhabitants withdrew south in 352YE and it is believed that the vallorn swiftly swallowed it up as it had other abandoned settlements. The entire region now belongs to the Vallorn. <br />
<br>'''Keywords:''' Forested, Vallorn<br />
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===West Ranging===<br />
The forests here were reasonably well defended, but the slow drain of Thorns to the battles in the eastern Empire created a weakness the Jotun were quick to exploit. Before the barbarians came, West Ranging was known both for producing fine leather goods and for the Navarr scouts who would regularly slip out of the Empire to spy on - and occasionally raid - the Jotun stockades in the western forests.<br />
<br>'''Keywords:''' Forested<br />
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===Western Scout===<br />
The steadings of Western Scout still hold out against the Jotun, but there have been several serious assaults from the forests west of the Empire. In the last few years these attacks have slackened off, but until 377YE there were still occasional raids by Jotun warbands. The Jotun ceasefire has given these steadings a much-needed breathing space. In addition to the Jotun, there are problems with groups of Vallornspawn that occasionally boil out of the infested regions to the north. The westernmost steadings are in tatters; several have been razed by raiders, while the easternmost steadings are barely in a better state. They survive partly due to the efforts of their hunters but also due to vital supplies from Beacon Point - supplies the eastern steadings can hardly spare themselves, given the problems of maintaining a safe route through the mountains to Kahraman.<br />
In Winter 379YE a large force of Jotun troops took Western Scout.<br />
<br>'''Keywords:''' Forested<br />
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==OOC Note==<br />
* As of Winter 379YE, the [[Jotun]] orcs control West Ranging, Liath's Ring, Liaven's Glen, Western Scout and Beacon Point.. The Vallorn occupies Liath's Heart and Westwood. The Navarr (and thus the Empire) hold no regions.<br />
* To reclaim Liathaven, the Empire needs to hold [[territory|four of the seven regions]].<br />
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[[Category:Navarr]]<br />
[[Category:Gazetteer]]</div>Jamiewhttps://www.profounddecisions.co.uk/mediawiki-public/index.php?title=Hercynia&diff=43399Hercynia2016-04-16T09:14:41Z<p>Jamiew: </p>
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{{CaptionedImage|file=Regionsofhercynia.png|title=Ice-bound northern Hercynia is a forest territory entirely contained in the Nation of Wintermark|caption=Regions of Hercynia|align=left|width=448}}<br />
== Overview ==<br />
Ice-bound northern Hercynia is a forest territory entirely contained in the Nation of [[Wintermark]], situated in the Great Vale, a bowl of mountains that surround both Hercynia and [[Skarsind]]. It is an inhospitable place, but where the Trods flow so the Navarr travel. Over the centuries, the Navarr have made slow but steady inroads here, reclaiming much of the forest from the particularly malicious Vallorn that dwells within it.<br />
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The trees of Hercynia are ancient, and the soil of the forests is home to a great wealth of [[Materials#Dragonbone|dragonbone]] which for centuries was carefully harvested and used extensively by the runesmiths in the forges at [[#Treji|Treji]].<br />
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==Recent History==<br />
The fall of [[Skarsind]] in 373YE left the people of Hercynia facing immediate danger, as the [[Thule]] orcs tried to force their way into the forest to achieve the capture of the whole of the Great Vale. Barbarian forces took the runeforges of [[#Treji|Treji]], but made no further ground. With the defeat of the Thule forces in Skarsind, it is likely that a concerted effort could be made to recover the territory claimed by the orcs.<br />
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Of particular concern to the people of Hercynia is the idea that concerted push from the orcs could result in the loss of more ground, and (coupled with the presence of the vallorn in Deer's Folly), the loss of the entire territory. Thankfully, the defeat of the Thule in Skarsind made this much less of a possibility. In the Winter of 377YE, the [[Imperial_Orcs_territories#The_Summer_Storm|Summer Storm]] army swept down from the foothills to the north into the Glade of Shadows and shattered the barbarian presence there. The Imperial orcs liberated Treji, and freed hundreds of enslaved Navarr. Now the Imperial Orcs hold Skarsind, and the Navarr are starting to set up trade routes to the new nation.<br />
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== Major Features==<br />
=== Treji ===<br />
A stone-built steading in the heart of the winter forest at [[#The Glen of Shadows|The Glen of Shadows]], and one of the only places where the Navarr had a number of large forges, built with aid from the Winterfolk. [[Steinr]] apprentices are often placed with the Navarri for a time, to learn the working of wood alongside metal. The steading fell to the barbarian orcs in the fall of Skarsind in 372YE and was liberated by the Imperial orcs in the Winter of 377YE. The forges were devastated during the fighting and by last-ditch sabotage by the spiteful Thule defenders. Hundreds of Navarr slaves were liberated in the process, including a number of artisans who had been forced to create weapons and armour for their captors. A number of prisoners were unaccounted for, however - many of the runesmiths captured when the steading was taken had already been sent north to captivity in [[Otkodov]].<br />
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=== The [[Heartwood of the Great Vale]]===<br />
The Heartwood of the Great Vale is a Bourse resource located in [[#Summersend|northern Summersend]]. Custodianship of the Heartwood is an [[Imperial Title]] that brings with it a Seat on the [[Imperial Bourse]]. It produces 25 Imperial wains of weirwood every season. Control is allocated to any Imperial citizen by open auction during the Winter Solstice.<br />
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=== The Gate of Summer ===<br />
Two huge stones and a top lintel stand in the middle of a clearing, carved about with boar, deer and other game, and symbols representing summer. It is covered in moss, and no-one has ever seen a hint of any magic from it. <br />
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===The Vallorn of Hercynia===<br />
The vallorn of Hercynia is often characterized as "malicious" or "patient." It does not seem to be as vibrant as the vallorn in more southerly climes, and is certainly not as aggressive as the vallorns of [[Brocéliande]] or [[Liathaven]]. It is well known that the Vallorn itself is not sentient but a hostile area of land, however, it is the actions of the creatures that dwell in the Vallorn that give it this reputation. While incursions from vallornspawn are few and far between, they are especially vicious when they do come. Over the centuries, it has been beaten back to a dark heart in eastern [[#Deer's Folly|Deer's Folly]] but efforts to dislodge it entirely have failed.<br />
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==Regions==<br />
===Northpines===<br />
The mountains of north-west Hercynia are home to several mines that have been worked since before there was an Empire. The slopes of the mountains are thick with ancient pine trees, rich in [[Materials#Ambergelt|Ambergelt]] and [[Materials#Dragonbone|Dragonbone]]. This was the easiest region to clear of Vallorn influence during the slow war of attrition to regain Hercynia, and there have been no major incursions of vallornspawn into the mountains in centuries. This region is famously where Myfanwy (one of the [[Navarr History|earliest companions]] of the First Empress) was born, and where she was called to help mediate a dispute between rival steadings during the unsuccessful first attempt to bring the [[Urizen_history#Joining the Empire|Urizen]] into the Empire. Some conspirators claim that had Myfanwy made the trip with the First Empress, the Urizen could have been convinced to join the Empire early.<br />
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Several secluded passes through the mountains into Skarsind served as trade routes prior to the invasion of the Thule. In later years they were used to launch scouting missions into the barbarian-held territory. The steadings of the region are considered a little odd by many Navarr, and occasionally accused of having more in common with the Winterfolk than with their own cousins. There may be a little truth to this - with the loss of the Glen of Shadows to the barbarians, Northpines was cut off from the rest of Hercynia - and indeed the Empire - by a combination of barbarians and the vallorn-infested region of [[#Deer's Folly|Deer's Folly]] to the south.<br><br />
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North Pines is the home to the Pridestalkers Striding who's rite of passage involves hunting and skinning the Snow Lions, the children of the Eternal Cathan Canae. It is also the location of the newly built [[Voice_of_Barbs#The_House_of_Barbs|House of Barbs]], commissioned by the controversial senator Rhain WInters Vigl.<br><br />
'''Keywords:''' Forested, Hilly<br />
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===The Glen of Shadows===<br />
The steading of [[#Treji|Treji]] still stands here, but has been extensively damaged by the battle between the Imperial orcs and the barbarian occupiers. The artisans who made their home here combined the working of wood and metal to make weapons and armour for the Thorns of Hercynia and to support their Winterfolk allies. The Iron Roots of Treji stand guard in this area to make sure that no threat will harm the area. The Glen of Shadows is known for their fine magical bows and spears, easily matching the more workmanlike produce of the Wintermark runesmiths. <br />
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The famous [[Shadowglyn Distillery]] is located here on the lower slopes of the Northpines. The once famous distillery produced some of the best drinks in the Empire until it was destroyed in a pitched battle between the Thule and Navarr defenders, during fighting in the territory. Production has recently restarted at the site, under the auspices of Wern Taur Thorntarry.<br />
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'''Keywords:''' Forested<br />
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===Deer's Folly===<br />
Another mountainous area of Hercynia, but one that has fared less well than Northpines. While the mountains to the west create a natural barrier against the worst effects of the vallorn, a poisonous miasma lies over much of the region. The noxious atmosphere pools in valleys and spreads through the forest from the vallorn of Hercynia, wrapped tight around the ruins of an ancient Terunael city in the east. There are only a handful of steadings in Deer's Folly and they are all built in the western mountains - no steading established closer to the vallorn heart has survived more than a decade before it is overrun. The oldest of these is the small but ancient steading of Bont Goch. The Winterfolk Queen Ilsin is believed to have met her end here at the hands of the Vallornspawn - some scholars point to the fact that her [[Glory's Call|famous standard]] bore a white stag and suggest it is more than coincidence the region is known as "Deer's Folly" - but if it had a name before this it is known only to historians. ('''OOC Note:''' This region is not considered to be in Imperial hands. It cannot be reclaimed until the power of the vallorn is broken.)<br><br />
'''Keywords:''' Forested, Hilly, Vallorn<br />
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===Old Ranging===<br />
The forests of Old Ranging are carefully cultivated by the inhabitants of the Steadings here. The woods are rich with animal life, and many hunters make a good living providing pelts, furs and fine meats to merchants and traders who travel across the Empire. Likewise, the manystreams and shallow rivers are rich with an impressie variety of fish and a number of steadings here raise domesticated deer and even goats whose meat is very much in demand. There are several well-established trade routs from Old Ranging to [[Hahnmark#Kalpaheim|Kalapheim]] and Winterfolk merchants are a common sight in the Summer months. It has not always been this way of course - there are several battlefields here that date back to pre-Imperial times when the ancestors of the modern Winterfolk, spurred on by their [[Wintermark_history|successes against the trolls]] attempted to conquer Hercynia. The tragic tale of Queen Ilsin is sometimes told by both Navarr and Winterfolk, recounting how her army was lead through Old Ranging by the clever Navarr and tricked into marching into Deer's Folly where the 'thousand strong army' was devoured by the Vallorn. The tale is probably an exaggeration but seems to have at least some basis in truth. It marked the last major conflict between the Navarr and the Winterfolk in Hercynia, although to this day Suaq explorers make occasional forays into Old Ranging seeking for some sign of Queen Ilsin's personal standard ''Winter Fury'' which is believed to be a [[Glory's Call|potent artefact]].<br />
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In recent years, as the heart of the Vallorn of Hercynia has become more restive, there has been an increase in vallornspawn attacks on hunting parties along the northern borders - but never in great numbers, and the attacks have been dealt with swiftly and effectively by vigilant Thorns.<br><br />
'''Keywords:''' Forested<br />
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===Summersend===<br />
The forests of Summersend are sparse, giving way to the plains of [[Skarsind#Gildenheim|Gildenheim]] to the north. The [[#The Gate of Summer|Gate of Summer]] is found here, along with several other well-explored Terunael ruins. Several steadings are built on a foundation of old Terunael structures, and it is from here that the push to drive back the Vallorn is overseen. There are several old battlefields here, most dating back to pre-Imperial times and to attempts by the Vard ancestors of the [[Varushka|Varushkans]] to conquer Hercynia. Most of these battlefields have long since been forgotten but one - '''Mourning Hollow''' on the very south-eastern borders - [[Rubies on the Snow|Was said to be haunted]] by the unquiet spirits of dead Vard and Navarr warriors due to the result of a forgotten curse or betrayal. Due to the actions of an expedition in Winter 379YE there have been no sightings of ghosts since. Mourning Hollow is also home to the ruins of the locally named '''Temple of Phaleron''' a powerful Day/Night region that was once a large Terunael Library.<br />
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In addition to the usual occasional incursions from the vallorn of Hercynia, there have been several skirmishes with the orcs both from Skarsind and from the Glen of Shadows to the north-west. The fortified steadings here served as a base of operations for forays into Skarsind during the recent war, and a number of Wintermark refugees were helped to safe havens in [[Hahnmark]] to the south west.<br />
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The Foxden steading is the most influential steading based in Summersend and acts as a place to run messages not only across Hercynia but across the entire Empire.<br />
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The [[#Heartwood of the Great Vale|Heartwood of the Great Vale]] is in northern Summersend, right on the edge of the [[#The Glen of Shadows|Glen of Shadows]].<br><br />
'''Keywords:''' Forested<br />
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[[Category:Navarr]]<br />
[[Category:Gazetteer]]</div>Jamiewhttps://www.profounddecisions.co.uk/mediawiki-public/index.php?title=Broc%C3%A9liande&diff=43393Brocéliande2016-04-16T08:43:06Z<p>Jamiew: </p>
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{{CaptionedImage|file=BroceliandeRegions.png|title=The vallorn has an iron grip on the ancestral homeland of the Navarr|caption=Regions of Brocéliande|align=left|width=473|height=417}}<br />
== Overview ==<br />
Lush Brocéliande, on the border between [[Dawn]] and [[Highguard]], is considered by the [[Navarr]] as ancestral homeland and is the single largest forested expanse in the Empire. This is where Navarr and Thorn first danced. The Navarr have been unable to make any significant gains in this territory against the [[Vallorn]], and there is limited Navarr presence here.<br />
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The majority of Navarr steadings in Brocéliande are centred around [[#Boar's Dell|Boar's Dell]] in the north, and around [[#The Broch|the Broch]] in Vallorn-infested [[#Black Boughs|Black Boughs]]. While all steadings fight against vallornspawn, those in Brocéliande generally see the most "action" - especially the Broch situated as it is deep inside the circumference of the Brocélieande infestation. [[Vallornspawn husk#Green Lung|Green lung]] is a constant threat in much of Brocéliande.<br />
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Much of the interior of the territory is still unknown to modern scholars, both within the Navarr and without. The vallorn covers the vast majority of the land here, choking any Terunael ruins or artefacts, and drowning those who venture too far with its powerful, deadly [[Vallorn#Vallorn miasma|miasma]].<br />
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==Recent History==<br />
Over the last fifty years, much of the forest was infiltrated by barbarian orc communities settling from [[the Barrens]]. They largely avoided the Navarr, until the surprise attack from the [[Druj]] forces passing through the Forest of Peytaht as part of their invasion of [[Reikos]]. While the Druj took and held [[#Elereal|Elereal]] they made no effort to push for further control of Brocéliande. Indeed, they seemed more interested in keeping the vallornspawn at bay than in engaging with the Navarr.<br />
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Throughout 378YE, the orc settlers from the Barrens retreated out of Brocéliande, leaving their makeshift camps to fall into disuse or be overrun by vallornspawn.<br />
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== Major Features ==<br />
=== The Broch ===<br />
The largest collection of steadings of the Navarr, well-defended and constantly guarded. It is the western edge of the Navarri’s watch on the barbarians and darker horrors of Brocéliande. It is both fortification against the orcs, and a place of ritual where Vates gather when necessary to counter specific magical threats. The First Dance steading are based in the Broch and seek more than any to investigate new ways to fight against the Vallorn. Buried deep within the miasma at [[#Black Boughs|Black Boughs]], the Broch is perhaps the steading most at risk of being overrun at any moment. Few can spend too much time here - even if the danger were not sufficient, there is the ever-present risk of green lung.<br />
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==Regions==<br />
===Elerael===<br />
Elerael was one of the few regions of Brocéliande initially under Navarr control. The most prominent steading here, '''Eleri’s Stead''', was once a comparatively peaceable place, a Navarr counterpart to [[Reikos#High Chalcis|High Chalcis]] where herbs and forest plants were studied. It was swept away as orcs flooded from the Forest of Peytaht.<br><br>The orcs were most likely [[Druj]] from [[Reikos]], but it is not clear how much of a presence they still maintain here. Some Navarr scouts have reported an increase in vallornspawn attacks into Elerael, increasing in severity dramatically after the Reikos trods were damaged in 378YE.<br><br><br />
Elerael is the home to the large and influential Brackensong Steading who give sanctuary for those who walk the dangerous Trods that weave through the Vallorn of Brocéliande. The Splitroot Striding use Elerael to walk the Trods into Dark Ranging where, up until the declaration of war in Winter 378YE, they were one of the few stridings to trade with the Orcs of the Barrens.<br />
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'''Keywords:''' Forested<br />
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===Black Boughs===<br />
The Broch is a small enclave of safety inside the miasma of the the Vallorn.<br />
'''Keywords:''' Forested, Vallorn<br />
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===Boar's Dell===<br />
The northernmost region of Brocéliande is the site of '''Greenstead''', a stone-walled steading built with support from [[Semmerholm#Rucastle|Rucastle]] as [[Dawn]] and the Navarr threw a ring around the dark heart of the forest there. It is often assaulted, but with Dawnish support it has always held. There has long been a bond - and several intermarriages - between the two settlements. <br><br />
'''Keywords:''' Forested<br />
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===Dark Ranging===<br />
'''Keywords:''' Forested, Vallorn<br />
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===Greenweald===<br />
'''Keywords:''' Forested, Vallorn<br />
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===Terunael===<br />
This is the heart of the Vallorn in Brocéliande, and the most storied of the ancestral cities of the Navarr.<br><br />
'''Keywords:''' Forested, Vallorn<br />
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===Vale's Lament===<br />
'''Keywords:''' Forested, Vallorn<br />
<br />
==OOC Note==<br />
* As of Autumn 379YE, the Vallorn occupies Back Boughs, Dark Ranging, Greenweald, Vale's Lament and Terunael. The Navarr (and thus the Empire) holds Boar's Dell and Elereal.<br />
* To claim Brocéliande, the Empire needs to [[territory|hold four of the seven regions]]. This is currently impossible without reducing the power of the Vallorn.<br />
<br />
[[Category:Navarr]]<br />
[[Category:Gazetteer]]</div>Jamiewhttps://www.profounddecisions.co.uk/mediawiki-public/index.php?title=Broc%C3%A9liande&diff=43392Brocéliande2016-04-16T08:41:05Z<p>Jamiew: </p>
<hr />
<div>{{stub}}<br />
{{CaptionedImage|file=BroceliandeRegions.png|title=The vallorn has an iron grip on the ancestral homeland of the Navarr|caption=Regions of Brocéliande|align=left|width=473|height=417}}<br />
== Overview ==<br />
Lush Brocéliande, on the border between [[Dawn]] and [[Highguard]], is considered by the [[Navarr]] as ancestral homeland and is the single largest forested expanse in the Empire. This is where Navarr and Thorn first danced. The Navarr have been unable to make any significant gains in this territory against the [[Vallorn]], and there is limited Navarr presence here.<br />
<br />
The majority of Navarr steadings in Brocéliande are centred around [[#Boar's Dell|Boar's Dell]] in the north, and around [[#The Broch|the Broch]] in Vallorn-infested [[#Black Boughs|Black Boughs]]. While all steadings fight against vallornspawn, those in Brocéliande generally see the most "action" - especially the Broch situated as it is deep inside the circumference of the Brocélieande infestation. [[Vallornspawn husk#Green Lung|Green lung]] is a constant threat in much of Brocéliande.<br />
<br />
Much of the interior of the territory is still unknown to modern scholars, both within the Navarr and without. The vallorn covers the vast majority of the land here, choking any Terunael ruins or artefacts, and drowning those who venture too far with its powerful, deadly [[Vallorn#Vallorn miasma|miasma]].<br />
<br />
==Recent History==<br />
Over the last fifty years, much of the forest was infiltrated by barbarian orc communities settling from [[the Barrens]]. They largely avoided the Navarr, until the surprise attack from the [[Druj]] forces passing through the Forest of Peytaht as part of their invasion of [[Reikos]]. While the Druj took and held [[#Elereal|Elereal]] they made no effort to push for further control of Brocéliande. Indeed, they seemed more interested in keeping the vallornspawn at bay than in engaging with the Navarr.<br />
<br />
Throughout 378YE, the orc settlers from the Barrens retreated out of Brocéliande, leaving their makeshift camps to fall into disuse or be overrun by vallornspawn.<br />
<br />
== Major Features ==<br />
=== The Broch ===<br />
The largest collection of steadings of the Navarr, well-defended and constantly guarded. It is the western edge of the Navarri’s watch on the barbarians and darker horrors of Brocéliande. It is both fortification against the orcs, and a place of ritual where Vates gather when necessary to counter specific magical threats. The First Dance steading are basaed in the Broch and seek more than any to investigate new ways to fight against the Vallorn. Buried deep within the miasma at [[#Black Boughs|Black Boughs]], the Broch is perhaps the steading most at risk of being overrun at any moment. Few can spend too much time here - even if the danger were not sufficient, there is the ever-present risk of green lung.<br />
<br />
==Regions==<br />
===Elerael===<br />
Elerael was one of the few regions of Brocéliande initially under Navarr control. The most prominent steading here, '''Eleri’s Stead''', was once a comparatively peaceable place, a Navarr counterpart to [[Reikos#High Chalcis|High Chalcis]] where herbs and forest plants were studied. It was swept away as orcs flooded from the Forest of Peytaht.<br><br>The orcs were most likely [[Druj]] from [[Reikos]], but it is not clear how much of a presence they still maintain here. Some Navarr scouts have reported an increase in vallornspawn attacks into Elerael, increasing in severity dramatically after the Reikos trods were damaged in 378YE.<br><br><br />
Elerael is the home to the large and influential Brackensong Steading who give sanctuary for those who walk the dangerous Trods that weave through the Vallorn of Brocéliande. The Splitroot Striding use Elerael to walk the Trods into Dark Ranging where, up until the declaration of war in Winter 378YE, they were one of the few stridings to trade with the Orcs of the Barrens.<br />
<br><br />
'''Keywords:''' Forested<br />
<br />
===Black Boughs===<br />
The Broch is a small enclave of safety inside the miasma of the the Vallorn.<br />
'''Keywords:''' Forested, Vallorn<br />
<br />
===Boar's Dell===<br />
The northernmost region of Brocéliande is the site of '''Greenstead''', a stone-walled steading built with support from [[Semmerholm#Rucastle|Rucastle]] as [[Dawn]] and the Navarr threw a ring around the dark heart of the forest there. It is often assaulted, but with Dawnish support it has always held. There has long been a bond - and several intermarriages - between the two settlements. <br><br />
'''Keywords:''' Forested<br />
<br />
===Dark Ranging===<br />
'''Keywords:''' Forested, Vallorn<br />
<br />
===Greenweald===<br />
'''Keywords:''' Forested, Vallorn<br />
<br />
===Terunael===<br />
This is the heart of the Vallorn in Brocéliande, and the most storied of the ancestral cities of the Navarr.<br><br />
'''Keywords:''' Forested, Vallorn<br />
<br />
===Vale's Lament===<br />
'''Keywords:''' Forested, Vallorn<br />
<br />
==OOC Note==<br />
* As of Autumn 379YE, the Vallorn occupies Back Boughs, Dark Ranging, Greenweald, Vale's Lament and Terunael. The Navarr (and thus the Empire) holds Boar's Dell and Elereal.<br />
* To claim Brocéliande, the Empire needs to [[territory|hold four of the seven regions]]. This is currently impossible without reducing the power of the Vallorn.<br />
<br />
[[Category:Navarr]]<br />
[[Category:Gazetteer]]</div>Jamiewhttps://www.profounddecisions.co.uk/mediawiki-public/index.php?title=Ode_to_Shadowglyn_Distillery&diff=40066Ode to Shadowglyn Distillery2015-11-13T11:09:38Z<p>Jamiew: </p>
<hr />
<div>Original Song by Jamie Wakefield (https://soundcloud.com/jamie-wakefield/ode-to-shadowglyn-distillery) <br />
<br />
Wern is a player character in the Thorntarry Striding.<br />
<br />
Chords: Chords: Verses – D G A Bm D G A x2, Bm A G D x3, G A; Chorus – D G A x2, D G A Bm, D G A (Key change to F on last “glyn” of last chorus);<br />
Bridge (C G D A, C G A G A ); Coda (F Bb C x2, F Bb C Dm, F Bb C)<br />
<br />
<song><br />
'''Verse 1'''<br />
Well, I've travelled the land,<br />
While I held in my hand.<br />
A dram of the finest whisky.<br />
For I'd purchased a cask,<br />
As my striding went past,<br />
the Shadowglyn Distillery.<br />
<br />
In all of the empire,<br />
There's nothing compares,<br />
No Astolat brandy,<br />
Nor Freeborn liquor,<br />
To a single malt served neat.<br />
To this connoisseur,<br />
The greatest of whiskies is found...<br />
<br />
'''Chorus'''<br />
In Shadowglyn,<br />
All your friends will be there,<br />
In Shadowglyn,<br />
Drinking amber nectar.<br />
In Shadowglyn.<br />
When you sip it,<br />
You'll lighten your spirit.<br />
And sing while you're getting them in,<br />
In Shadowglyn.<br />
<br />
'''Verse 2'''<br />
All my wandering days,<br />
On the trods far away,<br />
'twas a tipple of whisky my prize.<br />
When I emptied my stock,<br />
I returned, but with shock!<br />
For the heavenly taste was denied!<br />
<br />
For my friends were enslaved,<br />
And many were dead.<br />
The buildings burnt down.<br />
The grain pulled from their beds.<br />
But worse, the damn orcs had shat in the kegs!<br />
No whisky at all could be found...<br />
<br />
'''Chorus'''<br />
<br />
'''Bridge'''<br />
For long lonely years,<br />
I drank deep of my tears,<br />
And all shots were like ash in my mouth.<br />
'till the day I did learn,<br />
That a man they call Wern,<br />
Was the saviour – yes the saviour – of my malt...<br />
<br />
'''Verse 3'''<br />
So I'm leaving today,<br />
And I'm planning to stay,<br />
In a hall where I'll never be barred.<br />
Be sure, I'll defend her,<br />
And never surrender,<br />
My bottle, my dear uisge beatha.<br />
<br />
For some walk the trods,<br />
And some ward vallorn,<br />
Some fight Drujan orcs,<br />
And others Jotun,<br />
But my dance led me here,<br />
And I've got a home,<br />
Where whisky shall always be found...<br />
And downed!<br />
<br />
'''Chorus'''<br />
<br />
'''Coda'''<br />
All your friends will be there,<br />
In Shadowglyn,<br />
Drinking amber nectar.<br />
In Shadowglyn.<br />
When you sip it,<br />
You'll lighten your spirit.<br />
And sing while you're getting them in,<br />
In Shadowglyn.<br />
</song><br />
<br />
[[Category:Navarr Music]]<br />
[[Category:Navarr]]<br />
[[Category:Music]]</div>Jamiewhttps://www.profounddecisions.co.uk/mediawiki-public/index.php?title=File:EgregoreBrassCoast.jpg&diff=35942File:EgregoreBrassCoast.jpg2015-05-29T18:26:05Z<p>Jamiew: </p>
<hr />
<div>Sabrina Withers portraying the Brass Coast Egregore<br />
<br />
[[Category:Photos:CharlotteMoss ]] [[:Category:Photos:CharlotteMoss|Image by Charlotte Moss]]</div>Jamiewhttps://www.profounddecisions.co.uk/mediawiki-public/index.php?title=File:EgregoreBrassCoast.jpg&diff=35941File:EgregoreBrassCoast.jpg2015-05-29T18:23:46Z<p>Jamiew: Jamiew uploaded a new version of &quot;File:EgregoreBrassCoast.jpg&quot;</p>
<hr />
<div>Sabrina Withers portraying the Brass Coast Egregore<br />
<br />
[[Category:Photos:OliverFacey]] [[:Category:Photos:OliverFacey|Image by Oliver Facey]]</div>Jamiewhttps://www.profounddecisions.co.uk/mediawiki-public/index.php?title=379YE_Spring_Equinox_winds_of_fortune&diff=35770379YE Spring Equinox winds of fortune2015-05-18T15:15:20Z<p>Jamiew: </p>
<hr />
<div>==The Winds of War==<br />
The wars with the barbarian orcs continue. More will be reported soon.<br />
<br />
==Opportunities==<br />
Over the past three months, the following events have occurred which are of significance to the Empire and may require a response from her champions:<br />
<br />
===A Miracle in Hahnmark===<br />
Miraculous auras of Prosperity have arisen within mines across Hahnmark. This has seen an influx of workers rushing to mine work with an increase in production, but has left local businesses short of labour. There is more information regarding this wondrous event [[A Miracle in Hahnmark|here]].<br />
<br />
===A Blight in Miaren===<br />
Reports have reached the civil service that a rare form of fungus has started to sprout within Miaren, and that this is having an adverse effect on her gardens in the area. However, this fungus is a natural medicinal for livestock which makes it sought after by farmers. There is more information [[A Blight in Miaren|here]].<br />
<br />
==Events==<br />
The following represent significant events, sometimes of a magical nature, that do not have obvious solutions.<br />
<br />
===A Curse on Sermersuaq===<br />
The citizens of Sermersuaq report a terrible affliction, as though the whole territory has been cursed. The ancestral home of the Suaq people is scoured by storms and snows not typically seen in Spring. A powerful force has affected the flows of mana and depleted them resulting in fewer mana crystals being produced.<br />
<br />
Simultaneously, this storm appears to also be taking place within the body and soul of magicians within Sermersuaq. There have been reports of magicians feeling restless and uncomfortable, punctuated with bursts of being depressed and lethargic (excluding the briars) or sometimes short tempered and aggressive. ('''Note: The effect to which these roleplay effects endure in magicians travelling from Sermersuaq to Anvil is entirely at the discretion of the player. Where a player chooses this effect to be in place, it can be overcome in the usual ways.''')<br />
<br />
<br />
[[Category:Recent History]]<br />
[[Category:History]]<br />
[[Category:379YE]]</div>Jamiewhttps://www.profounddecisions.co.uk/mediawiki-public/index.php?title=378YE_Spring_Equinox_winds_of_fortune&diff=35681378YE Spring Equinox winds of fortune2015-05-15T17:14:03Z<p>Jamiew: Jamiew moved page 378YE Spring Equinox winds of fortune to 379YE Spring Equinox winds of fortune</p>
<hr />
<div>#REDIRECT [[379YE Spring Equinox winds of fortune]]</div>Jamiewhttps://www.profounddecisions.co.uk/mediawiki-public/index.php?title=379YE_Spring_Equinox_winds_of_fortune&diff=35680379YE Spring Equinox winds of fortune2015-05-15T17:14:03Z<p>Jamiew: Jamiew moved page 378YE Spring Equinox winds of fortune to 379YE Spring Equinox winds of fortune</p>
<hr />
<div>==The Winds of War==<br />
The wars with the barbarian orcs continue. More will be reported soon.<br />
<br />
==Opportunities==<br />
Over the past three months, the following events have occurred which are of significance to the Empire and may require a response from her champions:<br />
<br />
===A Miracle in Hahnmark===<br />
Miraculous auras of Prosperity have arisen within mines across Hahnmark. This has seen an influx of workers rushing to mine work with an increase in production, but has left local businesses short of labour. There is more information regarding this wondrous event [[A Miracle in Hahnmark|here]].<br />
<br />
===A Blight in Miaren===<br />
Reports have reached the civil service that a rare form of fungus has started to sprout within Miaren, and that this is having an adverse effect on her gardens in the area. However, this fungus is a natural medicinal for livestock which makes it sought after by farmers. There is more information [[A Blight in Miaren|here]].<br />
<br />
==Events==<br />
The following represent significant events, sometimes of a magical nature, that do not have obvious solutions.<br />
<br />
===A Curse on Sermersuaq===<br />
The citizens of Sermersuaq report a terrible affliction, as though the whole territory has been cursed. The ancestral home of the Suaq people is scoured by storms and snows not typically seen in Spring. A powerful force has affected the flows of mana and depleted them resulting in fewer mana crystals being produced.<br />
<br />
Simultaneously, this storm appears to also be taking place within the body and soul of magicians within Sermersuaq. There have been reports of magicians feeling restless and uncomfortable, punctuated with bursts of being depressed and lethargic (excluding the briars) or sometimes short tempered and aggressive. ('''Note: The effect to which these roleplay effects endure in magicians travelling from Sermersuaq to Anvil is entirely at the discretion of the player. Where a player chooses this effect to be in place, it can be overcome in the usual ways.''')<br />
<br />
<br />
[[Category:Recent History]]<br />
[[Category:History]]<br />
[[Category:378YE]]</div>Jamiewhttps://www.profounddecisions.co.uk/mediawiki-public/index.php?title=Crow_on_the_Cradle&diff=35315Crow on the Cradle2015-05-01T09:47:44Z<p>Jamiew: </p>
<hr />
<div>Original Song by Sydney Carter (https://www.youtube.com/watch?v=r8x0uMV1EsY)<br />
<br />
New lyrics by David Proctor<br />
<br />
<song><br />
The summer is ending, the brokers weigh corn <br />
Now is the time for a child to be born <br />
She'll laugh at the trees and cry without fear <br />
And if she's a Thorn she'll carry a spear<br />
Sang the crow on the cradle <br />
<br />
And if it should be that this baby's a Vate<br />
Never you mind if she shares Navarr's fate<br />
With blood on her fingers and and a knife in her hands<br />
And the Vallorn behind her wherever she stands<br />
Sang the crow on the cradle <br />
<br />
And when it should be that the child takes the Brand<br />
They'll dance along with her and with her they'll stand<br />
With a scar on her cheekbone And a suit of dark maille<br />
And before her the ruins of Terunael<br />
Sang the crow on the cradle <br />
<br />
The crow on the cradle, the husks in the night<br />
Somebody's baby is born to our fight<br />
The crow on the cradle, the green and the black<br />
Somebody's baby is not coming back<br />
Sang the crow on the cradle <br />
<br />
Your striding or steading will sweat and they'll fight<br />
To hold back the vines that creep in the night<br />
Hush-a-bye little one, never you weep<br />
The corpse glade is ready for when you should sleep<br />
Sang the crow on the cradle <br />
<br />
Bring me my bow, and I'll shoot that bird dead <br />
That's what Navarr and Thorn long ago said <br />
The crow on the cradle, what can we do?<br />
Ah, this is a thing that I'll leave up to you <br />
Sang the crow on the cradle <br />
<br />
The crow on the cradle the husks in the night <br />
Somebody's baby is born for our fight <br />
The crow in the cradle, the cities of dust <br />
One day we'll take back all that we have lost <br />
Sang the crow on the cradle<br />
</song><br />
<br />
[[Category:Navarr Music]]<br />
[[Category:Navarr]]<br />
[[Category:Music]]</div>Jamiewhttps://www.profounddecisions.co.uk/mediawiki-public/index.php?title=If_it_had_a_Heart&diff=35191If it had a Heart2015-04-17T09:45:42Z<p>Jamiew: Fixed copy and paste error.</p>
<hr />
<div>Original Song: If I had a Heart by Fever Ray (https://www.youtube.com/watch?v=EBAzlNJonO8)<br />
<br />
New lyrics by Gabrielle Falquero<br />
<br />
<song><br />
Thought it couldn’t end and wanted more<br />
More, then Vallorn, then Vallorn<br />
Thought it couldn’t end and wanted more<br />
More, then Vallorn, then Vallorn<br />
<br />
If it had a heart it would hate you<br />
If it had a voice to scream<br />
After the night when I wake up<br />
I'll see what tomorrow brings<br />
Aaaaaah aaaaaah<br />
aaaaaahhh ... If it had a voice to scream<br />
<br />
Dragging feet, a husk insane<br />
Will it ever ever reach the floor?<br />
More, then Vallorn, then Vallorn<br />
Crushed and filled with all it found<br />
underneath and inside just to come around<br />
More, then Vallorn, then Vallorn<br />
<br />
Aaaaaah aaaaaah<br />
aaaaaahhh ... If it had a voice to scream<br />
</song><br />
<br />
[[Category:Navarr Music]]<br />
[[Category:Navarr]]<br />
[[Category:Music]]</div>Jamiewhttps://www.profounddecisions.co.uk/mediawiki-public/index.php?title=If_it_had_a_Heart&diff=35190If it had a Heart2015-04-17T09:44:45Z<p>Jamiew: Created page with "Original Song: If I had a Heart by Heather Alexander (https://www.youtube.com/watch?v=EBAzlNJonO8) New lyrics by Gabrielle Falquero <song> Thought it couldn’t end and want..."</p>
<hr />
<div>Original Song: If I had a Heart by Heather Alexander (https://www.youtube.com/watch?v=EBAzlNJonO8)<br />
<br />
New lyrics by Gabrielle Falquero<br />
<br />
<song><br />
Thought it couldn’t end and wanted more<br />
More, then Vallorn, then Vallorn<br />
Thought it couldn’t end and wanted more<br />
More, then Vallorn, then Vallorn<br />
<br />
If it had a heart it would hate you<br />
If it had a voice to scream<br />
After the night when I wake up<br />
I'll see what tomorrow brings<br />
Aaaaaah aaaaaah<br />
aaaaaahhh ... If it had a voice to scream<br />
<br />
Dragging feet, a husk insane<br />
Will it ever ever reach the floor?<br />
More, then Vallorn, then Vallorn<br />
Crushed and filled with all it found<br />
underneath and inside just to come around<br />
More, then Vallorn, then Vallorn<br />
<br />
Aaaaaah aaaaaah<br />
aaaaaahhh ... If it had a voice to scream<br />
</song><br />
<br />
[[Category:Navarr Music]]<br />
[[Category:Navarr]]<br />
[[Category:Music]]</div>Jamiewhttps://www.profounddecisions.co.uk/mediawiki-public/index.php?title=Crow_on_the_Cradle&diff=35189Crow on the Cradle2015-04-17T09:44:41Z<p>Jamiew: Created page with "Original Song by Sydney Carter (https://www.youtube.com/watch?v=r8x0uMV1EsY) New lyrics by Gabrielle Falquero <song> The summer is ending The brokers weigh corn Now is the t..."</p>
<hr />
<div>Original Song by Sydney Carter (https://www.youtube.com/watch?v=r8x0uMV1EsY)<br />
<br />
New lyrics by Gabrielle Falquero<br />
<br />
<song><br />
The summer is ending<br />
The brokers weigh corn<br />
Now is the time for a child to be born<br />
She'll laugh at the trees<br />
And cry without fear<br />
And if she's a Thorn she'll carry a spear <br />
Sang the crow on the cradle<br />
<br />
And if it should be that this baby's a Vate<br />
Never you mind if she shares Navarr's fate<br />
With blood on her fingers<br />
And and a knife in her hands<br />
And the Vallorn behind her wherever she stands<br />
Sang the crow on the cradle<br />
<br />
The crow on the cradle<br />
The husks in the night<br />
Somebody's baby is born for our fight<br />
The crow on the cradle<br />
The green and the black<br />
Somebody's baby is not coming back<br />
Sang the crow on the cradle<br />
<br />
And when it should be that the child takes the Brand<br />
They'll dance along with her and with her they'll stand<br />
With a scar on her cheekbone<br />
And a suit of dark maille<br />
And before her the ruins of Terunael<br />
Sang the crow on the cradle<br />
<br />
The crow on the cradle<br />
The husks in the night<br />
Somebody's baby is born for our fight<br />
The crow on the cradle<br />
The green and the black<br />
Somebody's baby is not coming back<br />
Sang the crow on the cradle<br />
<br />
Your striding or steading will sweat and they'll fight<br />
To hold back the vines that creep in the night<br />
Hush-a-bye little one, never you weep<br />
The corpse glade is ready for when you should sleep<br />
Sang the crow on the cradle<br />
<br />
Bring me my bow, and I'll shoot that bird dead<br />
That's what Navarr and Thorn long ago said<br />
The crow on the cradle, what can we do<br />
Ah, this is a thing that I'll leave up to you<br />
Sang the crow on the cradle<br />
Sang the crow on the cradle<br />
<br />
The crow on the cradle<br />
The husks in the night<br />
Somebody's baby is born for our fight<br />
The crow in the cradle<br />
The cities of dust<br />
One day we'll take back all that we have lost<br />
Sang the crow on the cradle<br />
</song><br />
<br />
[[Category:Navarr Music]]<br />
[[Category:Navarr]]<br />
[[Category:Music]]</div>Jamiewhttps://www.profounddecisions.co.uk/mediawiki-public/index.php?title=Navarr_music&diff=35188Navarr music2015-04-17T09:34:36Z<p>Jamiew: Added song links</p>
<hr />
<div>==The Music of Navarr==<br />
<br />
===Style summary===<br />
Navarr music reflects a dichotomy of wistful remembrance for their old culture and the practicalities of survival in the wild. Recent music has a practicality underlying it. Loud and high calling noises appear throughout the music in order to develop vocal cords for the relay of messages, cries of warning and the roar of a fear inducing charge from hiding. Drumming is widely used for similar reasons. The sounds, in contrast to the melodic music of their old culture, are often harsh which reflects the Navarr attitude towards nature - not one of harmony but of dominance. Much of the music of their lost cities has changed over time to include primal sounds, for example, fast fiddle and pipes or soft unison singing is joined by loud calling and percussion. Lyrics reflect the dichotomy of the memory of lost cities and the practicalities of life in the wild. References to nature are common but are dark and evocative rather than romantic. Work songs and cautionary tales are common as are the themes of travelling, fate, forests, and blood. Songs of the old culture; lost cities and sacrifice concentrate on remembrance rather than lamentation.<br />
<br />
To achieve this sound, look at music that fuses Celtic folk styles with African and Amazonian sounds . Music can draw on Scottish, Irish, Greek, Galician, and Basque/French folk tunes as well Tolkienesque fantasy for lyrics, with added African-style percussion (such as [https://www.youtube.com/watch?v=A6oYeq7FfqI Ngoma], [https://www.youtube.com/watch?v=fN8MEam_HL8 Mutuashi] and [https://youtu.be/CDquKtgHYp4 Didadi]), [https://www.youtube.com/watch?v=zZMo9Humf-0 Amazonian] and [https://www.youtube.com/watch?v=CfzJJadT8gw Amazigh] music, to fuse with the sounds of the old culture.<br />
<br />
===Commonly known songs===<br />
* [[Ten Thousand Miles]] - song of love/travelling.<br />
* [[Thorn Battle Cadence]] - A war cadence, easy<br />
* [[Caution for the Dawnish Youth]] - Cautionary song popular for expressing the Navarr World view<br />
<br />
{{CaptionedImage|file=CM-140419-6337.jpg|align=left|width=400}}<br />
====A musical tradition====<br />
Music has a practical use in Navarr society. Music plays a prominent part to create social harmony and to invoke the powers from beyond. It is used for work songs and for teaching. <br />
<br />
Social rituals are often performed to music, such as courtship rituals where oine lead, supported by their chorus, makes their case, and the other lead, supported by their own chorus, questions them. <br />
<br />
Blood Rituals often rely on percussion support to evoke the feel of the pumping heart and helps focus the arts of the Vates.<br />
<br />
====One for the kids====<br />
* [[All the Pretty Ponies]] - lullaby remembering extinct horses, very easy.<br />
<br />
====Songs about notable people/entities in Navarr====<br />
* [[Redhound]] - A song about a Navarri hero, hard.<br />
* [[The Walls of Terunael]] - An address to the [[Navarr_Egregore|Egregore Liaven]] about walking the trods, the loss of Terunael and the importance of the Empire, easy.<br />
*[[Ode to Shadowglyn Distillery]] - A song commemorating the restoration of the [[Shadowglyn Distillery]] by Wern Taur Thorntarry, medium.<br />
<br />
===Further songs===<br />
<br />
====Songs from Terunael====<br />
* [[By Chance It Was]] - A love song, easy.<br />
<br />
====Songs about the fall of Terunael====<br />
* [[Brocéliande Be Stronger Now]] - Powerful song about [[Brocéliande]], medium with difficult lead vocal.<br />
* [[I Come and Stand at Every Door]] - sad song about the fall of Navarr cities, easy.<br />
* [[On the Wall]] - Song about the final fight for [[Brocéliande]], medium.<br />
* [[The Ruins of Terunael]] - A song about the [[Vallorn]], easy.<br />
* [[A Sudden Farewell]] - A duet about the last moments together of Navarr and Thorn, medium.<br />
* [[Terunael (song)|Terunael]] - A remembrance song.<br />
<br />
====Songs on Travelling====<br />
* [[Down in the Rugged Glen]] - Joyful song of travelling, easy.<br />
* [[Heart of the Song]] - A song of respite. Associated with the Brackensong Steading, medium.<br />
* [[Miaren (song)|Miaren]] - Wistful song on the competing desires to travel and to return home to [[Miaren|Seren]] , Hard.<br />
* [[Ten Thousand Miles]] - song of love/travelling, medium.<br />
* [[Run Thorns Run]] - A boisterous call and response, easy.<br />
* [[We will go Home (Across the Mountains)]] - A song about the return from the long trods, easy.<br />
<br />
====Battle Music====<br />
* [[Navarr Running Song]] - A war cadence, easy<br />
* [[Thorn Battle Cadence]] - A war cadence, easy<br />
* [[Windblow, home]] - A call to arms.<br />
<br />
====Festival Music====<br />
* [[It Is Not Yet Day]] - A celebratory song, medium.<br />
* [[Navarr (song)|Navarr]] - An old song about the Navarri - traditionally used at the start of dances, medium.<br />
* [[Striding One ]] - An invitation to dance. easy.<br />
<br />
====Cautionary, Teaching & Work Songs====<br />
* [[Caution for the Dawnish Youth]] - Cautionary song popular for expressing the Navarr World view, easy<br />
* [[If it had a Heart]] - A dark song about the monstrous nature of the Vallorn, medium.<br />
* [[Outside in the Distance]] - A Sentry's song, medium.<br />
* [[The Oak (song)|The Oak]] - Song about sensible use of trees, easy.<br />
* [[Through the dark places]] - A song about the Navarri involvement in forming the Empire, easy<br />
<br />
<br />
<br />
====More Songs====<br />
* [[All the Pretty Ponies]] - Lullaby remembering extinct horses, very easy.<br />
* [[Bold Navarr Men]] - A song about a failed sortie. <br />
* [[The Wind That Shakes The Barley]] - A song of mourning.<br />
* [[Crow on the Cradle]] - A dark lullaby, easy<br />
<br />
<br />
====Instrumentation and tunes====<br />
Strings, whistles, chanters, djembes, bodhráns and voices. Pretty much any instrument works well in Navarr.<br />
<br />
====Other performance traditions====<br />
<br />
* Storytelling is discussed in [[Navarr Culture and Customs]]<br />
* Dance<br />
* Poetry e.g. [http://www.poetryfoundation.org/poem/171621 Stopping By Woods on a Snowy Evening] by Robert Frost.<br />
<br />
{{CaptionedImage|file=CM-140419-6335.jpg|align=right|width=400}}<br />
===How to adapt your repertoire===<br />
* Western Folk tradition - Stick to folk songs from the folk traditions mentioned as sources or that have a primal sound. Simplify arrangements and then maybe add non-western rhythms, percussion, shouting, calling and mouth music. This will lend the sense that the old culture has been a little forgotten over time and will give added poignancy to the occasional song performed with a pure 'Celtic' sound. Maybe keep one or two songs unchanged and perform them unaccompanied as a powerful reminder of the old culture.<br />
* Non-western traditions - Move songs into English. Try to lean melodies towards a more 'Celtic' sound.<br />
* Try to avoid frenzied drumming circles - the Navarr are an urban culture turned traveller, but wants to return to city life – and try to avoid the ceilidh vibe. Jigs and waltzes don't match the [[Navarr Look and Feel|feel]] of primal otherworldliness.<br />
<br />
===Our sources===<br />
* Modern Gaelic artists; Modern Welsh Language Artists such as Fern Hill; World Fusion such as Afrocelt Sound System (although less electronic) and Baka Beyond; Scottish-influenced Canadian songs and tunes e.g. Ashley MacIsaac, Great Big Sea (although less poppy), the instrumental stuff by Shooglenifty e.g. Arms Dealer's Daughter (CD), Michael McGoldrick (e.g. Wired), Irish folk, Greek folk tunes and dances. modern pipers e.g. Finlay MacDonald,<br />
* Travel-themed songs and poems by Tolkien could provide inspiration e.g. http://allpoetry.com/poem/8500011-I_Sit_And_Think-by-J_R_R_Tolkien and the [http://www.youtube.com/watch?v=zBgxqN0HOI8 Misty Mountain song] is spot on for the Navarr sound.<br />
<br />
Here is a [https://www.youtube.com/watch?v=Piv-ZLla4wA&list=PLeLz0tHkG2gUoFlCG50u9jsBe25X8_ugc&feature=plpp_play_all youtube playlist] of appropriate or inspiring music and here is one for [https://www.youtube.com/watch?v=DQXK3Z7ZeaY&list=PLeLz0tHkG2gVL-drZ42YW2TXqRjKY5RJF&feature=plpp_play_all dances].<br />
<br />
<br />
[[Category:Navarr Music]]<br />
[[Category:Music]]<br />
[[Category:Navarr]]</div>Jamiewhttps://www.profounddecisions.co.uk/mediawiki-public/index.php?title=Marches_Egregore&diff=35167Marches Egregore2015-04-16T18:21:54Z<p>Jamiew: </p>
<hr />
<div>{{CaptionedImage|file=CM-140526-7684.jpg|align=right|width=300}}<br />
==Jack-of-the-Marches==<br />
<br />
Stories of Jack have been told since before the Marchers succeeded from The Dawnish. Said to appear when words or actions have been needed to help common folk with their daily challenges of a life born of hardship and graft. Whether that be the farm hand that appears to help with a difficult harvest, the beater that arrives to assist with local disputes or a Landskeeper that lends their wisdom. A solitary but friendly figure who keeps tender watch, revels in games and lends their voice to song.<br />
<br />
With the ritual of the Brass Coast 300 years back Jack stepped out of folklore and to many of the Marches became a much more real, tangible individual linking all members of the Nation just as all Egregores do across the Empire. <br />
<br />
Jack as he known now claims to have performed his duties for several generations, 75 years by his last count, but is unsure when that was. Seldom drawn on his life before he took up the mantle he appears as a Beater and performs the role of one. Convinced that “Nothing gets done sat down” he is fiercely stubborn once his mind is made up but never before drawing council from those he believes knowledgeable. Once his shoulders are set to a task no man may tell him no.<br />
<br />
Jack has little time for the politics of the senate or the guiding of the synod, but will often seek the advice of Senators and Priests, believing a quiet conversation by a fire side or bar table achieves just as much, and in considerably less time.<br />
[[Category:Egregores]]<br />
[[Category: The Marches]]</div>Jamiewhttps://www.profounddecisions.co.uk/mediawiki-public/index.php?title=Navarr_music&diff=35056Navarr music2015-03-28T10:39:45Z<p>Jamiew: /* Style summary */</p>
<hr />
<div>==The Music of Navarr==<br />
<br />
===Style summary===<br />
Navarr music reflects a dichotomy of wistful remembrance for their old culture and the practicalities of survival in the wild. Recent music has a practicality underlying it. Loud and high calling noises appear throughout the music in order to develop vocal cords for the relay of messages, cries of warning and the roar of a fear inducing charge from hiding. Drumming is widely used for similar reasons. The sounds, in contrast to the melodic music of their old culture, are often harsh which reflects the Navarr attitude towards nature - not one of harmony but of dominance. Much of the music of their lost cities has changed over time to include primal sounds, for example, fast fiddle and pipes or soft unison singing is joined by loud calling and percussion. Lyrics reflect the dichotomy of the memory of lost cities and the practicalities of life in the wild. References to nature are common but are dark and evocative rather than romantic. Work songs and cautionary tales are common as are the themes of travelling, fate, forests, and blood. Songs of the old culture; lost cities and sacrifice concentrate on remembrance rather than lamentation.<br />
<br />
To achieve this sound, look at music that fuses Celtic folk styles with African and Amazonian sounds . Music can draw on Scottish, Irish, Greek, Galician, and Basque/French folk tunes as well Tolkienesque fantasy for lyrics, with added African-style percussion (such as [https://www.youtube.com/watch?v=A6oYeq7FfqI Ngoma], [https://www.youtube.com/watch?v=fN8MEam_HL8 Mutuashi] and [https://youtu.be/CDquKtgHYp4 Didadi]), [https://www.youtube.com/watch?v=zZMo9Humf-0 Amazonian] and [https://www.youtube.com/watch?v=CfzJJadT8gw Amazigh] music, to fuse with the sounds of the old culture.<br />
<br />
===Commonly known songs===<br />
* [[Ten Thousand Miles]] - song of love/travelling.<br />
* [[Thorn Battle Cadence]] - A war cadence, easy<br />
* [[Caution for the Dawnish Youth]] - Cautionary song popular for expressing the Navarr World view<br />
<br />
{{CaptionedImage|file=CM-140419-6337.jpg|align=left|width=400}}<br />
====A musical tradition====<br />
Music has a practical use in Navarr society. Music plays a prominent part to create social harmony and to invoke the powers from beyond. It is used for work songs and for teaching. <br />
<br />
Social rituals are often performed to music, such as courtship rituals where oine lead, supported by their chorus, makes their case, and the other lead, supported by their own chorus, questions them. <br />
<br />
Blood Rituals often rely on percussion support to evoke the feel of the pumping heart and helps focus the arts of the Vates.<br />
<br />
====One for the kids====<br />
* [[All the Pretty Ponies]] - lullaby remembering extinct horses, very easy.<br />
<br />
====Songs about notable people/entities in Navarr====<br />
* [[Redhound]] - A song about a Navarri hero, hard.<br />
* [[The Walls of Terunael]] - An address to the [[Navarr_Egregore|Egregore Liaven]] about walking the trods, the loss of Terunael and the importance of the Empire, easy.<br />
*[[Ode to Shadowglyn Distillery]] - A song commemorating the restoration of the [[Shadowglyn Distillery]] by Wern Taur Thorntarry, medium.<br />
<br />
===Further songs===<br />
<br />
====Songs from Terunael====<br />
* [[By Chance It Was]] - A love song, easy.<br />
<br />
====Songs about the fall of Terunael====<br />
* [[Brocéliande Be Stronger Now]] - Powerful song about [[Brocéliande]], medium with difficult lead vocal.<br />
* [[I Come and Stand at Every Door]] - sad song about the fall of Navarr cities, easy.<br />
* [[On the Wall]] - Song about the final fight for [[Brocéliande]], medium.<br />
* [[The Ruins of Terunael]] - A song about the [[Vallorn]], easy.<br />
* [[A Sudden Farewell]] - A duet about the last moments together of Navarr and Thorn, medium.<br />
* [[Terunael (song)|Terunael]] - A remembrance song.<br />
<br />
====Songs on Travelling====<br />
* [[Down in the Rugged Glen]] - Joyful song of travelling, easy.<br />
* [[Heart of the Song]] - A song of respite. Associated with the Brackensong Steading, medium.<br />
* [[Miaren (song)|Miaren]] - Wistful song on the competing desires to travel and to return home to [[Miaren|Seren]] , Hard.<br />
* [[Ten Thousand Miles]] - song of love/travelling, medium.<br />
* [[Run Thorns Run]] - A boisterous call and response, easy.<br />
* [[We will go Home (Across the Mountains)]] - A song about the return from the long trods, easy.<br />
<br />
====Battle Music====<br />
* [[Navarr Running Song]] - A war cadence, easy<br />
* [[Thorn Battle Cadence]] - A war cadence, easy<br />
* [[Windblow, home]] - A call to arms.<br />
<br />
====Festival Music====<br />
* [[It Is Not Yet Day]] - A celebratory song, medium.<br />
* [[Navarr (song)|Navarr]] - An old song about the Navarri - traditionally used at the start of dances, medium.<br />
* [[Striding One ]] - An invitation to dance. easy.<br />
<br />
====Cautionary, Teaching & Work Songs====<br />
* [[Caution for the Dawnish Youth]] - Cautionary song popular for expressing the Navarr World view, easy<br />
* [[Outside in the Distance]] - A Sentry's song, medium.<br />
* [[The Oak (song)|The Oak]] - Song about sensible use of trees, easy.<br />
* [[Through the dark places]] - A song about the Navarri involvement in forming the Empire<br />
<br />
<br />
====More Songs====<br />
* [[All the Pretty Ponies]] - Lullaby remembering extinct horses, very easy.<br />
* [[Bold Navarr Men]] - A song about a failed sortie. <br />
* [[The Wind That Shakes The Barley]] - A song of mourning.<br />
<br />
<br />
<br />
====Instrumentation and tunes====<br />
Strings, whistles, chanters, djembes, bodhráns and voices. Pretty much any instrument works well in Navarr.<br />
<br />
====Other performance traditions====<br />
<br />
* Storytelling is discussed in [[Navarr Culture and Customs]]<br />
* Dance<br />
* Poetry e.g. [http://www.poetryfoundation.org/poem/171621 Stopping By Woods on a Snowy Evening] by Robert Frost.<br />
<br />
{{CaptionedImage|file=CM-140419-6335.jpg|align=right|width=400}}<br />
===How to adapt your repertoire===<br />
* Western Folk tradition - Stick to folk songs from the folk traditions mentioned as sources or that have a primal sound. Simplify arrangements and then maybe add non-western rhythms, percussion, shouting, calling and mouth music. This will lend the sense that the old culture has been a little forgotten over time and will give added poignancy to the occasional song performed with a pure 'Celtic' sound. Maybe keep one or two songs unchanged and perform them unaccompanied as a powerful reminder of the old culture.<br />
* Non-western traditions - Move songs into English. Try to lean melodies towards a more 'Celtic' sound.<br />
* Try to avoid frenzied drumming circles - the Navarr are an urban culture turned traveller, but wants to return to city life – and try to avoid the ceilidh vibe. Jigs and waltzes don't match the [[Navarr Look and Feel|feel]] of primal otherworldliness.<br />
<br />
===Our sources===<br />
* Modern Gaelic artists; Modern Welsh Language Artists such as Fern Hill; World Fusion such as Afrocelt Sound System (although less electronic) and Baka Beyond; Scottish-influenced Canadian songs and tunes e.g. Ashley MacIsaac, Great Big Sea (although less poppy), the instrumental stuff by Shooglenifty e.g. Arms Dealer's Daughter (CD), Michael McGoldrick (e.g. Wired), Irish folk, Greek folk tunes and dances. modern pipers e.g. Finlay MacDonald,<br />
* Travel-themed songs and poems by Tolkien could provide inspiration e.g. http://allpoetry.com/poem/8500011-I_Sit_And_Think-by-J_R_R_Tolkien and the [http://www.youtube.com/watch?v=zBgxqN0HOI8 Misty Mountain song] is spot on for the Navarr sound.<br />
<br />
Here is a [https://www.youtube.com/watch?v=Piv-ZLla4wA&list=PLeLz0tHkG2gUoFlCG50u9jsBe25X8_ugc&feature=plpp_play_all youtube playlist] of appropriate or inspiring music and here is one for [https://www.youtube.com/watch?v=DQXK3Z7ZeaY&list=PLeLz0tHkG2gVL-drZ42YW2TXqRjKY5RJF&feature=plpp_play_all dances].<br />
<br />
<br />
[[Category:Navarr Music]]<br />
[[Category:Music]]<br />
[[Category:Navarr]]</div>Jamiewhttps://www.profounddecisions.co.uk/mediawiki-public/index.php?title=Navarr_music&diff=35055Navarr music2015-03-28T10:20:31Z<p>Jamiew: Some links to various percussion sounds.</p>
<hr />
<div>==The Music of Navarr==<br />
<br />
===Style summary===<br />
Navarr music reflects a dichotomy of wistful remembrance for their old culture and the practicalities of survival in the wild. Recent music has a practicality underlying it. Loud and high calling noises appear throughout the music in order to develop vocal cords for the relay of messages, cries of warning and the roar of a fear inducing charge from hiding. Drumming is widely used for similar reasons. The sounds, in contrast to the melodic music of their old culture, are often harsh which reflects the Navarr attitude towards nature - not one of harmony but of dominance. Much of the music of their lost cities has changed over time to include primal sounds, for example, fast fiddle and pipes or soft unison singing is joined by loud calling and percussion. Lyrics reflect the dichotomy of the memory of lost cities and the practicalities of life in the wild. References to nature are common but are dark and evocative rather than romantic. Work songs and cautionary tales are common as are the themes of travelling, fate, forests, and blood. Songs of the old culture; lost cities and sacrifice concentrate on remembrance rather than lamentation.<br />
<br />
To achieve this sound, look at music that fuses Celtic folk styles with African and Amazonian sounds . Music can draw on Scottish, Irish, Greek, Galician, and Basque/French folk tunes as well Tolkienesque fantasy for lyrics, with added African-style percussion (such as [https://www.youtube.com/watch?v=A6oYeq7FfqI Ngoma], [https://www.youtube.com/watch?v=fN8MEam_HL8 Mutuashi], [https://youtu.be/ApHU_jHdaAE?t=7s Bikutsi] and [https://youtu.be/CDquKtgHYp4 Didadi]), [https://www.youtube.com/watch?v=zZMo9Humf-0 Amazonian] and [https://www.youtube.com/watch?v=CfzJJadT8gw Amazigh] music, to fuse with the sounds of the old culture.<br />
<br />
===Commonly known songs===<br />
* [[Ten Thousand Miles]] - song of love/travelling.<br />
* [[Thorn Battle Cadence]] - A war cadence, easy<br />
* [[Caution for the Dawnish Youth]] - Cautionary song popular for expressing the Navarr World view<br />
<br />
{{CaptionedImage|file=CM-140419-6337.jpg|align=left|width=400}}<br />
====A musical tradition====<br />
Music has a practical use in Navarr society. Music plays a prominent part to create social harmony and to invoke the powers from beyond. It is used for work songs and for teaching. <br />
<br />
Social rituals are often performed to music, such as courtship rituals where oine lead, supported by their chorus, makes their case, and the other lead, supported by their own chorus, questions them. <br />
<br />
Blood Rituals often rely on percussion support to evoke the feel of the pumping heart and helps focus the arts of the Vates.<br />
<br />
====One for the kids====<br />
* [[All the Pretty Ponies]] - lullaby remembering extinct horses, very easy.<br />
<br />
====Songs about notable people/entities in Navarr====<br />
* [[Redhound]] - A song about a Navarri hero, hard.<br />
* [[The Walls of Terunael]] - An address to the [[Navarr_Egregore|Egregore Liaven]] about walking the trods, the loss of Terunael and the importance of the Empire, easy.<br />
*[[Ode to Shadowglyn Distillery]] - A song commemorating the restoration of the [[Shadowglyn Distillery]] by Wern Taur Thorntarry, medium.<br />
<br />
===Further songs===<br />
<br />
====Songs from Terunael====<br />
* [[By Chance It Was]] - A love song, easy.<br />
<br />
====Songs about the fall of Terunael====<br />
* [[Brocéliande Be Stronger Now]] - Powerful song about [[Brocéliande]], medium with difficult lead vocal.<br />
* [[I Come and Stand at Every Door]] - sad song about the fall of Navarr cities, easy.<br />
* [[On the Wall]] - Song about the final fight for [[Brocéliande]], medium.<br />
* [[The Ruins of Terunael]] - A song about the [[Vallorn]], easy.<br />
* [[A Sudden Farewell]] - A duet about the last moments together of Navarr and Thorn, medium.<br />
* [[Terunael (song)|Terunael]] - A remembrance song.<br />
<br />
====Songs on Travelling====<br />
* [[Down in the Rugged Glen]] - Joyful song of travelling, easy.<br />
* [[Heart of the Song]] - A song of respite. Associated with the Brackensong Steading, medium.<br />
* [[Miaren (song)|Miaren]] - Wistful song on the competing desires to travel and to return home to [[Miaren|Seren]] , Hard.<br />
* [[Ten Thousand Miles]] - song of love/travelling, medium.<br />
* [[Run Thorns Run]] - A boisterous call and response, easy.<br />
* [[We will go Home (Across the Mountains)]] - A song about the return from the long trods, easy.<br />
<br />
====Battle Music====<br />
* [[Navarr Running Song]] - A war cadence, easy<br />
* [[Thorn Battle Cadence]] - A war cadence, easy<br />
* [[Windblow, home]] - A call to arms.<br />
<br />
====Festival Music====<br />
* [[It Is Not Yet Day]] - A celebratory song, medium.<br />
* [[Navarr (song)|Navarr]] - An old song about the Navarri - traditionally used at the start of dances, medium.<br />
* [[Striding One ]] - An invitation to dance. easy.<br />
<br />
====Cautionary, Teaching & Work Songs====<br />
* [[Caution for the Dawnish Youth]] - Cautionary song popular for expressing the Navarr World view, easy<br />
* [[Outside in the Distance]] - A Sentry's song, medium.<br />
* [[The Oak (song)|The Oak]] - Song about sensible use of trees, easy.<br />
* [[Through the dark places]] - A song about the Navarri involvement in forming the Empire<br />
<br />
<br />
====More Songs====<br />
* [[All the Pretty Ponies]] - Lullaby remembering extinct horses, very easy.<br />
* [[Bold Navarr Men]] - A song about a failed sortie. <br />
* [[The Wind That Shakes The Barley]] - A song of mourning.<br />
<br />
<br />
<br />
====Instrumentation and tunes====<br />
Strings, whistles, chanters, djembes, bodhráns and voices. Pretty much any instrument works well in Navarr.<br />
<br />
====Other performance traditions====<br />
<br />
* Storytelling is discussed in [[Navarr Culture and Customs]]<br />
* Dance<br />
* Poetry e.g. [http://www.poetryfoundation.org/poem/171621 Stopping By Woods on a Snowy Evening] by Robert Frost.<br />
<br />
{{CaptionedImage|file=CM-140419-6335.jpg|align=right|width=400}}<br />
===How to adapt your repertoire===<br />
* Western Folk tradition - Stick to folk songs from the folk traditions mentioned as sources or that have a primal sound. Simplify arrangements and then maybe add non-western rhythms, percussion, shouting, calling and mouth music. This will lend the sense that the old culture has been a little forgotten over time and will give added poignancy to the occasional song performed with a pure 'Celtic' sound. Maybe keep one or two songs unchanged and perform them unaccompanied as a powerful reminder of the old culture.<br />
* Non-western traditions - Move songs into English. Try to lean melodies towards a more 'Celtic' sound.<br />
* Try to avoid frenzied drumming circles - the Navarr are an urban culture turned traveller, but wants to return to city life – and try to avoid the ceilidh vibe. Jigs and waltzes don't match the [[Navarr Look and Feel|feel]] of primal otherworldliness.<br />
<br />
===Our sources===<br />
* Modern Gaelic artists; Modern Welsh Language Artists such as Fern Hill; World Fusion such as Afrocelt Sound System (although less electronic) and Baka Beyond; Scottish-influenced Canadian songs and tunes e.g. Ashley MacIsaac, Great Big Sea (although less poppy), the instrumental stuff by Shooglenifty e.g. Arms Dealer's Daughter (CD), Michael McGoldrick (e.g. Wired), Irish folk, Greek folk tunes and dances. modern pipers e.g. Finlay MacDonald,<br />
* Travel-themed songs and poems by Tolkien could provide inspiration e.g. http://allpoetry.com/poem/8500011-I_Sit_And_Think-by-J_R_R_Tolkien and the [http://www.youtube.com/watch?v=zBgxqN0HOI8 Misty Mountain song] is spot on for the Navarr sound.<br />
<br />
Here is a [https://www.youtube.com/watch?v=Piv-ZLla4wA&list=PLeLz0tHkG2gUoFlCG50u9jsBe25X8_ugc&feature=plpp_play_all youtube playlist] of appropriate or inspiring music and here is one for [https://www.youtube.com/watch?v=DQXK3Z7ZeaY&list=PLeLz0tHkG2gVL-drZ42YW2TXqRjKY5RJF&feature=plpp_play_all dances].<br />
<br />
<br />
[[Category:Navarr Music]]<br />
[[Category:Music]]<br />
[[Category:Navarr]]</div>Jamiewhttps://www.profounddecisions.co.uk/mediawiki-public/index.php?title=Navarr_music&diff=35054Navarr music2015-03-28T09:59:18Z<p>Jamiew: /* How to adapt your repertoire */</p>
<hr />
<div>==The Music of Navarr==<br />
<br />
===Style summary===<br />
Navarr music reflects a dichotomy of wistful remembrance for their old culture and the practicalities of survival in the wild. Recent music has a practicality underlying it. Loud and high calling noises appear throughout the music in order to develop vocal cords for the relay of messages, cries of warning and the roar of a fear inducing charge from hiding. Drumming is widely used for similar reasons. The sounds, in contrast to the melodic music of their old culture, are often harsh which reflects the Navarr attitude towards nature - not one of harmony but of dominance. Much of the music of their lost cities has changed over time to include primal sounds, for example, fast fiddle and pipes or soft unison singing is joined by loud calling and percussion. Lyrics reflect the dichotomy of the memory of lost cities and the practicalities of life in the wild. References to nature are common but are dark and evocative rather than romantic. Work songs and cautionary tales are common as are the themes of travelling, fate, forests, and blood. Songs of the old culture; lost cities and sacrifice concentrate on remembrance rather than lamentation.<br />
<br />
To achieve this sound, look at music that fuses Celtic folk styles with African and Amazonian sounds . Music can draw on Scottish, Irish, Greek, Galician, and Basque/French folk tunes as well Tolkienesque fantasy for lyrics, with added African-style percussion (such as Ngoma, Mutuashi, Bikutsi and Didadi), Amazonian and Amazigh music, to fuse with the sounds of the old culture.<br />
<br />
===Commonly known songs===<br />
* [[Ten Thousand Miles]] - song of love/travelling.<br />
* [[Thorn Battle Cadence]] - A war cadence, easy<br />
* [[Caution for the Dawnish Youth]] - Cautionary song popular for expressing the Navarr World view<br />
<br />
{{CaptionedImage|file=CM-140419-6337.jpg|align=left|width=400}}<br />
====A musical tradition====<br />
Music has a practical use in Navarr society. Music plays a prominent part to create social harmony and to invoke the powers from beyond. It is used for work songs and for teaching. <br />
<br />
Social rituals are often performed to music, such as courtship rituals where oine lead, supported by their chorus, makes their case, and the other lead, supported by their own chorus, questions them. <br />
<br />
Blood Rituals often rely on percussion support to evoke the feel of the pumping heart and helps focus the arts of the Vates.<br />
<br />
====One for the kids====<br />
* [[All the Pretty Ponies]] - lullaby remembering extinct horses, very easy.<br />
<br />
====Songs about notable people/entities in Navarr====<br />
* [[Redhound]] - A song about a Navarri hero, hard.<br />
* [[The Walls of Terunael]] - An address to the [[Navarr_Egregore|Egregore Liaven]] about walking the trods, the loss of Terunael and the importance of the Empire, easy.<br />
*[[Ode to Shadowglyn Distillery]] - A song commemorating the restoration of the [[Shadowglyn Distillery]] by Wern Taur Thorntarry, medium.<br />
<br />
===Further songs===<br />
<br />
====Songs from Terunael====<br />
* [[By Chance It Was]] - A love song, easy.<br />
<br />
====Songs about the fall of Terunael====<br />
* [[Brocéliande Be Stronger Now]] - Powerful song about [[Brocéliande]], medium with difficult lead vocal.<br />
* [[I Come and Stand at Every Door]] - sad song about the fall of Navarr cities, easy.<br />
* [[On the Wall]] - Song about the final fight for [[Brocéliande]], medium.<br />
* [[The Ruins of Terunael]] - A song about the [[Vallorn]], easy.<br />
* [[A Sudden Farewell]] - A duet about the last moments together of Navarr and Thorn, medium.<br />
* [[Terunael (song)|Terunael]] - A remembrance song.<br />
<br />
====Songs on Travelling====<br />
* [[Down in the Rugged Glen]] - Joyful song of travelling, easy.<br />
* [[Heart of the Song]] - A song of respite. Associated with the Brackensong Steading, medium.<br />
* [[Miaren (song)|Miaren]] - Wistful song on the competing desires to travel and to return home to [[Miaren|Seren]] , Hard.<br />
* [[Ten Thousand Miles]] - song of love/travelling, medium.<br />
* [[Run Thorns Run]] - A boisterous call and response, easy.<br />
* [[We will go Home (Across the Mountains)]] - A song about the return from the long trods, easy.<br />
<br />
====Battle Music====<br />
* [[Navarr Running Song]] - A war cadence, easy<br />
* [[Thorn Battle Cadence]] - A war cadence, easy<br />
* [[Windblow, home]] - A call to arms.<br />
<br />
====Festival Music====<br />
* [[It Is Not Yet Day]] - A celebratory song, medium.<br />
* [[Navarr (song)|Navarr]] - An old song about the Navarri - traditionally used at the start of dances, medium.<br />
* [[Striding One ]] - An invitation to dance. easy.<br />
<br />
====Cautionary, Teaching & Work Songs====<br />
* [[Caution for the Dawnish Youth]] - Cautionary song popular for expressing the Navarr World view, easy<br />
* [[Outside in the Distance]] - A Sentry's song, medium.<br />
* [[The Oak (song)|The Oak]] - Song about sensible use of trees, easy.<br />
* [[Through the dark places]] - A song about the Navarri involvement in forming the Empire<br />
<br />
<br />
====More Songs====<br />
* [[All the Pretty Ponies]] - Lullaby remembering extinct horses, very easy.<br />
* [[Bold Navarr Men]] - A song about a failed sortie. <br />
* [[The Wind That Shakes The Barley]] - A song of mourning.<br />
<br />
<br />
<br />
====Instrumentation and tunes====<br />
Strings, whistles, chanters, djembes, bodhráns and voices. Pretty much any instrument works well in Navarr.<br />
<br />
====Other performance traditions====<br />
<br />
* Storytelling is discussed in [[Navarr Culture and Customs]]<br />
* Dance<br />
* Poetry e.g. [http://www.poetryfoundation.org/poem/171621 Stopping By Woods on a Snowy Evening] by Robert Frost.<br />
<br />
{{CaptionedImage|file=CM-140419-6335.jpg|align=right|width=400}}<br />
===How to adapt your repertoire===<br />
* Western Folk tradition - Stick to folk songs from the folk traditions mentioned as sources or that have a primal sound. Simplify arrangements and then maybe add non-western rhythms, percussion, shouting, calling and mouth music. This will lend the sense that the old culture has been a little forgotten over time and will give added poignancy to the occasional song performed with a pure 'Celtic' sound. Maybe keep one or two songs unchanged and perform them unaccompanied as a powerful reminder of the old culture.<br />
* Non-western traditions - Move songs into English. Try to lean melodies towards a more 'Celtic' sound.<br />
* Try to avoid frenzied drumming circles - the Navarr are an urban culture turned traveller, but wants to return to city life – and try to avoid the ceilidh vibe. Jigs and waltzes don't match the [[Navarr Look and Feel|feel]] of primal otherworldliness.<br />
<br />
===Our sources===<br />
* Modern Gaelic artists; Modern Welsh Language Artists such as Fern Hill; World Fusion such as Afrocelt Sound System (although less electronic) and Baka Beyond; Scottish-influenced Canadian songs and tunes e.g. Ashley MacIsaac, Great Big Sea (although less poppy), the instrumental stuff by Shooglenifty e.g. Arms Dealer's Daughter (CD), Michael McGoldrick (e.g. Wired), Irish folk, Greek folk tunes and dances. modern pipers e.g. Finlay MacDonald,<br />
* Travel-themed songs and poems by Tolkien could provide inspiration e.g. http://allpoetry.com/poem/8500011-I_Sit_And_Think-by-J_R_R_Tolkien and the [http://www.youtube.com/watch?v=zBgxqN0HOI8 Misty Mountain song] is spot on for the Navarr sound.<br />
<br />
Here is a [https://www.youtube.com/watch?v=Piv-ZLla4wA&list=PLeLz0tHkG2gUoFlCG50u9jsBe25X8_ugc&feature=plpp_play_all youtube playlist] of appropriate or inspiring music and here is one for [https://www.youtube.com/watch?v=DQXK3Z7ZeaY&list=PLeLz0tHkG2gVL-drZ42YW2TXqRjKY5RJF&feature=plpp_play_all dances].<br />
<br />
<br />
[[Category:Navarr Music]]<br />
[[Category:Music]]<br />
[[Category:Navarr]]</div>Jamiewhttps://www.profounddecisions.co.uk/mediawiki-public/index.php?title=Navarr_music&diff=35053Navarr music2015-03-28T09:52:46Z<p>Jamiew: /* Style summary */</p>
<hr />
<div>==The Music of Navarr==<br />
<br />
===Style summary===<br />
Navarr music reflects a dichotomy of wistful remembrance for their old culture and the practicalities of survival in the wild. Recent music has a practicality underlying it. Loud and high calling noises appear throughout the music in order to develop vocal cords for the relay of messages, cries of warning and the roar of a fear inducing charge from hiding. Drumming is widely used for similar reasons. The sounds, in contrast to the melodic music of their old culture, are often harsh which reflects the Navarr attitude towards nature - not one of harmony but of dominance. Much of the music of their lost cities has changed over time to include primal sounds, for example, fast fiddle and pipes or soft unison singing is joined by loud calling and percussion. Lyrics reflect the dichotomy of the memory of lost cities and the practicalities of life in the wild. References to nature are common but are dark and evocative rather than romantic. Work songs and cautionary tales are common as are the themes of travelling, fate, forests, and blood. Songs of the old culture; lost cities and sacrifice concentrate on remembrance rather than lamentation.<br />
<br />
To achieve this sound, look at music that fuses Celtic folk styles with African and Amazonian sounds . Music can draw on Scottish, Irish, Greek, Galician, and Basque/French folk tunes as well Tolkienesque fantasy for lyrics, with added African-style percussion (such as Ngoma, Mutuashi, Bikutsi and Didadi), Amazonian and Amazigh music, to fuse with the sounds of the old culture.<br />
<br />
===Commonly known songs===<br />
* [[Ten Thousand Miles]] - song of love/travelling.<br />
* [[Thorn Battle Cadence]] - A war cadence, easy<br />
* [[Caution for the Dawnish Youth]] - Cautionary song popular for expressing the Navarr World view<br />
<br />
{{CaptionedImage|file=CM-140419-6337.jpg|align=left|width=400}}<br />
====A musical tradition====<br />
Music has a practical use in Navarr society. Music plays a prominent part to create social harmony and to invoke the powers from beyond. It is used for work songs and for teaching. <br />
<br />
Social rituals are often performed to music, such as courtship rituals where oine lead, supported by their chorus, makes their case, and the other lead, supported by their own chorus, questions them. <br />
<br />
Blood Rituals often rely on percussion support to evoke the feel of the pumping heart and helps focus the arts of the Vates.<br />
<br />
====One for the kids====<br />
* [[All the Pretty Ponies]] - lullaby remembering extinct horses, very easy.<br />
<br />
====Songs about notable people/entities in Navarr====<br />
* [[Redhound]] - A song about a Navarri hero, hard.<br />
* [[The Walls of Terunael]] - An address to the [[Navarr_Egregore|Egregore Liaven]] about walking the trods, the loss of Terunael and the importance of the Empire, easy.<br />
*[[Ode to Shadowglyn Distillery]] - A song commemorating the restoration of the [[Shadowglyn Distillery]] by Wern Taur Thorntarry, medium.<br />
<br />
===Further songs===<br />
<br />
====Songs from Terunael====<br />
* [[By Chance It Was]] - A love song, easy.<br />
<br />
====Songs about the fall of Terunael====<br />
* [[Brocéliande Be Stronger Now]] - Powerful song about [[Brocéliande]], medium with difficult lead vocal.<br />
* [[I Come and Stand at Every Door]] - sad song about the fall of Navarr cities, easy.<br />
* [[On the Wall]] - Song about the final fight for [[Brocéliande]], medium.<br />
* [[The Ruins of Terunael]] - A song about the [[Vallorn]], easy.<br />
* [[A Sudden Farewell]] - A duet about the last moments together of Navarr and Thorn, medium.<br />
* [[Terunael (song)|Terunael]] - A remembrance song.<br />
<br />
====Songs on Travelling====<br />
* [[Down in the Rugged Glen]] - Joyful song of travelling, easy.<br />
* [[Heart of the Song]] - A song of respite. Associated with the Brackensong Steading, medium.<br />
* [[Miaren (song)|Miaren]] - Wistful song on the competing desires to travel and to return home to [[Miaren|Seren]] , Hard.<br />
* [[Ten Thousand Miles]] - song of love/travelling, medium.<br />
* [[Run Thorns Run]] - A boisterous call and response, easy.<br />
* [[We will go Home (Across the Mountains)]] - A song about the return from the long trods, easy.<br />
<br />
====Battle Music====<br />
* [[Navarr Running Song]] - A war cadence, easy<br />
* [[Thorn Battle Cadence]] - A war cadence, easy<br />
* [[Windblow, home]] - A call to arms.<br />
<br />
====Festival Music====<br />
* [[It Is Not Yet Day]] - A celebratory song, medium.<br />
* [[Navarr (song)|Navarr]] - An old song about the Navarri - traditionally used at the start of dances, medium.<br />
* [[Striding One ]] - An invitation to dance. easy.<br />
<br />
====Cautionary, Teaching & Work Songs====<br />
* [[Caution for the Dawnish Youth]] - Cautionary song popular for expressing the Navarr World view, easy<br />
* [[Outside in the Distance]] - A Sentry's song, medium.<br />
* [[The Oak (song)|The Oak]] - Song about sensible use of trees, easy.<br />
* [[Through the dark places]] - A song about the Navarri involvement in forming the Empire<br />
<br />
<br />
====More Songs====<br />
* [[All the Pretty Ponies]] - Lullaby remembering extinct horses, very easy.<br />
* [[Bold Navarr Men]] - A song about a failed sortie. <br />
* [[The Wind That Shakes The Barley]] - A song of mourning.<br />
<br />
<br />
<br />
====Instrumentation and tunes====<br />
Strings, whistles, chanters, djembes, bodhráns and voices. Pretty much any instrument works well in Navarr.<br />
<br />
====Other performance traditions====<br />
<br />
* Storytelling is discussed in [[Navarr Culture and Customs]]<br />
* Dance<br />
* Poetry e.g. [http://www.poetryfoundation.org/poem/171621 Stopping By Woods on a Snowy Evening] by Robert Frost.<br />
<br />
{{CaptionedImage|file=CM-140419-6335.jpg|align=right|width=400}}<br />
===How to adapt your repertoire===<br />
* Western Folk tradition - Stick to folk songs from the folk traditions mentioned as sources or that have a primal sound. Simplify arrangements and then add drumming, shouting, calling etc. This will lend the sense that the old culture has been a little forgotten over time and will give added poignancy to the occasional song performed with a pure 'Celtic' sound. Maybe keep one or two songs unchanged and perform them unaccompanied as a powerful reminder of the old culture.<br />
* Non-western traditions - Move songs into English. Try to lean melodies towards a more 'Celtic' sound.<br />
* Try to avoid frenzied drumming circles - the Navarr are an urban culture turned traveller, but wants to return to city life – and try to avoid the ceilidh vibe. Jigs and waltzes don't match the [[Navarr Look and Feel|feel]] of primal otherworldliness.<br />
<br />
===Our sources===<br />
* Modern Gaelic artists; Modern Welsh Language Artists such as Fern Hill; World Fusion such as Afrocelt Sound System (although less electronic) and Baka Beyond; Scottish-influenced Canadian songs and tunes e.g. Ashley MacIsaac, Great Big Sea (although less poppy), the instrumental stuff by Shooglenifty e.g. Arms Dealer's Daughter (CD), Michael McGoldrick (e.g. Wired), Irish folk, Greek folk tunes and dances. modern pipers e.g. Finlay MacDonald,<br />
* Travel-themed songs and poems by Tolkien could provide inspiration e.g. http://allpoetry.com/poem/8500011-I_Sit_And_Think-by-J_R_R_Tolkien and the [http://www.youtube.com/watch?v=zBgxqN0HOI8 Misty Mountain song] is spot on for the Navarr sound.<br />
<br />
Here is a [https://www.youtube.com/watch?v=Piv-ZLla4wA&list=PLeLz0tHkG2gUoFlCG50u9jsBe25X8_ugc&feature=plpp_play_all youtube playlist] of appropriate or inspiring music and here is one for [https://www.youtube.com/watch?v=DQXK3Z7ZeaY&list=PLeLz0tHkG2gVL-drZ42YW2TXqRjKY5RJF&feature=plpp_play_all dances].<br />
<br />
<br />
[[Category:Navarr Music]]<br />
[[Category:Music]]<br />
[[Category:Navarr]]</div>Jamiewhttps://www.profounddecisions.co.uk/mediawiki-public/index.php?title=Egregores&diff=34450Egregores2015-03-09T22:56:01Z<p>Jamiew: Egregores can have more than one host.</p>
<hr />
<div>==Egregores==<br />
* Are the first point of contact for players in each nation<br />
* Source of plot in the nation<br />
* Get new players involved in the plot and in the politics of the nation<br />
* Encourage the players to maintain the visual and thematic identity of each nation<br />
* Are the radio operator in each camp<br />
<br />
Each nation has a single [[Nationality#Egregore|Egregore]] [http://en.wikipedia.org/wiki/Egregore] spirit that represents the personification of the nation created through ritual magic. This may be present in more than one host body at any time. The ritual was created by the Brass Coast to ensure that the nations of the Empire retained their independent character and culture. In the game they will act to encourage the players to maintain the visual and thematic identity of their nation. The egregores are an effective channel for plot writers to deliver plot "news" to the players about what is going on in their nation. They work particularly closely with the new player plot team to try to ensure that new players are involved in the plot and also involved in the politics of the nation. They are a point of contact for PD crew for players in a nation and will have a covert radio. They are not there to make decisions for the nation or provide leadership or direction. It is possible for an egregore to play other roles some of the time if they wish. <br />
<br />
Being an egregore requires some charisma and personal presence. The egregores do not have any real power in the nation so their influence will primarily derive from what they can achieve through roleplaying. You need to be in touch with the politics of your nation to be able to get new players involved in it. Being an egregore is a great role for anyone who wants to play an evocative role in the heart of a nation but does not want to be in charge.<br />
<br />
'''Current Egregores:'''<br />
<br />
''All our egregores have now been cast.''<br />
<br />
<table><br />
<tr><br />
<td colspan="2" style="color: white; background-color: LightGray;">Nation</td><br />
<td colspan="2" style="color: white; background-color: LightGray;">Egregore Name</td><br />
<td colspan="2" style="color: white; background-color: LightGray;">OOC names</td><br />
</tr><br />
<tr><br />
<td colspan="2">Brass Coast</td><br />
<td colspan="2">[[Brass_Coast_Egregore|Dust, Fire and Glass]]</td><br />
<td colspan="2">Linette Withers</td><br />
</tr><br />
<tr><br />
<td colspan="2">Dawn</td><br />
<td colspan="2">[[Dawn_Egregore|The Knight of Roses]]</td><br />
<td colspan="2">Keeley Knight</td><br />
</tr><br />
<tr><br />
<td colspan="2">Highguard</td><br />
<td colspan="2">[[Highguard_Egregore|Escon]]</td><br />
<td colspan="2">Matt Heath</td><br />
</tr> <br />
<tr><br />
<td colspan="2">Imperial Orcs</td><br />
<td colspan="2">[[Imperial_Orc_Egregore|Grud The Unshackled]] </td><br />
<td colspan="2">Dave McKenna</td><br />
</tr> <br />
<tr><br />
<td colspan="2">The League</td><br />
<td colspan="2">[[League_Egregore|Guise]]</td><br />
<td colspan="2">Rick Jackson</td><br />
</tr> <br />
<tr><br />
<td colspan="2">The Marches</td><br />
<td colspan="2">[[Marches_Egregore|Jack-of-the-Marches]]</td><br />
<td colspan="2">Ritch Keeling</td><br />
</tr> <br />
<tr><br />
<td colspan="2">Navarr</td><br />
<td colspan="2">[[Navarr_Egregore|Liaven]]</td><br />
<td colspan="2">David Young & Liz Duggan</td><br />
</tr><br />
<tr><br />
<td colspan="2">Urizen</td><br />
<td colspan="2">[[Urizen_Egregore|Menos]]</td><br />
<td colspan="2">Toni Badnall</td><br />
</tr><br />
<tr><br />
<td colspan="2">Varushka</td><br />
<td colspan="2"> [[Varushka_Egregore|Mother Varushka]] </td><br />
<td colspan="2">Dave Kibblewhite</td><br />
</tr><br />
<tr><br />
<td colspan="2">Wintermark</td><br />
<td colspan="2"> [[Wintermark_Egregore|Sulkavaris, Knower of Names]] </td><br />
<td colspan="2">Andrew Dudgeon, Charlotte Barratt & Al Bevan</td><br />
</tr><br />
</table><br />
<br />
<row-fluid><br />
<span4>{{CaptionedImage|file=EgregoreBrassCoast.jpg |align=left|caption=Brass Coast: Linette Withers|title=While Linette is Egregore, her twin Sabrina is actually playing the Egregore in this photograph.}}</span4><br />
<span4>{{CaptionedImage|file=DawnEgregore.jpg|align=left|caption=Dawn: Keeley Knight}}</span4><br />
<span4>{{CaptionedImage|file=CM-140526-7702.jpg|align=left|caption=Highguard: Matt Heath}}</span4><br />
</row-fluid><br />
<row-fluid><br />
<span4>{{CaptionedImage|file=DaveMcKennaWiki.jpg|align=left|caption=Imperial Orcs: Dave McKenna}}</span4><br />
<span4>{{CaptionedImage|file=CM-140526-7684.jpg|align=left|caption=Marches: Ritch Keeling}}</span4><br />
<span4>{{CaptionedImage|file=Navarr_Egregore_Liz_Duggan.jpg|align=left|caption=Navarr: Liz Duggan}}</span4><br />
</row-fluid><br />
<row-fluid><br />
<span4>{{CaptionedImage|file=DaveYoung.jpg|align=left|caption=Navarr: David Young}}</span4><br />
<span4>{{CaptionedImage|file=CM-140526-7869.jpg|align=left|caption=Urizen: Toni Badnall}}</span4><br />
<span4>{{CaptionedImage|file=CM-140418-6032.jpg|align=left|caption=Varushka: Dave Kibblewhite}}</span4><br />
</row-fluid><br />
<row-fluid><br />
<span4>{{CaptionedImage|file=AndyDudgeon.jpg|align=left|caption=Wintermark: Andrew Dudgeon}}</span4><br />
<span4>{{CaptionedImage|file=CharlotteBarratt.jpg|align=left|caption=Wintermark: Charlotte Barratt}}</span4><br />
<span4>{{CaptionedImage|file=AlBevan.jpg|align=left|caption=Wintermark: Al Bevan}}</span4><br />
</row-fluid><br />
<br />
<br />
<br />
<br />
[[Category:Crew]]<br />
[[Category:Egregores]]</div>Jamiewhttps://www.profounddecisions.co.uk/mediawiki-public/index.php?title=Highguard_egregore&diff=33937Highguard egregore2015-02-27T15:29:16Z<p>Jamiew: New text</p>
<hr />
<div>{{CaptionedImage|file=CM-140526-7702.jpg|align=right|width=300}}<br />
==Escon==<br />
<br />
Escon is the Highguard [[egregores|Egregore]]. Escon has three primary interests; to embody the [[The_Way|Imperial Faith]] and commitment to Virtue, to promote the [[Highguard_military_concerns|martial spirit]] of the Highborn, and to expand the knowledge of the Nation. The spirit encourages competition, but as a means to the end of promoting and encouraging Highborn in the pursuit of excellence, rather than as an end in itself. Most of all, Escon encourages the Highborn to embrace their [[Highguard_history|history]] and pursue Virtue with every part of their being.<br />
<br />
Escon always tries to help people make up their own minds and come to their own conclusions, through careful questioning and encouragement to examine motivations, actions and beliefs. This is not done to demonstrate intellectual superiority, but rather to encourage the Highborn to develop their own powers of deductive reasoning. Escon is quite capable of making definitive statements when the situation demands it.<br />
<br />
===Current Host===<br />
The current host is Ehud, Son of Leah, of Reumah's Redoubt. Formerly having served in Reikos during and after its fall as an [[Unconquered]] before injury caused him to retire to [[Bastion]]. There he take up the role of an artisan within the Redoubt, specialising in stained glass works of art when he was not producing shields for his [[Chapter]] and the frontlines of battle. <br />
<br />
Wearing a gold circlet at summits, as during the season, he moves from Chapter to Chapter listening to his people's conversations, asking questions for them to ask of themselves and playing games of skill.<br />
<br />
<br />
<br />
<br />
[[Category:Egregores]]<br />
[[Category:Highguard]]</div>Jamiewhttps://www.profounddecisions.co.uk/mediawiki-public/index.php?title=Navarr_Egregore&diff=33936Navarr Egregore2015-02-27T15:14:34Z<p>Jamiew: </p>
<hr />
<div>{{CaptionedImage|file=DaveYoung.jpg|align=right|width=300}}<br />
==Liaven==<br />
<br />
The Navarri [[egregores|Egregore]] is Liaven, who shares a place in the [[Navarr_culture_and_customs#The_Great_Dance|Great Dance]] with all of [[Navarr]]. Tell Liaven your stories, share how you dance your place in the Dance.<br />
<br />
In Spring, Liaven is youthful and energetic, with possibility and curiosity in every step. In Summer, Liaven is more tempered; there is work to be done and preparations to make. In Autumn, time has passed, Liaven knows the path and steps surely. In Winter, Liaven is knowing and steady still, hair grey but eyes bright. Time is short, and life is hard, but there is readiness for what comes next, a looking forward to when Spring comes to again and new life flows once more.<br />
<br />
Liaven is all of these things in time as each season comes and goes, a reminder that all seasons pass, and all passings can be adapted to. Liaven is always watching and wandering the Empire near and far, to wherever the Navarr roam. Liaven can be found equally at home in the deepest Forest or the most Urban maze, never forgetting the past, or the consequences of not remaining vigilant, the fate of the lost cities an ever present reminder of the cost of failure.<br />
<br />
<quote>“Sit, share a fire, rest your feet and tell your story."</quote><br />
<br />
[[Category:Egregores]]<br />
[[Category: Navarr]]</div>Jamiewhttps://www.profounddecisions.co.uk/mediawiki-public/index.php?title=Varushka_Egregore&diff=33935Varushka Egregore2015-02-27T15:13:57Z<p>Jamiew: </p>
<hr />
<div>{{CaptionedImage|file=CM-140418-6032.jpg|align=right|width=300}}<br />
==Mother Varushka==<br />
<br />
The Varushkan [[egregores|Egregore]] spirit is called Mother Varushka, a familial indication of the high respect in which she is held. She epitomizes the [[Varushka culture and customs|Varushkan tradition]] of a wise one, making time for any who need advice or help.<br />
<br />
The Egregore works hard to maintain the [[Varushka hearth magic|hearth magics]] that keep everyday Varushkans safe. She is particularly concerned to ensure that Varushkans celebrate properly once the sun has set, and likes to test any child she meets about the nation’s traditions and the meanings behind them.<br />
<br />
=== Current Host ===<br />
The current host is a warden named Illya, usually known simply as "Warden". His fellowship was ambushed by wolves whilst hunting criminals on the roads in [[Karov]] and he is the only survivor. Like most wardens he tries to be ready for any situation, aiding Varushka with his Summer rituals in addition to taking the battlefield as a light skirmisher and healer.<br />
<br />
Just as all the previous hosts, Warden always carries a distinctive wooden staff painted with dozens of images of virtuous animals. At gatherings he usually wanders from tent to tent, listening to folk’s business and offering words of sage advice.<br />
<br />
[[Category:Egregores]]<br />
[[Category:Varushka]]</div>Jamiewhttps://www.profounddecisions.co.uk/mediawiki-public/index.php?title=Brass_Coast_egregore&diff=33934Brass Coast egregore2015-02-27T15:12:02Z<p>Jamiew: New text</p>
<hr />
<div>{{CaptionedImage|file=EgregoreBrassCoast.jpg|align=right|width=300}}<br />
==Dust, Fire and Glass==<br />
The [[egregores|Egregore]] of the Brass Coast carries three names, Dust, Glass, or Fire. Which it answers to seems to depend on the mood of the host, the whims of the Egregore, or the needs of the nation.<br /><br />
<br />
* Dust dresses comfortably and luxuriantly and talks on the importance of family and plain honest speaking.<br />
* Glass is a quiet philosopher, dressing practically, and likes to talk about the soul and what it means to be Freeborn. Glass also occasionally appears dressed as a [[The_Brass_Coast_military_concerns|kohan]].<br />
* Fire prefers the exuberant styling of a [[The_Brass_Coast_religious_beliefs|sutannir]], encouraging parties and celebrations, and to inspire those going to war.<br /><br />
<br />
All three are fond of dancing and sharing tales and life.<br /><br />
<br />
=== Current Host ===<br />
Marcela I Erigo is the current host, Marcela hails from the coast. She grew up amongst the traders and corsairs who berthed their ships there, bringing all that was best in the Nation, and dealing with travelers from within and without the Empire. She speaks very little of her life before becoming the Egregore preferring instead to focus on listening and encouraging the stories of others. What is known is that she has an extensive family, including a younger brother of about 11, and many Aunts and Uncles, that she was a corsair or sailor for her family and is no stranger to fighting (but has suffered a war wound that occasionally flares up) and that she has visited or dealt with [[Sumaah_Republic|Suumah]] sufficiently to speak the language for trade purposes.<br />
<br />
As per Freeborn tradition, when she became Egregore, she put aside her family name, taking the nation as family.<br />
<br />
<br />
[[Category:Egregores]]<br />
[[Category:The Brass Coast]]</div>Jamiewhttps://www.profounddecisions.co.uk/mediawiki-public/index.php?title=Varushka_Egregore&diff=33915Varushka Egregore2015-02-26T21:19:53Z<p>Jamiew: </p>
<hr />
<div>{{CaptionedImage|file=CM-140418-6032.jpg|align=right|width=300}}<br />
==Mother Varushka==<br />
<br />
The Varushkan [[egregores|Egregore]] spirit is called Mother Varushka, a familial indication of the high respect in which she is held. She epitomizes the [[Varushka culture and customs|Varushkan tradition]] of a wise one, making time for any who need advice or help.<br />
<br />
The Egregore works hard to maintain the [[Varushka hearth magic|hearth magics]] that keep everyday Varushkans safe. She is particularly concerned to ensure that Varushkans celebrate properly once the sun has set, and likes to test any child she meets about the nation’s traditions and the meanings behind them.<br />
<br />
The current host is a warden named Illya, usually known simply as "Warden". His fellowship was ambushed by wolves whilst hunting criminals on the roads in [[Karov]] and he is the only survivor. Like most wardens he tries to be ready for any situation, aiding Varushka with his Summer rituals in addition to taking the battlefield as a light skirmisher and healer.<br />
<br />
Just as all the previous hosts, Warden always carries a distinctive wooden staff painted with dozens of images of virtuous animals. At gatherings he usually wanders from tent to tent, listening to folk’s business and offering words of sage advice.<br />
<br />
[[Category:Egregores]]<br />
[[Category:Varushka]]</div>Jamiewhttps://www.profounddecisions.co.uk/mediawiki-public/index.php?title=Varushka_Egregore&diff=33914Varushka Egregore2015-02-26T21:19:08Z<p>Jamiew: </p>
<hr />
<div>{{stub}}<br />
{{CaptionedImage|file=CM-140418-6032.jpg|align=right|width=300}}<br />
==Mother Varushka==<br />
<br />
The Varushkan [[egregores|Egregore]] spirit is called Mother Varushka, a familial indication of the high respect in which she is held. She epitomizes the [[Varushka culture and customs|Varushkan tradition]] of a wise one, making time for any who need advice or help.<br />
<br />
The Egregore works hard to maintain the [[Varushka hearth magic|hearth magics]] that keep everyday Varushkans safe. She is particularly concerned to ensure that Varushkans celebrate properly once the sun has set, and likes to test any child she meets about the nation’s traditions and the meanings behind them.<br />
<br />
The current host is a warden named Illya, usually known simply as "Warden". His fellowship was ambushed by wolves whilst hunting criminals on the roads in [[Karov]] and he is the only survivor. Like most wardens he tries to be ready for any situation, aiding Varushka with his Summer rituals in addition to taking the battlefield as a light skirmisher and healer.<br />
<br />
Just as all the previous hosts, Warden always carries a distinctive wooden staff painted with dozens of images of virtuous animals. At gatherings he usually wanders from tent to tent, listening to folk’s business and offering words of sage advice.<br />
<br />
[[Category:Egregores]]<br />
[[Category:Varushka]]</div>Jamiewhttps://www.profounddecisions.co.uk/mediawiki-public/index.php?title=Varushka_Egregore&diff=33913Varushka Egregore2015-02-26T19:59:31Z<p>Jamiew: New text</p>
<hr />
<div>{{stub}}<br />
{{CaptionedImage|file=CM-140418-6032.jpg|align=right|width=300}}<br />
==Mother Varushka==<br />
<br />
The Varushkan [[egregores|Egregore]] spirit is called Mother Varushka, a familial indication of the high respect in which she is held. She epitomizes the [[Varushka culture and customs|Varushkan tradition]] of a wise one, making time for any who need advice or help.<br />
<br />
The Egregore works hard to maintain the [[Varushka hearth magic|hearth magics]] that keep everyday Varushkans safe. She is particularly concerned to ensure that Varushkans celebrate properly once the sun has set, and likes to test any child she meets about the nation’s traditions and the meanings behind them.<br />
<br />
The current host is a warden named Illya, usually known simply as "Warden". His brotherhood was ambushed by wolves whilst hunting criminals on the roads in [[Karov]] and he is the only survivor. Like most wardens he tries to be ready for any situation, aiding Varushka with his Summer rituals in addition to taking the battlefield as a light skirmisher and healer.<br />
<br />
Just as all the previous hosts, Warden always carries a distinctive wooden staff painted with dozens of images of virtuous animals. At gatherings he usually wanders from tent to tent, listening to folk’s business and offering words of sage advice.<br />
<br />
[[Category:Egregores]]<br />
[[Category:Varushka]]</div>Jamiewhttps://www.profounddecisions.co.uk/mediawiki-public/index.php?title=Navarr_music&diff=33801Navarr music2015-02-20T14:33:45Z<p>Jamiew: Added a dances playlist</p>
<hr />
<div>==The Music of Navarr==<br />
<br />
===Style summary===<br />
Navarr music reflects a dichotomy of wistful remembrance for their old culture and the practicalities of survival in the wild. Recent music has a practicality underlying it. Loud and high calling noises appear throughout the music in order to develop vocal cords for the relay of messages, cries of warning and the roar of a fear inducing charge from hiding. Drumming is widely used for similar reasons. The sounds, in contrast to the melodic music of their old culture, are often harsh which reflects the Navarr attitude towards nature - not one of harmony but of dominance. Much of the music of their lost cities has changed over time to include primal sounds, for example, fast fiddle and pipes or soft unison singing is joined by loud calling and percussion. Lyrics reflect the dichotomy of the memory of lost cities and the practicalities of life in the wild. References to nature are common but are dark and evocative rather than romantic. Work songs and cautionary tales are common as are the themes of travelling, fate, forests, and blood. Songs of the old culture; lost cities and sacrifice concentrate on remembrance rather than lamentation.<br />
<br />
To achieve this sound, look at music that fuses Celtic folk styles with African and South American tribal sounds. Music can draw on Scottish, Irish, Greek, Galician, and Basque/French folk tunes as well Tolkienesque fantasy for lyrics, with added African-style percussion, Amazonian and Amazigh music, to fuse with the sounds of the old culture.<br />
<br />
===Commonly known songs===<br />
* [[Ten Thousand Miles]] - song of love/travelling.<br />
* [[Thorn Battle Cadence]] - A war cadence, easy<br />
* [[Caution for the Dawnish Youth]] - Cautionary song popular for expressing the Navarr World view<br />
<br />
{{CaptionedImage|file=CM-140419-6337.jpg|align=left|width=400}}<br />
====A musical tradition====<br />
Music has a practical use in Navarr society. Music plays a prominent part to create social harmony and to invoke the powers from beyond. It is used for work songs and for teaching. <br />
<br />
Social rituals are often performed to music, such as courtship rituals where oine lead, supported by their chorus, makes their case, and the other lead, supported by their own chorus, questions them. <br />
<br />
Blood Rituals often rely on percussion support to evoke the feel of the pumping heart and helps focus the arts of the Vates.<br />
<br />
====One for the kids====<br />
* [[All the Pretty Ponies]] - lullaby remembering extinct horses, very easy.<br />
<br />
====Songs about notable people/entities in Navarr====<br />
* [[Redhound]] - A song about a Navarri hero, hard.<br />
* [[The Walls of Terunael]] - An address to the [[Navarr_Egregore|Egregore Liaven]] about walking the trods, the loss of Terunael and the importance of the Empire, easy.<br />
*[[Ode to Shadowglyn Distillery]] - A song commemorating the restoration of the [[Shadowglyn Distillery]] by Wern Taur Thorntarry, medium.<br />
<br />
===Further songs===<br />
<br />
====Songs from Terunael====<br />
* [[By Chance It Was]] - A love song, easy.<br />
<br />
====Songs about the fall of Terunael====<br />
* [[Brocéliande Be Stronger Now]] - Powerful song about [[Brocéliande]], medium with difficult lead vocal.<br />
* [[I Come and Stand at Every Door]] - sad song about the fall of Navarr cities, easy.<br />
* [[On the Wall]] - Song about the final fight for [[Brocéliande]], medium.<br />
* [[The Ruins of Terunael]] - A song about the [[Vallorn]], easy.<br />
* [[A Sudden Farewell]] - A duet about the last moments together of Navarr and Thorn, medium.<br />
* [[Terunael (song)|Terunael]] - A remembrance song.<br />
<br />
====Songs on Travelling====<br />
* [[Down in the Rugged Glen]] - Joyful song of travelling, easy.<br />
* [[Heart of the Song]] - A song of respite. Associated with the Brackensong Steading, medium.<br />
* [[Miaren (song)|Miaren]] - Wistful song on the competing desires to travel and to return home to [[Miaren|Seren]] , Hard.<br />
* [[Ten Thousand Miles]] - song of love/travelling, medium.<br />
* [[Run Thorns Run]] - A boisterous call and response, easy.<br />
* [[We will go Home (Across the Mountains)]] - A song about the return from the long trods, easy.<br />
<br />
====Battle Music====<br />
* [[Navarr Running Song]] - A war cadence, easy<br />
* [[Thorn Battle Cadence]] - A war cadence, easy<br />
* [[Windblow, home]] - A call to arms.<br />
<br />
====Festival Music====<br />
* [[It Is Not Yet Day]] - A celebratory song, medium.<br />
* [[Navarr (song)|Navarr]] - An old song about the Navarri - traditionally used at the start of dances, medium.<br />
* [[Striding One ]] - An invitation to dance. easy.<br />
<br />
====Cautionary, Teaching & Work Songs====<br />
* [[Caution for the Dawnish Youth]] - Cautionary song popular for expressing the Navarr World view, easy<br />
* [[Outside in the Distance]] - A Sentry's song, medium.<br />
* [[The Oak (song)|The Oak]] - Song about sensible use of trees, easy.<br />
* [[Through the dark places]] - A song about the Navarri involvement in forming the Empire<br />
<br />
<br />
====More Songs====<br />
* [[All the Pretty Ponies]] - Lullaby remembering extinct horses, very easy.<br />
* [[Bold Navarr Men]] - A song about a failed sortie. <br />
* [[The Wind That Shakes The Barley]] - A song of mourning.<br />
<br />
<br />
<br />
====Instrumentation and tunes====<br />
Strings, whistles, chanters, djembes, bodhráns and voices. Pretty much any instrument works well in Navarr.<br />
<br />
====Other performance traditions====<br />
<br />
* Storytelling is discussed in [[Navarr Culture and Customs]]<br />
* Dance<br />
* Poetry e.g. [http://www.poetryfoundation.org/poem/171621 Stopping By Woods on a Snowy Evening] by Robert Frost.<br />
<br />
{{CaptionedImage|file=CM-140419-6335.jpg|align=right|width=400}}<br />
===How to adapt your repertoire===<br />
* Western Folk tradition - Stick to folk songs from the folk traditions mentioned as sources or that have a primal sound. Dirty them up by simplifying arrangements and then add tribal sounds. This will lend the sense that the old culture has been a little forgotten over time and will give added poignancy to the occasional song performed with a pure 'Celtic' sound. Maybe keep one or two songs unchanged and perform them unaccompanied as a powerful reminder of the old culture.<br />
* Non-western traditions - Move songs into English. Try to lean melodies towards a more 'Celtic' sound.<br />
* Try to avoid frenzied drumming circles - the Navarr are an urban culture turned traveller, but wants to return to city life – and try to avoid the ceilidh vibe. Jigs and waltzes don't match the [[Navarr Look and Feel|feel]] of primal otherworldliness.<br />
<br />
===Our sources===<br />
* Modern Gaelic artists; Modern Welsh Language Artists such as Fern Hill; World Fusion such as Afrocelt Sound System (although less electronic) and Baka Beyond; Scottish-influenced Canadian songs and tunes e.g. Ashley MacIsaac, Great Big Sea (although less poppy), the instrumental stuff by Shooglenifty e.g. Arms Dealer's Daughter (CD), Michael McGoldrick (e.g. Wired), Irish folk, Greek folk tunes and dances. modern pipers e.g. Finlay MacDonald,<br />
* Travel-themed songs and poems by Tolkien could provide inspiration e.g. http://allpoetry.com/poem/8500011-I_Sit_And_Think-by-J_R_R_Tolkien and the [http://www.youtube.com/watch?v=zBgxqN0HOI8 Misty Mountain song] is spot on for the Navarr sound.<br />
<br />
Here is a [https://www.youtube.com/watch?v=Piv-ZLla4wA&list=PLeLz0tHkG2gUoFlCG50u9jsBe25X8_ugc&feature=plpp_play_all youtube playlist] of appropriate or inspiring music and here is one for [https://www.youtube.com/watch?v=DQXK3Z7ZeaY&list=PLeLz0tHkG2gVL-drZ42YW2TXqRjKY5RJF&feature=plpp_play_all dances].<br />
<br />
<br />
[[Category:Navarr Music]]<br />
[[Category:Music]]<br />
[[Category:Navarr]]</div>Jamiewhttps://www.profounddecisions.co.uk/mediawiki-public/index.php?title=Navarr_music&diff=33789Navarr music2015-02-20T12:52:24Z<p>Jamiew: New youtube playlist. Have a listen folks!</p>
<hr />
<div>==The Music of Navarr==<br />
<br />
===Style summary===<br />
Navarr music reflects a dichotomy of wistful remembrance for their old culture and the practicalities of survival in the wild. Recent music has a practicality underlying it. Loud and high calling noises appear throughout the music in order to develop vocal cords for the relay of messages, cries of warning and the roar of a fear inducing charge from hiding. Drumming is widely used for similar reasons. The sounds, in contrast to the melodic music of their old culture, are often harsh which reflects the Navarr attitude towards nature - not one of harmony but of dominance. Much of the music of their lost cities has changed over time to include primal sounds, for example, fast fiddle and pipes or soft unison singing is joined by loud calling and percussion. Lyrics reflect the dichotomy of the memory of lost cities and the practicalities of life in the wild. References to nature are common but are dark and evocative rather than romantic. Work songs and cautionary tales are common as are the themes of travelling, fate, forests, and blood. Songs of the old culture; lost cities and sacrifice concentrate on remembrance rather than lamentation.<br />
<br />
To achieve this sound, look at music that fuses Celtic folk styles with African and South American tribal sounds. Music can draw on Scottish, Irish, Greek, Galician, and Basque/French folk tunes as well Tolkienesque fantasy for lyrics, with added African-style percussion, Amazonian and Amazigh music, to fuse with the sounds of the old culture.<br />
<br />
===Commonly known songs===<br />
* [[Ten Thousand Miles]] - song of love/travelling.<br />
* [[Thorn Battle Cadence]] - A war cadence, easy<br />
* [[Caution for the Dawnish Youth]] - Cautionary song popular for expressing the Navarr World view<br />
<br />
{{CaptionedImage|file=CM-140419-6337.jpg|align=left|width=400}}<br />
====A musical tradition====<br />
Music has a practical use in Navarr society. Music plays a prominent part to create social harmony and to invoke the powers from beyond. It is used for work songs and for teaching. <br />
<br />
Social rituals are often performed to music, such as courtship rituals where oine lead, supported by their chorus, makes their case, and the other lead, supported by their own chorus, questions them. <br />
<br />
Blood Rituals often rely on percussion support to evoke the feel of the pumping heart and helps focus the arts of the Vates.<br />
<br />
====One for the kids====<br />
* [[All the Pretty Ponies]] - lullaby remembering extinct horses, very easy.<br />
<br />
====Songs about notable people/entities in Navarr====<br />
* [[Redhound]] - A song about a Navarri hero, hard.<br />
* [[The Walls of Terunael]] - An address to the [[Navarr_Egregore|Egregore Liaven]] about walking the trods, the loss of Terunael and the importance of the Empire, easy.<br />
*[[Ode to Shadowglyn Distillery]] - A song commemorating the restoration of the [[Shadowglyn Distillery]] by Wern Taur Thorntarry, medium.<br />
<br />
===Further songs===<br />
<br />
====Songs from Terunael====<br />
* [[By Chance It Was]] - A love song, easy.<br />
<br />
====Songs about the fall of Terunael====<br />
* [[Brocéliande Be Stronger Now]] - Powerful song about [[Brocéliande]], medium with difficult lead vocal.<br />
* [[I Come and Stand at Every Door]] - sad song about the fall of Navarr cities, easy.<br />
* [[On the Wall]] - Song about the final fight for [[Brocéliande]], medium.<br />
* [[The Ruins of Terunael]] - A song about the [[Vallorn]], easy.<br />
* [[A Sudden Farewell]] - A duet about the last moments together of Navarr and Thorn, medium.<br />
* [[Terunael (song)|Terunael]] - A remembrance song.<br />
<br />
====Songs on Travelling====<br />
* [[Down in the Rugged Glen]] - Joyful song of travelling, easy.<br />
* [[Heart of the Song]] - A song of respite. Associated with the Brackensong Steading, medium.<br />
* [[Miaren (song)|Miaren]] - Wistful song on the competing desires to travel and to return home to [[Miaren|Seren]] , Hard.<br />
* [[Ten Thousand Miles]] - song of love/travelling, medium.<br />
* [[Run Thorns Run]] - A boisterous call and response, easy.<br />
* [[We will go Home (Across the Mountains)]] - A song about the return from the long trods, easy.<br />
<br />
====Battle Music====<br />
* [[Navarr Running Song]] - A war cadence, easy<br />
* [[Thorn Battle Cadence]] - A war cadence, easy<br />
* [[Windblow, home]] - A call to arms.<br />
<br />
====Festival Music====<br />
* [[It Is Not Yet Day]] - A celebratory song, medium.<br />
* [[Navarr (song)|Navarr]] - An old song about the Navarri - traditionally used at the start of dances, medium.<br />
* [[Striding One ]] - An invitation to dance. easy.<br />
<br />
====Cautionary, Teaching & Work Songs====<br />
* [[Caution for the Dawnish Youth]] - Cautionary song popular for expressing the Navarr World view, easy<br />
* [[Outside in the Distance]] - A Sentry's song, medium.<br />
* [[The Oak (song)|The Oak]] - Song about sensible use of trees, easy.<br />
* [[Through the dark places]] - A song about the Navarri involvement in forming the Empire<br />
<br />
<br />
====More Songs====<br />
* [[All the Pretty Ponies]] - Lullaby remembering extinct horses, very easy.<br />
* [[Bold Navarr Men]] - A song about a failed sortie. <br />
* [[The Wind That Shakes The Barley]] - A song of mourning.<br />
<br />
<br />
<br />
====Instrumentation and tunes====<br />
Strings, whistles, chanters, djembes, bodhráns and voices. Pretty much any instrument works well in Navarr.<br />
<br />
====Other performance traditions====<br />
<br />
* Storytelling is discussed in [[Navarr Culture and Customs]]<br />
* Dance<br />
* Poetry e.g. [http://www.poetryfoundation.org/poem/171621 Stopping By Woods on a Snowy Evening] by Robert Frost.<br />
<br />
{{CaptionedImage|file=CM-140419-6335.jpg|align=right|width=400}}<br />
===How to adapt your repertoire===<br />
* Western Folk tradition - Stick to folk songs from the folk traditions mentioned as sources or that have a primal sound. Dirty them up by simplifying arrangements and then add tribal sounds. This will lend the sense that the old culture has been a little forgotten over time and will give added poignancy to the occasional song performed with a pure 'Celtic' sound. Maybe keep one or two songs unchanged and perform them unaccompanied as a powerful reminder of the old culture.<br />
* Non-western traditions - Move songs into English. Try to lean melodies towards a more 'Celtic' sound.<br />
* Try to avoid frenzied drumming circles - the Navarr are an urban culture turned traveller, but wants to return to city life – and try to avoid the ceilidh vibe. Jigs and waltzes don't match the [[Navarr Look and Feel|feel]] of primal otherworldliness.<br />
<br />
===Our sources===<br />
* Modern Gaelic artists; Modern Welsh Language Artists such as Fern Hill; World Fusion such as Afrocelt Sound System (although less electronic) and Baka Beyond; Scottish-influenced Canadian songs and tunes e.g. Ashley MacIsaac, Great Big Sea (although less poppy), the instrumental stuff by Shooglenifty e.g. Arms Dealer's Daughter (CD), Michael McGoldrick (e.g. Wired), Irish folk, Greek folk tunes and dances. modern pipers e.g. Finlay MacDonald,<br />
* Travel-themed songs and poems by Tolkien could provide inspiration e.g. http://allpoetry.com/poem/8500011-I_Sit_And_Think-by-J_R_R_Tolkien and the [http://www.youtube.com/watch?v=zBgxqN0HOI8 Misty Mountain song] is spot on for the Navarr sound.<br />
<br />
Here is a [https://www.youtube.com/watch?v=Piv-ZLla4wA&list=PLeLz0tHkG2gUoFlCG50u9jsBe25X8_ugc&feature=plpp_play_all youtube playlist] of appropriate or inspiring music and dances.<br />
<br />
[[Category:Navarr Music]]<br />
[[Category:Music]]<br />
[[Category:Navarr]]</div>Jamiewhttps://www.profounddecisions.co.uk/mediawiki-public/index.php?title=Navarr_music&diff=33788Navarr music2015-02-20T12:39:38Z<p>Jamiew: </p>
<hr />
<div>==The Music of Navarr==<br />
<br />
===Style summary===<br />
Navarr music reflects a dichotomy of wistful remembrance for their old culture and the practicalities of survival in the wild. Recent music has a practicality underlying it. Loud and high calling noises appear throughout the music in order to develop vocal cords for the relay of messages, cries of warning and the roar of a fear inducing charge from hiding. Drumming is widely used for similar reasons. The sounds, in contrast to the melodic music of their old culture, are often harsh which reflects the Navarr attitude towards nature - not one of harmony but of dominance. Much of the music of their lost cities has changed over time to include primal sounds, for example, fast fiddle and pipes or soft unison singing is joined by loud calling and percussion. Lyrics reflect the dichotomy of the memory of lost cities and the practicalities of life in the wild. References to nature are common but are dark and evocative rather than romantic. Work songs and cautionary tales are common as are the themes of travelling, fate, forests, and blood. Songs of the old culture; lost cities and sacrifice concentrate on remembrance rather than lamentation.<br />
<br />
To achieve this sound, look at music that fuses Celtic folk styles with African and South American tribal sounds. Music can draw on Scottish, Irish, Greek, Galician, and Basque/French folk tunes as well Tolkienesque fantasy for lyrics, with added African-style percussion, Amazonian and Amazigh music, to fuse with the sounds of the old culture.<br />
<br />
===Commonly known songs===<br />
* [[Ten Thousand Miles]] - song of love/travelling.<br />
* [[Thorn Battle Cadence]] - A war cadence, easy<br />
* [[Caution for the Dawnish Youth]] - Cautionary song popular for expressing the Navarr World view<br />
<br />
{{CaptionedImage|file=CM-140419-6337.jpg|align=left|width=400}}<br />
====A musical tradition====<br />
Music has a practical use in Navarr society. Music plays a prominent part to create social harmony and to invoke the powers from beyond. It is used for work songs and for teaching. <br />
<br />
Social rituals are often performed to music, such as courtship rituals where oine lead, supported by their chorus, makes their case, and the other lead, supported by their own chorus, questions them. <br />
<br />
Blood Rituals often rely on percussion support to evoke the feel of the pumping heart and helps focus the arts of the Vates.<br />
<br />
====One for the kids====<br />
* [[All the Pretty Ponies]] - lullaby remembering extinct horses, very easy.<br />
<br />
====Songs about notable people/entities in Navarr====<br />
* [[Redhound]] - A song about a Navarri hero, hard.<br />
* [[The Walls of Terunael]] - An address to the [[Navarr_Egregore|Egregore Liaven]] about walking the trods, the loss of Terunael and the importance of the Empire, easy.<br />
*[[Ode to Shadowglyn Distillery]] - A song commemorating the restoration of the [[Shadowglyn Distillery]] by Wern Taur Thorntarry, medium.<br />
<br />
===Further songs===<br />
<br />
====Songs from Terunael====<br />
* [[By Chance It Was]] - A love song, easy.<br />
<br />
====Songs about the fall of Terunael====<br />
* [[Brocéliande Be Stronger Now]] - Powerful song about [[Brocéliande]], medium with difficult lead vocal.<br />
* [[I Come and Stand at Every Door]] - sad song about the fall of Navarr cities, easy.<br />
* [[On the Wall]] - Song about the final fight for [[Brocéliande]], medium.<br />
* [[The Ruins of Terunael]] - A song about the [[Vallorn]], easy.<br />
* [[A Sudden Farewell]] - A duet about the last moments together of Navarr and Thorn, medium.<br />
* [[Terunael (song)|Terunael]] - A remembrance song.<br />
<br />
====Songs on Travelling====<br />
* [[Down in the Rugged Glen]] - Joyful song of travelling, easy.<br />
* [[Heart of the Song]] - A song of respite. Associated with the Brackensong Steading, medium.<br />
* [[Miaren (song)|Miaren]] - Wistful song on the competing desires to travel and to return home to [[Miaren|Seren]] , Hard.<br />
* [[Ten Thousand Miles]] - song of love/travelling, medium.<br />
* [[Run Thorns Run]] - A boisterous call and response, easy.<br />
* [[We will go Home (Across the Mountains)]] - A song about the return from the long trods, easy.<br />
<br />
====Battle Music====<br />
* [[Navarr Running Song]] - A war cadence, easy<br />
* [[Thorn Battle Cadence]] - A war cadence, easy<br />
* [[Windblow, home]] - A call to arms.<br />
<br />
====Festival Music====<br />
* [[It Is Not Yet Day]] - A celebratory song, medium.<br />
* [[Navarr (song)|Navarr]] - An old song about the Navarri - traditionally used at the start of dances, medium.<br />
* [[Striding One ]] - An invitation to dance. easy.<br />
<br />
====Cautionary, Teaching & Work Songs====<br />
* [[Caution for the Dawnish Youth]] - Cautionary song popular for expressing the Navarr World view, easy<br />
* [[Outside in the Distance]] - A Sentry's song, medium.<br />
* [[The Oak (song)|The Oak]] - Song about sensible use of trees, easy.<br />
* [[Through the dark places]] - A song about the Navarri involvement in forming the Empire<br />
<br />
<br />
====More Songs====<br />
* [[All the Pretty Ponies]] - Lullaby remembering extinct horses, very easy.<br />
* [[Bold Navarr Men]] - A song about a failed sortie. <br />
* [[The Wind That Shakes The Barley]] - A song of mourning.<br />
<br />
<br />
<br />
====Instrumentation and tunes====<br />
Strings, whistles, chanters, djembes, bodhráns and voices. Pretty much any instrument works well in Navarr.<br />
<br />
====Other performance traditions====<br />
<br />
* Storytelling is discussed in [[Navarr Culture and Customs]]<br />
* Dance<br />
* Poetry e.g. [http://www.poetryfoundation.org/poem/171621 Stopping By Woods on a Snowy Evening] by Robert Frost.<br />
<br />
{{CaptionedImage|file=CM-140419-6335.jpg|align=right|width=400}}<br />
===How to adapt your repertoire===<br />
* Western Folk tradition - Stick to folk songs from the folk traditions mentioned as sources or that have a primal sound. Dirty them up by simplifying arrangements and then add tribal sounds. This will lend the sense that the old culture has been a little forgotten over time and will give added poignancy to the occasional song performed with a pure 'Celtic' sound. Maybe keep one or two songs unchanged and perform them unaccompanied as a powerful reminder of the old culture.<br />
* Non-western traditions - Move songs into English. Try to lean melodies towards a more 'Celtic' sound.<br />
* Try to avoid frenzied drumming circles - the Navarr are an urban culture turned traveller, but wants to return to city life – and try to avoid the ceilidh vibe. Jigs and waltzes don't match the [[Navarr Look and Feel|feel]] of primal otherworldliness.<br />
<br />
===Our sources===<br />
* Modern Gaelic artists; Modern Welsh Language Artists such as Fern Hill; World Fusion such as Afrocelt Sound System (although less electronic) and Baka Beyond; Scottish-influenced Canadian songs and tunes e.g. Ashley MacIsaac, Great Big Sea (although less poppy), the instrumental stuff by Shooglenifty e.g. Arms Dealer's Daughter (CD), Michael McGoldrick (e.g. Wired), Irish folk, Greek folk tunes and dances. modern pipers e.g. Finlay MacDonald,<br />
* Travel-themed songs and poems by Tolkien could provide inspiration e.g. http://allpoetry.com/poem/8500011-I_Sit_And_Think-by-J_R_R_Tolkien and the [http://www.youtube.com/watch?v=zBgxqN0HOI8 Misty Mountain song] is spot on for the Navarr sound.<br />
<br />
Here is a [https://www.youtube.com/watch?v=zBgxqN0HOI8&feature=bf_next&list=PLE91C7F6EFC1C0A3A&feature=plpp_play_all youtube playlist] of appropriate or inspiring music and dances.<br />
<br />
[[Category:Navarr Music]]<br />
[[Category:Music]]<br />
[[Category:Navarr]]</div>Jamiewhttps://www.profounddecisions.co.uk/mediawiki-public/index.php?title=Navarr_music&diff=33658Navarr music2015-02-17T23:26:38Z<p>Jamiew: </p>
<hr />
<div>==The Music of Navarr==<br />
<br />
===Style summary===<br />
Navarr music reflects a dichotomy of wistful remembrance for their old culture and the practicalities of survival in the wild. Recent music has a practicality underlying it. Loud and high calling noises appear throughout the music in order to develop vocal cords for the relay of messages, cries of warning and the roar of a fear inducing charge from hiding. Drumming is widely used for similar reasons. The sounds, in contrast to the melodic music of their old culture, are often harsh which reflects the Navarr attitude towards nature - not one of harmony but of dominance. Much of the music of their lost cities has changed over time to include primal sounds, for example, fast fiddle and pipes or soft unison singing is joined by loud calling and percussion. Lyrics reflect the dichotomy of the memory of lost cities and the practicalities of life in the wild. References to nature are common but are dark and evocative rather than romantic. Work songs and cautionary tales are common as are the themes of travelling, fate, forests, and blood. Songs of the old culture; lost cities and sacrifice concentrate on remembrance rather than lamentation.<br />
<br />
To achieve this sound, look at music that fuses Celtic folk styles with African and South American tribal sounds. Music can draw on Scottish, Irish, Greek, Galician, and Basque/French folk tunes as well Tolkienesque fantasy for lyrics, with added African-style percussion, Amazonian and Amazigh music, to fuse with the sounds of the old culture.<br />
<br />
===Commonly known songs===<br />
* [[Ten Thousand Miles]] - song of love/travelling.<br />
* [[Thorn Battle Cadence]] - A war cadence, easy<br />
* [[Caution for the Dawnish Youth]] - Cautionary song popular for expressing the Navarr World view<br />
<br />
{{CaptionedImage|file=CM-140419-6337.jpg|align=left|width=400}}<br />
====A musical tradition====<br />
Music has a practical use in Navarr society. Music plays a prominent part to create social harmony and to invoke the powers from beyond. It is used for work songs and for teaching. <br />
<br />
Social rituals are often performed to music, such as courtship rituals where oine lead, supported by their chorus, makes their case, and the other lead, supported by their own chorus, questions them. <br />
<br />
Blood Rituals often rely on percussion support to evoke the feel of the pumping heart and helps focus the arts of the Vates.<br />
<br />
====One for the kids====<br />
* [[All the Pretty Ponies]] - lullaby remembering extinct horses, very easy.<br />
<br />
====Songs about notable people/entities in Navarr====<br />
* [[Redhound]] - A song about a Navarri hero, hard.<br />
* [[The Walls of Terunael]] - An address to the [[Navarr_Egregore|Egregore Liaven]] about walking the trods, the loss of Terunael and the importance of the Empire, easy.<br />
*[[Ode to Shadowglyn Distillery]] - A song commemorating the restoration of the [[Shadowglyn Distillery]] by Wern Taur Thorntarry, medium.<br />
<br />
===Further songs===<br />
<br />
====Songs from Terunael====<br />
* [[By Chance It Was]] - A love song, easy.<br />
<br />
====Songs about the fall of Terunael====<br />
* [[Brocéliande Be Stronger Now]] - Powerful song about [[Brocéliande]], medium with difficult lead vocal.<br />
* [[I Come and Stand at Every Door]] - sad song about the fall of Navarr cities, easy.<br />
* [[On the Wall]] - Song about the final fight for [[Brocéliande]], medium.<br />
* [[The Ruins of Terunael]] - A song about the [[Vallorn]], easy.<br />
* [[A Sudden Farewell]] - A duet about the last moments together of Navarr and Thorn, medium.<br />
* [[Terunael (song)|Terunael]] - A remembrance song.<br />
<br />
====Songs on Travelling====<br />
* [[Down in the Rugged Glen]] - Joyful song of travelling, easy.<br />
* [[Heart of the Song]] - A song of respite. Associated with the Brackensong Steading, medium.<br />
* [[Miaren (song)|Miaren]] - Wistful song on the competing desires to travel and to return home to [[Miaren|Seren]] , Hard.<br />
* [[Ten Thousand Miles]] - song of love/travelling, medium.<br />
* [[Run Thorns Run]] - A boisterous call and response, easy.<br />
* [[We will go Home (Across the Mountains)]] - A song about the return from the long trods, easy.<br />
<br />
====Battle Music====<br />
* [[Navarr Running Song]] - A war cadence, easy<br />
* [[Thorn Battle Cadence]] - A war cadence, easy<br />
* [[Windblow, home]] - A call to arms.<br />
<br />
====Festival Music====<br />
* [[It Is Not Yet Day]] - A celebratory song, medium.<br />
* [[Navarr (song)|Navarr]] - An old song about the Navarri - traditionally used at the start of dances, medium.<br />
* [[Striding One ]] - An invitation to dance. easy.<br />
<br />
====Cautionary, Teaching & Work Songs====<br />
* [[Caution for the Dawnish Youth]] - Cautionary song popular for expressing the Navarr World view, easy<br />
* [[Outside in the Distance]] - A Sentry's song, medium.<br />
* [[The Oak (song)|The Oak]] - Song about sensible use of trees, easy.<br />
* [[Through the dark places]] - A song about the Navarri involvement in forming the Empire<br />
<br />
<br />
====More Songs====<br />
* [[All the Pretty Ponies]] - Lullaby remembering extinct horses, very easy.<br />
* [[Bold Navarr Men]] - A song about a failed sortie. <br />
* [[The Wind That Shakes The Barley]] - A song of mourning.<br />
<br />
<br />
<br />
====Instrumentation and tunes====<br />
Strings, whistles, chanters, djembes, bodhráns and voices. Pretty much any instrument works well in Navarr.<br />
<br />
====Other performance traditions====<br />
<br />
* Storytelling is discussed in [[Navarr Culture and Customs]]<br />
* Dance<br />
* Poetry e.g. [http://www.poetryfoundation.org/poem/171621 Stopping By Woods on a Snowy Evening] by Robert Frost.<br />
<br />
{{CaptionedImage|file=CM-140419-6335.jpg|align=right|width=400}}<br />
===How to adapt your repertoire===<br />
* Western Folk tradition - Stick to folk songs from the folk traditions mentioned as sources or that have a primal sound. Dirty them up by simplifying arrangements and then add tribal sounds. This will lend the sense that the old culture has been a little forgotten over time and will give added poignancy to the occasional song performed with a pure 'Celtic' sound. Maybe keep one or two songs unchanged and perform them unaccompanied as a powerful reminder of the old culture.<br />
* Non-western traditions - Move songs into English. Try to lean melodies towards a more 'Celtic' sound.<br />
* Try to avoid frenzied drumming circles - the Navarr are an urban culture turned traveller, but wants to return to city life – and try to avoid the ceilidh vibe. Jigs and waltzes don't match the [[Navarr Look and Feel|feel]] of primal otherworldliness.<br />
<br />
===Our sources===<br />
* Modern Gaelic artists; Modern Welsh Language Artists such as Fern Hill; World Fusion such as Afrocelt Sound System (although less electronic) and Baka Beyond; Scottish-influenced Canadian songs and tunes e.g. Ashley MacIsaac, Great Big Sea (although less poppy), the instrumental stuff by Shooglenifty e.g. Arms Dealer's Daughter (CD), Michael McGoldrick (e.g. Wired), Irish folk, Greek folk tunes and dances. modern pipers e.g. Finlay MacDonald,<br />
* Travel-themed songs and poems by Tolkien could provide inspiration e.g. http://allpoetry.com/poem/8500011-I_Sit_And_Think-by-J_R_R_Tolkien and the [http://www.youtube.com/watch?v=zBgxqN0HOI8 Misty Mountain song] is spot on for the Navarr sound.<br />
<br />
Here is a [https://www.youtube.com/watch?v=zBgxqN0HOI8&feature=bf_next&list=PLE91C7F6EFC1C0A3A&feature=plpp_play_all youtube playlist] of appropriate or inspiring music.<br />
<br />
[[Category:Navarr Music]]<br />
[[Category:Music]]<br />
[[Category:Navarr]]</div>Jamiewhttps://www.profounddecisions.co.uk/mediawiki-public/index.php?title=Ode_to_Shadowglyn_Distillery&diff=33657Ode to Shadowglyn Distillery2015-02-17T23:25:44Z<p>Jamiew: Created page with "Original Song by Jamie Wakefield Wern is a player character in the Thorntarry Striding. Chords: Chords: Verses – D G A Bm D G A x2, Bm A G D x3, G A; Chorus – D G A x2, ..."</p>
<hr />
<div>Original Song by Jamie Wakefield<br />
<br />
Wern is a player character in the Thorntarry Striding.<br />
<br />
Chords: Chords: Verses – D G A Bm D G A x2, Bm A G D x3, G A; Chorus – D G A x2, D G A Bm, D G A (Key change to F on last “glyn” of last chorus);<br />
Bridge (C G D A, C G A G A ); Coda (F Bb C x2, F Bb C Dm, F Bb C)<br />
<br />
<song><br />
'''Verse 1'''<br />
Well, I've travelled the land,<br />
While I held in my hand.<br />
A dram of the finest whisky.<br />
For I'd purchased a cask,<br />
As my striding went past,<br />
the Shadowglyn Distillery.<br />
<br />
In all of the empire,<br />
There's nothing compares,<br />
No Astolat brandy,<br />
Nor Freeborn liquor,<br />
To a single malt served neat.<br />
To this connoisseur,<br />
The greatest of whiskies is found...<br />
<br />
'''Chorus'''<br />
In Shadowglyn,<br />
All your friends will be there,<br />
In Shadowglyn,<br />
Drinking amber nectar.<br />
In Shadowglyn.<br />
When you sip it,<br />
You'll lighten your spirit.<br />
And sing while you're getting them in,<br />
In Shadowglyn.<br />
<br />
'''Verse 2'''<br />
All my wandering days,<br />
On the trods far away,<br />
'twas a tipple of whisky my prize.<br />
When I emptied my stock,<br />
I returned, but with shock!<br />
For the heavenly taste was denied!<br />
<br />
For my friends were enslaved,<br />
And many were dead.<br />
The buildings burnt down.<br />
The grain pulled from their beds.<br />
But worse, the damn orcs had shat in the kegs!<br />
No whisky at all could be found...<br />
<br />
'''Chorus'''<br />
<br />
'''Bridge'''<br />
For long lonely years,<br />
I drank deep of my tears,<br />
And all shots were like ash in my mouth.<br />
'till the day I did learn,<br />
That a man they call Wern,<br />
Was the saviour – yes the saviour – of my malt...<br />
<br />
'''Verse 3'''<br />
So I'm leaving today,<br />
And I'm planning to stay,<br />
In a hall where I'll never be barred.<br />
Be sure, I'll defend her,<br />
And never surrender,<br />
My bottle, my dear uisge beatha.<br />
<br />
For some walk the trods,<br />
And some ward vallorn,<br />
Some fight Drujan orcs,<br />
And others Jotun,<br />
But my dance led me here,<br />
And I've got a home,<br />
Where whisky shall always be found...<br />
And downed!<br />
<br />
'''Chorus'''<br />
<br />
'''Coda'''<br />
All your friends will be there,<br />
In Shadowglyn,<br />
Drinking amber nectar.<br />
In Shadowglyn.<br />
When you sip it,<br />
You'll lighten your spirit.<br />
And sing while you're getting them in,<br />
In Shadowglyn.<br />
</song><br />
<br />
[[Category:Navarr Music]]<br />
[[Category:Navarr]]<br />
[[Category:Music]]</div>Jamiewhttps://www.profounddecisions.co.uk/mediawiki-public/index.php?title=Navarr_music&diff=33656Navarr music2015-02-17T23:10:35Z<p>Jamiew: Song link</p>
<hr />
<div>==The Music of Navarr==<br />
<br />
===Style summary===<br />
Navarr music reflects a dichotomy of wistful remembrance for their old culture and the practicalities of survival in the wild. Recent music has a practicality underlying it. Loud and high calling noises appear throughout the music in order to develop vocal cords for the relay of messages, cries of warning and the roar of a fear inducing charge from hiding. Drumming is widely used for similar reasons. The sounds, in contrast to the melodic music of their old culture, are often harsh which reflects the Navarr attitude towards nature - not one of harmony but of dominance. Much of the music of their lost cities has changed over time to include primal sounds, for example, fast fiddle and pipes or soft unison singing is joined by loud calling and percussion. Lyrics reflect the dichotomy of the memory of lost cities and the practicalities of life in the wild. References to nature are common but are dark and evocative rather than romantic. Work songs and cautionary tales are common as are the themes of travelling, fate, forests, and blood. Songs of the old culture; lost cities and sacrifice concentrate on remembrance rather than lamentation.<br />
<br />
To achieve this sound, look at music that fuses Celtic folk styles with African and South American tribal sounds. Music can draw on Scottish, Irish, Greek, Galician, and Basque/French folk tunes as well Tolkienesque fantasy for lyrics, with added African-style percussion, Amazonian and Amazigh music, to fuse with the sounds of the old culture.<br />
<br />
===Commonly known songs===<br />
* [[Ten Thousand Miles]] - song of love/travelling.<br />
* [[Thorn Battle Cadence]] - A war cadence, easy<br />
* [[Caution for the Dawnish Youth]] - Cautionary song popular for expressing the Navarr World view<br />
<br />
{{CaptionedImage|file=CM-140419-6337.jpg|align=left|width=400}}<br />
====A musical tradition====<br />
Music has a practical use in Navarr society. Music plays a prominent part to create social harmony and to invoke the powers from beyond. It is used for work songs and for teaching. <br />
<br />
Social rituals are often performed to music, such as courtship rituals where oine lead, supported by their chorus, makes their case, and the other lead, supported by their own chorus, questions them. <br />
<br />
Blood Rituals often rely on percussion support to evoke the feel of the pumping heart and helps focus the arts of the Vates.<br />
<br />
====One for the kids====<br />
* [[All the Pretty Ponies]] - lullaby remembering extinct horses, very easy.<br />
<br />
====Songs about notable people/entities in Navarr====<br />
* [[Redhound]] - A song about a Navarri hero, hard.<br />
* [[The Walls of Terunael]] - An address to the [[Navarr_Egregore|Egregore Liaven]] about walking the trods, the loss of Terunael and the importance of the Empire, Easy.<br />
*[[Ode to Shadowglyn Distillery]] - A song commemorating the restoration of the [[Shadowglyn Distillery]] by Wern Taur Thorntarry.<br />
<br />
===Further songs===<br />
<br />
====Songs from Terunael====<br />
* [[By Chance It Was]] - A love song, easy.<br />
<br />
====Songs about the fall of Terunael====<br />
* [[Brocéliande Be Stronger Now]] - Powerful song about [[Brocéliande]], medium with difficult lead vocal.<br />
* [[I Come and Stand at Every Door]] - sad song about the fall of Navarr cities, easy.<br />
* [[On the Wall]] - Song about the final fight for [[Brocéliande]], medium.<br />
* [[The Ruins of Terunael]] - A song about the [[Vallorn]], easy.<br />
* [[A Sudden Farewell]] - A duet about the last moments together of Navarr and Thorn, medium.<br />
* [[Terunael (song)|Terunael]] - A remembrance song.<br />
<br />
====Songs on Travelling====<br />
* [[Down in the Rugged Glen]] - Joyful song of travelling, easy.<br />
* [[Heart of the Song]] - A song of respite. Associated with the Brackensong Steading, medium.<br />
* [[Miaren (song)|Miaren]] - Wistful song on the competing desires to travel and to return home to [[Miaren|Seren]] , Hard.<br />
* [[Ten Thousand Miles]] - song of love/travelling, medium.<br />
* [[Run Thorns Run]] - A boisterous call and response, easy.<br />
* [[We will go Home (Across the Mountains)]] - A song about the return from the long trods, easy.<br />
<br />
====Battle Music====<br />
* [[Navarr Running Song]] - A war cadence, easy<br />
* [[Thorn Battle Cadence]] - A war cadence, easy<br />
* [[Windblow, home]] - A call to arms.<br />
<br />
====Festival Music====<br />
* [[It Is Not Yet Day]] - A celebratory song, medium.<br />
* [[Navarr (song)|Navarr]] - An old song about the Navarri - traditionally used at the start of dances, medium.<br />
* [[Striding One ]] - An invitation to dance. easy.<br />
<br />
====Cautionary, Teaching & Work Songs====<br />
* [[Caution for the Dawnish Youth]] - Cautionary song popular for expressing the Navarr World view, easy<br />
* [[Outside in the Distance]] - A Sentry's song, medium.<br />
* [[The Oak (song)|The Oak]] - Song about sensible use of trees, easy.<br />
* [[Through the dark places]] - A song about the Navarri involvement in forming the Empire<br />
<br />
<br />
====More Songs====<br />
* [[All the Pretty Ponies]] - Lullaby remembering extinct horses, very easy.<br />
* [[Bold Navarr Men]] - A song about a failed sortie. <br />
* [[The Wind That Shakes The Barley]] - A song of mourning.<br />
<br />
<br />
<br />
====Instrumentation and tunes====<br />
Strings, whistles, chanters, djembes, bodhráns and voices. Pretty much any instrument works well in Navarr.<br />
<br />
====Other performance traditions====<br />
<br />
* Storytelling is discussed in [[Navarr Culture and Customs]]<br />
* Dance<br />
* Poetry e.g. [http://www.poetryfoundation.org/poem/171621 Stopping By Woods on a Snowy Evening] by Robert Frost.<br />
<br />
{{CaptionedImage|file=CM-140419-6335.jpg|align=right|width=400}}<br />
===How to adapt your repertoire===<br />
* Western Folk tradition - Stick to folk songs from the folk traditions mentioned as sources or that have a primal sound. Dirty them up by simplifying arrangements and then add tribal sounds. This will lend the sense that the old culture has been a little forgotten over time and will give added poignancy to the occasional song performed with a pure 'Celtic' sound. Maybe keep one or two songs unchanged and perform them unaccompanied as a powerful reminder of the old culture.<br />
* Non-western traditions - Move songs into English. Try to lean melodies towards a more 'Celtic' sound.<br />
* Try to avoid frenzied drumming circles - the Navarr are an urban culture turned traveller, but wants to return to city life – and try to avoid the ceilidh vibe. Jigs and waltzes don't match the [[Navarr Look and Feel|feel]] of primal otherworldliness.<br />
<br />
===Our sources===<br />
* Modern Gaelic artists; Modern Welsh Language Artists such as Fern Hill; World Fusion such as Afrocelt Sound System (although less electronic) and Baka Beyond; Scottish-influenced Canadian songs and tunes e.g. Ashley MacIsaac, Great Big Sea (although less poppy), the instrumental stuff by Shooglenifty e.g. Arms Dealer's Daughter (CD), Michael McGoldrick (e.g. Wired), Irish folk, Greek folk tunes and dances. modern pipers e.g. Finlay MacDonald,<br />
* Travel-themed songs and poems by Tolkien could provide inspiration e.g. http://allpoetry.com/poem/8500011-I_Sit_And_Think-by-J_R_R_Tolkien and the [http://www.youtube.com/watch?v=zBgxqN0HOI8 Misty Mountain song] is spot on for the Navarr sound.<br />
<br />
Here is a [https://www.youtube.com/watch?v=zBgxqN0HOI8&feature=bf_next&list=PLE91C7F6EFC1C0A3A&feature=plpp_play_all youtube playlist] of appropriate or inspiring music.<br />
<br />
[[Category:Navarr Music]]<br />
[[Category:Music]]<br />
[[Category:Navarr]]</div>Jamiewhttps://www.profounddecisions.co.uk/mediawiki-public/index.php?title=Wintermark_Egregore&diff=33643Wintermark Egregore2015-02-15T22:51:25Z<p>Jamiew: </p>
<hr />
<div>{{stub}}<br />
{{CaptionedImage|file=AndyDudgeon.jpg|align=right|width=300}}<br />
===Sulkavaris===<br />
<br />
'''Sulkavaris, Knower of Names''' is the [[egregores|Egregore]] of Wintermark. It appears as a tall figure, male or female in form, dressed in the traditional garb of the Winterfolk priests including a long cloak with a mantle of black feathers. More rarely, Sulkavaris appears as a Icewalker or dressed for battle like a Steinr Grimnir. Sulkavaris particularly enjoys being told riddles or shown other examples of Wintermark art and children are encouraged to create riddles of their own to tell.<br />
<br />
In midwinter, Sulkavaris gives blessings to the virtuous but is sometimes accompanied by a malevolent figure known as the Krampus. The Krampus is a strange being that dispenses curses, but only upon those who ask for them. Individuals who feel the need to atone for something, perhaps an infidelity or a moment of cowardice in battle, will approach the Krampus and whisper their crime in its ear. The Krampus curses them, but the curse lasts only until the next winter and those who survive the curse are absolved of any wrongdoing. An image of the Krampus is often worn as a symbol by [[WIntermark Religious Beliefs#The Frayed|the Frayed]], although it has no particular affection for them.<br />
<br />
[[Category:Egregores]]<br />
[[Category: Wintermark]]</div>Jamiewhttps://www.profounddecisions.co.uk/mediawiki-public/index.php?title=Varushka_Egregore&diff=33642Varushka Egregore2015-02-15T22:50:34Z<p>Jamiew: </p>
<hr />
<div>{{stub}}<br />
{{CaptionedImage|file=CM-140418-6032.jpg|align=right|width=300}}<br />
==Mother Varushka==<br />
<br />
The Varushkan [[egregores|Egregore]] usually appears as a woman dressed in very traditional Varushkan dress and carrying a distinctive knarled wooden staff painted with dozens of images of virtuous animals. In this form, most call her Mother Varushka, a familial indication of the high respect in which she is held. At gatherings she usually wanders from tent to tent, listening to folk’s business and offering words of sage advice. She epitomizes the Varushkan tradition of a wise one, making time for any who need advice or help.<br />
<br />
The [[egregores|Egregore]] works hard to maintain the hearth magics that keep everyday Varushkans safe. She is particularly concerned to ensure that Varushkans celebrate properly once the sun has set, and likes to test any child she meets about the nation’s traditions and the meanings behind them. She often appears when things seem darkest to remind people that wisdom can overcome any power.<br />
<br />
[[Category:Egregores]]<br />
[[Category: Varushka]]</div>Jamiewhttps://www.profounddecisions.co.uk/mediawiki-public/index.php?title=Urizen_Egregore&diff=33641Urizen Egregore2015-02-15T22:49:28Z<p>Jamiew: </p>
<hr />
<div>{{stub}}<br />
{{CaptionedImage|file=CM-140526-7869.jpg|align=right|width=300}}<br />
==Menos==<br />
<br />
Menos, the Urizen [[egregores|Egregore]], always appears to have Lineage. Its most common appearance is that of a golden skinned individual with a calm and polite demeanour. It plays the role of observer, commentating on the events around it and loving the interplay of conversation with intelligent and educated individuals from all walks of life.<br />
<br />
[[Category:Egregores]]<br />
[[Category:Urizen]]</div>Jamiewhttps://www.profounddecisions.co.uk/mediawiki-public/index.php?title=Marches_Egregore&diff=33639Marches Egregore2015-02-15T22:48:17Z<p>Jamiew: </p>
<hr />
<div>{{stub}}<br />
{{CaptionedImage|file=CM-140526-7684.jpg|align=right|width=300}}<br />
==Jack-of-the-Marches==<br />
<br />
The Marcher [[egregores|Egregore]] is '''Jack'''. <br />
<br />
<!-- a simply-dressed figure carrying an axe, and often adorned with leaves.<br />
<br />
It is possible to discern Jack’s mood from the nature of the foliage or the type of axe; flowers indicate Jack is filled with Spring’s hope and joy, keen to see new life prosper, taking a particular interest in Marcher children. '''Jack’o'the’Spring''' is the woodcutter, and carries a small hatchet, or pruning-hook.<br />
<br />
A forest bill, or battle-axe, indicates that Jack is girded for war, supporting Marcher troops as they line up to fight, and interested in the work of Marcher generals. That’s '''Jack-in-the-Green''', the soldier, who often bears leaves of binding ivy.<br />
<br />
When Jack appears bearing a ceremonial axe crafted from gold, then their interest lies with the political life of the Marches; '''Jack with the Axe of Gold''' is a reminder to yeomen, stewards and Wardens alike that the Marches prospers through its honesty and integrity, rather than through taking short cuts.<br />
<br />
And finally, when Jack appears bereft of foliage and carrying a scythe or executioner’s axe, then their mind is focused on matters of religion and introspection. '''Jack Frost''' speaks rarely, and only when there's something important to say; almost always intended to guide the Marchers to stay true to the old ways and tend to the land.<br />
--><br />
<br />
[[Category:Egregores]]<br />
[[Category: The Marches]]</div>Jamiewhttps://www.profounddecisions.co.uk/mediawiki-public/index.php?title=League_Egregore&diff=33638League Egregore2015-02-15T22:46:52Z<p>Jamiew: </p>
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<div>{{stub}}<br />
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==Guise==<br />
Guise, the [[egregores|Egregore]] of the League, is a richly-dressed figure wearing a mask. It generally wears a mask recognisable as belonging to one of the traditional theatrical characters; Couros, Gancio, Scorrero or Vassa. By observing the mask Guise wears when the [[egregores|Egregore]] appears, a citizen can get some insight as to what is concerning it and what sort of personality traits Guise might display. In whatever form Guise appears, it has a particular fondness and boundless tolerance for the antics of children.<br />
<br />
[[Category:Egregores]]<br />
[[Category: The League]]</div>Jamiewhttps://www.profounddecisions.co.uk/mediawiki-public/index.php?title=Dawn_egregore&diff=33637Dawn egregore2015-02-15T22:46:14Z<p>Jamiew: </p>
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{{CaptionedImage|file=DawnEgregore.jpg|align=right|width=300}}<br />
==The Knight of Roses==<br />
<br />
The Dawn [[egregores|Egregore]], the Knight of Roses, is a mysterious soul that shares Dawn's close ties with the Eternals, and is the only [[egregores|Egregore]] known to travel to the Hall of Worlds. Throughout Dawn's history it has had several incarnations, though in recent years appears most often as a warrior resplendant in plate armour bearing the National heraldry on its surcote ('The Lady') or in full court dress with a musical instrument ('The Minstrel'). Although the Knight does not usually initiate or set challenges itself, it offers advice and guidance on the subject, and always acts to remind the Dawnish of their glorious history, and the greatness that is theirs for the taking. It seems especially drawn to Troubadours, and as it moves through the camp encourages them in tales of nobility, hospitality, heroism and virtue, to inspire the nation to match and exceed these tales in turn.<br />
<br />
The [[Egregores|egregore]] does not confine its attentions to the nobility, and can be a vocal supporter of yeomen wishing to rise to take their test of Mettle. Unlike many other [[Egregores]], the Knight of Roses can be quite vocally critical if it believes the tradition of the Test of Mettle is being misused - although what it considers "misuse" is anyone's guess. It has been known to intervene on behalf of two lovers petitioning its aid, particularly in its incarnation as the Minstrel. The Knight makes no secret of its contempt for [[Marches Egregore|Jack-of-the-Marches]], embodying the tensions between the two Nations.<br />
<br />
It is said that on a few, rare occasions, the Knight of Roses has given and accepted a favour from a mortal - legends tell of Knights so valiant and devoted to their nation and the Empire that the Knight was moved to acknowledge and return their devotion. Although it still wears what are said to be these favours, it will not speak of those who gave them, neither confirming nor denying the legend.<br />
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[[Category:Egregores]]<br />
[[Category:Dawn]]</div>Jamiewhttps://www.profounddecisions.co.uk/mediawiki-public/index.php?title=Brass_Coast_egregore&diff=33636Brass Coast egregore2015-02-15T22:45:33Z<p>Jamiew: </p>
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{{CaptionedImage|file=EgregoreBrassCoast.jpg|align=right|width=300}}<br />
==Dust, Fire and Glass==<br />
The [[egregores|Egregore]] of Freeborn takes three forms depending on its mood. <br />
<br />
'''Dust''' appears as an older man or woman, often dressed in a patchwork robe. It works to remind the Freeborn of the importance of family. <br />
<br />
'''Fire''' usually appears as a [[Sutannir]], encouraging parties and celebrations, and to inspire those going to war.<br />
<br />
'''Glass''' is the philospher, who appears swathed in pastel veils, to talk to the people about their soul and what it means to be Freeborn. In the past century, Glass has often appeared dressed as a [[Kohan]].<br />
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[[Category:Egregores]]<br />
[[Category:The Brass Coast]]</div>Jamiewhttps://www.profounddecisions.co.uk/mediawiki-public/index.php?title=Segura_spoils_of_war&diff=33635Segura spoils of war2015-02-15T22:45:07Z<p>Jamiew: </p>
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<div>{{CaptionedImage|file=SeguraFlickr.jpg|title=Segura|align=right|width=500}}<br />
Following the liberation of [[Segura]] by Imperial troops in Spring 378YE, these resources were presented to the [[Imperial Military Council|Military council]] for assignment as [[spoils of war]] during the Summer Solstice, 378YE following the assignenment of Segura to an Imperial nation.<br />
===House of the Two Moons===<br />
'''Congregation / Rank 3'''<br><br />
This great hall offers both spiritual instruction and banking services to the citizens of [[Segura#Lucksprings| Cerevado]]. It is named for the great silver disc that hangs at the eastern end of the hall called the ''Second Moon''. Folklore claims that it was cast from thousands of pre-Imperial silver coins melted down when the new currency was established in the reign of [[Emperor Giovanni]]. It is often aligned with the Assembly of [[Prosperity]], but also encourages the Ambition of both gamblers and ship captains who dare the dangerous rapids in pursuit of their goals. From time to time the congregation has been forced to root out the cults of [[Malign Spiritual Presences#Hope|hope]] that spring up like weeds in the gamblers' paradise.<br />
<br />
===The Golden Terraces=== <br />
'''Farm / Rank 5''' <br><br />
The Golden Terraces of [[Segura#Anozeseri|Anozeseri]] are perhaps the oldest orange orchards in the Empire. The farmers surrendered to the Naguerro army rather than see their orchards burnt to the ground; by doing so they were able to exploit the orcs unexpected taste for their fruit and preserve not only their lives but also centuries of careful cultivation. Oranges and other citrus fruit have been grown here for centuries - there have been humans here since the time of Terunael. The orchards are carefully tended, and there are several hybrid fruit grown here that are unique to the Golden Terraces.<br />
<br />
===Ghita's Veils===<br />
'''Mana Site / Rank 3'''<br><br />
In the northern [[Segura#Sorbal Grasses|Sorbal Grasses]] lie an engimatic sequence of complex interlocking trenches a little under a foot deep. These sweeping trenches cover a rough circle of grassland four miles in diameter. Scattered seemingly at random through the design are six-foot pillars of basalt, smoothed and shaped over centuries by wind and occasional rains. The veils are exceedingly old; some historians believe they are Terunael in origin, pointing to the similarities between their design and the [[Navarr hearth magic#Tracing patters|patterns]] favoured by the [[Navarr]]. Granite basins of water are placed at several locations. While some are fed by freshwater streams, others must be filled manually, and many have been inlaid with mithril, weltsilver and orichalcum. These basins collect crystal mana, and are carefully tended by a small group of hermits who find the isolation and silence of Ghita's Veils particularly appealing. <br />
<br />
===The Morning Swords===<br />
'''Military Unit / Rank 3'''<br><br />
When the orcs invaded from the Lasambrian hills, displaced farmers from Anozeseri took to the westernmost hills of [[Feroz#Morajasse|Morajasse]], and fought a guerilla war against the barbarians. They scavenged the old battlefields in southern Anozeseri for usable weapons and armour left over from the last Iron Confederacy invasion. When Anozeseri was liberated, these freedom fighters joined the triumphant Imperial armies in sweeping the Lasambrians out of their home. Many farmers returned to their homes, but some - having had a taste of the warrior-lifestyle - did not lay down their swords and sought a suitable captain to lead them against the enemies of the Empire.<br />
<br />
===Kabalai Palace=== <br />
'''Business / Rank 4 (Diversified)'''<br><br />
In the hills above [[Segura#Anduzjasse|Anduz]] is a beautiful white-granite palace, built in a complex fusion of [[Faraden]] and Freeborn styles and surrounded by extensive gardens. It's grounds contain many flowers and incense-bearing trees imported from the western hills, scattered with brightly coloured pavillions and gentle streams. Standing at one end of a trade route through the Lasambrian hills, this famous [[The_Brass_Coast_economic_interests|parador]] it is both the first Imperial structure seen by traders travelling from Faraden, and the last seen by those leaving the Empire for the windswept western hills.<br><br />
'''Production:''' The Kubalai Palace is a rank four business that has been diversified once - it produces 12 crowns, 12 rings and two ingots of [[Materials#Green Iron|green iron]] each season.<br />
<br />
===The Red Fields===<br />
'''Herb Garden / Rank 3'''<br><br />
The [[Segura#Iron Plains|Iron Plains]] have been a battlefield since before the Freeborn came to these lands; there is a saying that the fields are watered with blood more often than with rain. Established over three low barrow mounds from pre-Imperial times, the red fields are a series of will-irrigated gardens surrounded by a weirwood pallisade. The gardens produce quantities of especially fine [[marrowort]], and the herbalists who tend them are often called on to tend wounds sustained during the exploration of old battlefields.<br><br />
'''Production:''' The Red Fields produce 6 doses each of true vervain and marrowort, and two each of bladeroot, imperial roseweald and cerulean mazzarine.<br />
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===Turunca Distillery===<br />
'''Business / Rank 2'''<br><br />
Segura is known for it's farmlands, most especially it's vineyards and orchards. The Turunca distilliery has been taking oranges and grapes from across the territory and turning them into fine brandies and liqueurs for nearly three hundred years. It closed it's doors in 366YE, but with the liberation of [[Segura#Anozel|Anozel]] it's extensive cellars and distillation halls have been re-opened. The distillers of Turunca are notoriously dismissive of the practice of turning grapes into wine - "''fancy fruit juice''" is a common term used in Sorbal for even the finest vintages.<br><br />
<br />
===The Garden of Sighs=== <br />
'''Mana Site / Rank 2'''<br><br />
In south-eastern [[Segura#Anduzjasse|Anduzjasse]], on top of a low hill, stands a garden surrounded by a low wall and littered with beautiful marble statues. The broad branches of the trees are hung with mithril chimes. The wind that whispers through the garden and sets the chimes dancing is said by some poets to be the breath of Hermana Suspirie, one of the [[The Three Sisters|three sisters]] - although the [[hakima]] who traditionally gather the bounty of crystal mana from among the trees never agree as to which of the three mothers of the Brass Coast Suspirie represents.<br />
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===Sunsong Ranch=== <br />
'''Farm / Rank 4'''<br><br />
The Sunsong Ranch is a sprawling concern that covers many square miles of eastern [[Segura#Burnish|Burnish]] between the tributaries of the Scorrero. Raided repeatedly by Lasambrians, the Freeborn stubbornly refused to give up their land or their herds of cattle, leading to numerous battles between orcish raiders and Freeborn defenders. The cattle breeders have carefully cultivated bloodlines of sheep, [[Mundane_beasts#Dodo_Birds|dodo]], [[Mundane_beasts#Oxen|oxen]] and goats that can be traced back to the founding of [[Highguard]] and beyond. The ranch is famous for the succulence of it's meat, fine cheeses and excellent wool and leather - and for the stubborness of the men and women who work there.<br />
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[[Category:Military Council]]<br />
[[Category:The Brass Coast]]</div>Jamiewhttps://www.profounddecisions.co.uk/mediawiki-public/index.php?title=Brass_Coast_egregore&diff=33634Brass Coast egregore2015-02-15T22:42:49Z<p>Jamiew: </p>
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{{CaptionedImage|file=EgregoreBrassCoast.jpg|align=right|width=300}}<br />
==Dust, Fire and Glass==<br />
The [[egregores|Egregore]] of Freeborn takes three forms depending on its mood. <br />
<br />
'''Dust''' appears as an older man or woman, often dressed in a patchwork robe. It works to remind the Freeborn of the importance of family. <br />
<br />
'''Fire''' usually appears as a [[Sutannir]], encouraging parties and celebrations, and to inspire those going to war.<br />
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'''Glass''' is the philospher, who appears swathed in pastel veils, to talk to the people about their soul and what it means to be Freeborn. In the past century, Glass has often appeared dressed as a [[Kohan]].<br />
<br />
[[Category:Egregores]]</div>Jamiewhttps://www.profounddecisions.co.uk/mediawiki-public/index.php?title=Highguard_egregore&diff=33633Highguard egregore2015-02-15T22:40:43Z<p>Jamiew: </p>
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{{CaptionedImage|file=CM-140526-7702.jpg|align=right|width=300}}<br />
==Escon==<br />
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Escon is the Highguard [[egregores|Egregore]]. Escon has three primary interests; to embody the Imperial Faith and commitment to Virtue, to promote the martial spirit of the Highborn, and to expand the knowledge of the Nation. The spirit encourages competition, but as a means to the end of promoting and encouraging Highborn in the pursuit of excellence, rather than as an end in itself. Most of all, Escon encourages the Highborn to embrace their history and pursue Virtue with every part of their being.<br />
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In all aspects Escon wears a wide sash of braided black and white cloth, and is equally likely to manifest as male or female. Escon appears very much like a priest, hooded and wearing a robe – sometimes with armour but never with a weapon. Always his (or her) hair is covered, and the lower half of her (or his) face is covered with a thin veil of fine cloth.<br />
<br />
Escon always tries to help people make up their own minds and come to their own conclusions, through careful questioning and encouragement to examine motivations, actions and beliefs. This is not done to demonstrate intellectual superiority, but rather to encourage the Highborn to develop their own powers of deductive reasoning. Escon is quite capable of making definitive statements when the situation demands it.<br />
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[[Category:Egregores]]</div>Jamiewhttps://www.profounddecisions.co.uk/mediawiki-public/index.php?title=Sentinel_Gate_design&diff=33632Sentinel Gate design2015-02-15T22:27:51Z<p>Jamiew: </p>
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<div>==Overview==<br />
The [[Sentinel Gate]] is an essential part of the Empire game design - it allows us to combine a political game centred on Anvil with battles against the Empire's enemies on her borders. as well as using the entire Empire for quests. Because the Gate has such a significant out-of-character role in enabling the game, inevitably the mechanics that drive it are primarily driven by those requirements.<br />
<br />
==Core Design Criteria==<br />
* '''You can only ever use the portal if something interesting will happen when you get there'''<br />
* '''The number of the people who can go through is determined by the specific plot being accessed'''<br />
* '''We do not want players to feel they have to spend their time guarding the gate'''<br />
* '''We want to avoid trapping players on the other side if humanly possible'''<br />
{{CaptionedImage|file=Gate1.jpg|title=The Gate is a way for players to leave the field to have adventures|align=left|width=350}}<br />
==At the Appointed Hour==<br />
The Gate can only be used at "predestined" times. These opportunities reflect the plot we have prepared for the weekend and the plot actuation schedule that has been created to run that plot. Because the destination and time of departure have been set for OOC reasons - they can be moved for OOC reasons - but there is no IC mechanism the players can employ to change the OOC game schedule.<br />
<br />
The purpose of the Gate in the game is to allow for an enormous range of plot that would otherwise be impossible. If players cannot travel to the battlefront - they cannot actively participate in the war between the Empire and it's enemies. The Gate justifies swift travel around the Empire allowing us to run battles involving players as well as having the broadest possible scope of plot that we can run.<br />
<br />
In theory we could allow players to travel to a location we have not prepared any plot for and then throw a random fight at them or simply say "nothing happens", but there are many potential flaws with this approach. It is likely to be an underwhelming and disappointing experience by anyone expecting something to happen. This is especially true if characters have committed time or expendable resources to an expedition that cannot succeed because it does not exist. It can also create continuity errors, with mistakes on plot actuation resulting in players being told nothing is happening in an area when other plot indicates there is. For all these reasons we have chosen to implement a very simply rule - if the plot isn't prepared and timetabled for that moment - ''then the Gate cannot be used to go there''.<br />
<br />
This is the reason why conjunctions only happen at predestined times. Players cannot use the Gate to travel to areas where we do not have something interesting happening for them. They cannot go to Sarvos simply by asking to go there, unless we have planned or prepared a quest, skirmish or battle to support that expedition, and have that ready to go. We ''want'' to respond to player requests like this - but we want to do those requests justice. The best way to do this is to spend time between events writing and preparing the plot and encounters the players find when they do go there. The emphasis is to make expeditions as engaging as possible - rather than as immediate as possible.<br />
<br />
Because of the logistical demands of plot actuation, we have to schedule when the quests and battles take place. This predetermines the opportunities that exist to use the Gate. If the quest team have prepared a quest to defeat a plaguewulf that has been scheduled to run at 7pm Saturday evening in Karsk - then the opportunity exists to go to that specific location in Karsk exists for 7pm on the Saturday.<br />
<br />
If players need to request that a piece of plot is ''moved'' then they can only do so for OOC reasons. Wanting to do two bits of plot at the same time is not a valid OOC reason - our group has to leave early on Sunday because we have a long drive back to Scotland ''is'' a valid OOC reason to ask for a Gate slot to be moved. In that situation, the correct approach is to make an OOC request to Profound Decisions crew, explain the OOC circumstances and we will see if we can accommodate this.<br />
<br />
We have deliberately specified that there is no IC agency in the game world that can over-ride the rules of the gate, no rituals that move a slot, nor any Eternal that can do so, so that players know what their IC options are - and can make sensible choices accordingly. Rituals and eternals may provide IC means to facilitate an existing piece of plot that has been written and scheduled - that is they can help characters access a predestined conjunction - but we don't want players wasting their IC efforts trying to change an OOC plot actuation schedule.<br />
<br />
==In the Appointed Number==<br />
To minimize the situations where there are more players than a plot can involve, the number of people who can go on a quest is set in advance. This forms part of the immutable rules of the Gate, like the destination and the time of departure. For skirmishes and battles, the number who can go through is not fixed, but the number of nations that can go is specified. There are no in-character mechanisms that exist in the game world to vary these details.<br />
<br />
When we create a battle, skirmish or quest, we want the expedition to be challenging to those who go. While a purely simulationist approach might imply that many expeditions should be a walk-over while others would be utterly impossible due to the overwhelming odds - in practice this would be equally unsatisfying for players and writers. The laws of narrative apply - we only have a weekend of play - so we need to try and ensure that the hours of the weekend are as engaging as we can make them. This can be very difficult however if the players have no indication of how many people a quest, skirmish or battle might require - and we have no indication of how many may go.<br />
<br />
For this reason, when our plot writers are creating a quest, they decide how many players they want to go on the quest. This influences how they stat the encounters, but it is about more than just play-balancing fights. We need to plan for the effective involvement of players - if a quest involves a single encounter to negotiate with an NPC - that is not something that fifty players can enjoyably participate in. Providing an engaging experience is inherently challenging - but specifying how many characters can go gives the players a strong indication of how many ''should'' go - and lets our plot writers create an experience with an idea of how many ''will'' go. That doesn't ensure an enjoyable quest - but it does make it much easier to achieve.<br />
{{CaptionedImage|file=Sentinelgate3.jpg|title=The Gate has to serve many different uses|align=right|width=585}}<br />
<br />
==Anvil is Safe==<br />
Only Imperial citizens can use the gate. It is possible to use ritual magic, magical items and the powers of Eternals to get around this restriction - but it is sufficiently expensive that it is not reproducible on a large scale. This means that it is simply not possible for the Empire to be invaded through the portal by any means - and therefore that there is no need for any guards for the Gate.<br />
<br />
We do not want players to feel obligated to spend valuable game time guarding the Gate to prevent an incursion. Allowing this to happen produces a cycle in which plot writers feel obligated to throw monsters at the guards to keep them busy - and players increasingly obligated to stay on guard to keep the monsters at bay. We want Anvil to be busy with plot, trade, politics and interactions - we don't want players to feel they need to stand watching all that happen while they guard a Gate.<br />
<br />
==The Barbarian High-command is Safe==<br />
The Gate can only be used to travel to places the Empire has a connection with - places in the Empire, or on the borders, or locations where Imperial troops are stationed. You cannot use the Gate to teleport into the heartlands of foreign or barbarian nations.<br />
<br />
If characters were able to launch a deep-strike attack on the Thule high command to assassinate their leaders, it would be overwhelmingly the best strategy to adopt in almost every circumstance. It would always be easier than fighting their way through hordes of Thule troops in the field, so it would always be preferable to any alternative strategy for purely IC reasons. An interesting military campaign develops from stories of iconic battles in the field. We want those players involved in the military campaign to make long term strategic plans, to push forwards on fronts and try to seize key regions. To ensure they have a complex game with a wide variety of choices we need to rule out the one choice that would always be IC preferable to any other.<br />
{{CaptionedImage|file=Gate2.jpg |title=The gate is a wonder of the Empire|align=right|width=350}}<br />
==The Outward Gate Closes==<br />
The Gate is only open for a short time - just sufficient to let the players gathered to pass through. After that time the outward gate closes and no IC agency can reopen it. The players who have travelled away from Anvil may still return - the return gate does not close until the appointed duration has expired - but nobody else may now travel to that quest, skirmish or battle.<br />
<br />
We want the potential for failure to be real and tangible in Empire - otherwise the pleasure of triumph is fatally undermined. The only way we know to make that experience real is to allow players to fail sometimes. We will never plan for that to happen - but the vagaries of fate ensure that ''if it is possible - then sometimes it will occur.''<br />
<br />
In these situations players will inevitably be highly motivated to immediately reattempt the same quest, skirmish or battle - nothing tastes as bitter as defeat. But if we allow players opportunities to reattempt a quest, skirmish or battle that fails - then the narrative impact of defeat is lost. Ultimately the entire experience of going through the Gate would be diminished if the players learned that they could just reset and go again in response to any failure. Triumph and defeat would both be undermined.<br />
<br />
This is a classic case where giving the players what their characters want - another opportunity to use the gate to attempt the same action - would actually make the game less enjoyable for everyone in the long run. This is why it is laid out clearly that there is no IC mechanism to re-open a gate to make a new attempt. We want players to plan for each expedition they make - and to be nervous if their preparation has been sufficient. We want the Gate to naturally develop a history of great triumphs and bitter defeats. <br />
<br />
The only exception to this situation is where our battle management has gone awry for purely ''out-of-characters'' reasons. This should happen less and less over time as the team's skills improve, but it would be naive to rule out the idea that it could ever happen. We don't want to penalize players for our mistake, so in that circumstance - ''and only in that circumstance'' - the battle refs are allowed to rule that a second conjunction develops that is sufficient to allow players to react to the situation.<br />
<br />
==The Return Gate Closes==<br />
The opportunity to return through the gate expires after a predetermined time. Once the appointed duration allocated by the plot actuation team expires then returning via the Gate becomes increasingly dangerous - simulated through distribution of magical traumatic wounds.<br />
<br />
We have limited resources to simulate the world outside Anvil, we have limited time, limited crew and limited space. This means that a quest, skirmish or battle can only run for a certain length of time, before the resources it is consuming would be better spent elsewhere. To create the IC urgency needed to satisfy this basic out-of-character requirement, we have set limits on how long the players can remain away from Anvil.<br />
<br />
We want players to know how long they have to complete their quest, skirmish or battle - but because their characters are motivated by IC reasons, we want them to have an IC reason why must return once their allotted time expires, even if they have not succeeded. The in-character risks inherent in remaining too long are not intended to be a credible threat to a character's survival, but rather to present a player with an IC justification they can use to justify accommodating the limits of the quest.<br />
<br />
As far as possible, we want to avoid players becoming trapped away from Anvil. Therefore we want anyone who passes through a gate to be aware of ''approximately'' how long remains before the gate closes by asking a referee. Players who remain behind after a battle or skirmish ends but who are not captured by orcs are assumed to have made their way back to the portal and snuck through. They should see a ref and receive an appropriate magical traumatic wound to represent the dangers of their dangerous return.<br />
<br />
If players are on a quest and are simply refusing to return to Anvil within the duration allotted to them, then the referee are instructed to give them a few minutes at most to complete what they are doing. If it is clear that they are not returning, they will then time-out the area. Ideally our plot will avoid situations where this outcome is likely - for instance NPCs can be briefed to leave an area after half-an-hour. Quests should, where possible, succeed or fail within the allotted duration in a way that is obvious to everyone who is taking part. But if this can't happen and the players absolutely refuse to accept that the time available to complete a quest has expired, then the referee needs a basis to intervene.<br />
<br />
==Anyone may go==<br />
There are no limits on who can go on a quest. The number who can go ''is'' limited, for reasons outlined above - but any Imperial citizen can go - and they can go on as many quests as they can access. Battles are currently limited to one per event - but this is purely because of the need for players to volunteer to fill out our monster ranks for the big encounters where 100 dedicated skirmish crew is not enough. The allocation of who can go on specific battle and skirmish opportunities should remain in player hands (in this case it is decided by the Military Council).<br />
<br />
We have been deliberately vague about how "major conjunctions" occur. At present the game is limited by the number of players, crew and the size of the event. However if the event grew, or we had a larger site, we would want to scale the amount of battles and skirmishes available accordingly.<br />
<br />
==The Gate is for players==<br />
It is not possible for players to use rituals or call on aid from eternals send additional fighting power on quests, skirmishes or battles. There are rituals and Eternal powers in Empire that allow players to create additional troops for use in the downtime campaign, but these creates cannot pass through the Gate. <br />
<br />
If this was allowed to happen we would need to phys-rep the NPC monsters who were going to fight alongside the players. This would diminish the resources we had available to fight against the players. More importantly, it would also create an enjoyable iconic role... ''that was being played by an NPC''. To stop this happening, summoned creatures such as husks or minotaurs, cannot go through the Gate. This ensures that the pivotal individuals who pass through the Gate are players.<br />
<br />
Players have many good reasons to attempt to capture members of our crew or player volunteers and bring them back to Anvil as prisoners. For critical instances - where the roleplay or the plot demands it - we can facilitate this in small numbers. Beyond this it is logistically challenging to support. Player volunteers need to return to playing after a battle is completed, while NPCs will be needed for other plots. For this reason there are costs to bringing prisoners or other characters through the Gate - to encourage the players to do it only when the need is pressing and real.<br />
<br />
==Avoid NPC only abilities==<br />
The IC rationale of the Gate is, in effect, that it is predetermined by the stars, not by any mortal or sentient agency. <br />
Players have the widest possible remit to take advantage of the opportunities - but since the Gate operates according to an OOC logisticial timetable - - they do not have the IC ability change the nature of the opportunities.<br />
<br />
However we don't want players to feel that the gate is controlled by another "higher power", because that power would overshadow the players and make them feel less important by comparison. There is no ''practical'' difference between claiming that the stars determine the conjunctions and saying that the conjunctions are set by a god or similar character. But the stylistic differences are significant - players are less likely to feel overshadowed by the sun and the moon.<br />
<br />
So as far as humanly possible we want to avoid special NPC only abilities - although we have to have control over when the Gate can be used for logistical reasons, (what time it can be opened, how many can go through and to where) - we don't need to have control over how the Gate is opened, or who opens it. The design for the Gate avoids deliberately eschews NPC control by having the limitations on its use set by fate - the stars control under what circumstances the Gate can be used - but actual implementation and use can be done by any player with the appropriate skills. Likewise any player magician can find out if a conjunction exists.<br />
<br />
Our civil servants may be able to do this for the players - and we want to incentivize the players to involve the [[Egregores|Egregore]] as it is part of these NPCs' remit to try to add to the drama of the event - but they can easily do it themselves. This avoids the need for special NPC only abilities and also allows the potential for players to go on missions without the approval of the civil service if that fits the plot and their characterisation. There is an implicit resource tax involved in this, the cost to detect a conjunction and to operate the portal - but it is not dear.<br />
[[Category:Game Design]]</div>Jamiewhttps://www.profounddecisions.co.uk/mediawiki-public/index.php?title=Troupe&diff=33631Troupe2015-02-15T22:26:56Z<p>Jamiew: </p>
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<div>==Introduction==<br />
Troupes are magical groups found in [[The League]] who perform rituals through a tradition of theatrical performance called [[dramaturgy]]. A member of a troupe is commonly referred to as an actor even if they do not technically perform on a stage. Internally, a troupe may have all sorts of titles and names, often drawing from theatrical traditions (so a character who works to bring in business for the troupe or presents it in public might be called a barker internally, while someone who organises rituals and encourages practice might be a director).<br />
<br />
Magic is a commodity in The League, and magicians are skilled professionals who deliver their services for a steep fee. The troupes are rare - and effective - enough that they can charge high prices for their magic if they choose to do so, and a successful troupe enjoys a lavish lifestyle. Some troupes prefer to perform their magic as they see fit, rather than sell their prowess to the highest bidder, and instead make money through the quality of their theatrical performances. Some actors talk about "''the Art and the art''", meaning that both theatre and magic are arts and that one is more important than the other. Most agree that the "''Art''" is magic and the "''art''" is theatre, but this is by no means a universal interpretation.<br />
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Many troupes cultivate relationships with a specific patron or patrons, usually a powerful [[guild]], [[free company]] or [[bishop|church]], sometimes going so far as to offer their services exclusively to these patrons in return for regular support. Even troupes with patrons usually choose to maintain a degree of independence however - after all no troupe wants to be bound to a faded star, or be brought down alongside their patron if they can avoid it.<br />
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Some troupes insist new members swear an oath of secrecy upon joining - the precise details of this oath change between troupes, but the principles are often the same - to protect its members and (most importantly) its secrets. Many troupes are rivals, after all, and being able to offer a rare ritual or knowing a magical secret that can give them an edge is very important.<br />
{{CaptionedImage|file=LeagueCostume4.jpg|align=right|width=400}}<br />
In addition to magical activities, troupes usually stage plays and other performances, which can prove to be quite lucrative if they are entertaining, impressive or challenging enough for the picky League theatregoers. Some free companies will employ a troupe to improve morale, or to tell great deeds of their exploits in battle. Some churches, too, will employ troupes to perform morality plays, explaining the Imperial Virtues to the layperson, or depicting the lives of Exemplars and Paragons. Just as often, the theatrical performances are an adjunct to the real reason for employing the troupe, which usually involves magic.<br />
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It is quite common for a troupe to be paid to craft a short play or piece of verse about a prominent individual who wants some good publicity - or to try and manipulate public opinion against such an individual's political enemies with scandalous allegations, lampoons highlighting their buffoonery and obvious satires. The theatre is a political world in The League, as much as anywhere else.<br />
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<quote-right by="Traditional Oath of the Black Dragon Troupe">"I swear to keep the secrets of the Black Dragon Troupe, to tell nothing of my comrades' arts, to protect all of my brothers and sisters from harm and to work only for the good of the troupe, sound in the knowledge that they will do the same for me." </quote-right><br />
<br />
==Magical heritage==<br />
''More information on the League theatrical magic style can be found in the section about [[dramaturgy]].''<br />
<br />
The troupes work their magic through drama and ritual performance. Their rituals almost always involve elements of movement, the recitation of speeches, and the portrayal of a situation related to the nature of the magic performed. Some troupes work in verse, others improvise and interact with the audience; some use grand costume while others prefer a more simple approach with simply decorated masks and everyday clothes. Whilst there are grand troupes who specialise in doing long and elaborate shows around their magic, the majority of ritual performances are much shorter.<br />
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Rituals are woven into plays through the use of key words or movements. Rarely do they look like a magical ritual to an onlooker, because part of the approach is about concealing the real magic beneath a veneer of performance. That is not to say that a troupe might not weave a performance similar to the scene between Shakespeare's Macbeth and the three witches - but that same performance with a few modifications might be used as part of a scrying ritual, a curse or even the bestowal of some sort of boon on an ambitious individual.<br />
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The actor becomes a conduit for something else when he or she performs a theatrical ritual. Almost without fail, League rituals are performed while wearing a mask. This has a twofold advantage; it reinforces the presence of the character one is depicting, and it conceals or protects one's true identity from potential mistakes, jealous Eternals or anything else.<br />
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A common style for ritual performance is something akin to the theatre of Ancient Greece - two or three characters in masks engage in dialogue with one another, creating the scene through words, stylised gestures and the use of simple props. Other members of the troupe form the chorus, focusing or enhancing the scene unfolding between the main characters. This is a somewhat archaic form of theatrical expression, and sets magical ritual apart from the more intricate, longer and somewhat more informal Shakespearean feel of mundane performances.<br />
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Even though the theatrical style benefits from an audience, it doesn't absolutely demand one. A ritual is still a ritual if it is performed in a darkened tent, but the troupes lend themselves to larger, flashier performances.<br />
<br />
<quote by="The Fallen Herald, Act III, Scene I"> “Like the finest fruit, the sweetness fades the longer it sits on the platter”</quote><br />
<br />
==Creating a troupe==<br />
Troupes provide a space in which to play a group of magicians who have influence in League society both through the magic they call on and the performances they deliver. It is entirely possible to play a troupe that focuses on the more mundane elements of theatrical performance, and simply have fun putting on plays and other performances. Even these mundane troupes benefit from having a few magicians, however, so it is worth thinking carefully about how much magical power you want to start with.<br />
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It's certainly possible for a troupe to combine characters from numerous cities, perhaps in a cordial and friendly atmosphere or perhaps with a more volatile relationship, but it is slightly more common for the majority of members to come from a single city. Your troupe will quite likely be based in a single territory - perhaps it is where your theatre is if you have one. When picking a base of operations it is worth looking at a city that intrigues you that already has two or three interesting groups based there but doesn't already have a troupe associated with it.<br />
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Not everyone in the troupe needs to be a magician or an actor. Your troupe might have a craftsman who makes props and sets alongside magical implements and masks, or a [[bravo]] or two who provides security and makes sure nobody interrupts your performance (magical or otherwise). It's equally acceptable to play a pure ritual group and rely on contracts and negotiation to get the rest of the things that you need.<br />
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When it comes to resources, individual members probably want to look at magical resources such as [[Resource#Personal Resources|mana sites]]. One or two of your group may want to focus more on the theatrical site of the troupe, and they have a perfect excuse to pick up financial resources that represent your off stage performances. The ratio of magical resources to financial resources in your group probably says something about your group. It might represent the size and prosperity of your theatre (if you have one), suggest the presence of an NPC patron, or indicate your commiment to magic rather than theatre.<br />
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It's theoretically possible to be a lone ritualist, but your magic is likely to be limited in scope. It's also rare for a troupe to be part of a guild, free company or church. Ritualists who are part of another group are likely to be either also part of a troupe, or are seen as being "just" magicians - or even mountebanks - rather than proper League troupe members.<br />
<br />
==Playing a troupe member==<br />
Remember that you're actors as well as magicians. As well as discussing magical rituals, you're free to spend time creating art either for its own sake or (more likely) for money or patronage. You might want to take on a larger-than-life personality that is as much a role as any you play with your mask on, or you may appear to be just another actor, playing down your arcane prowess until the time comes for magic.<br />
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You should generally expect to be recompensed when you perform magic for other people - they should recognise that you are providing a useful service, that you are a skilled professional. By all means perform for favour or influence rather than cash, but make sure that someone, somewhere is giving you the credit you deserve for your work. That's not to say you charge someone for every healing spell, or demand attention every time you take the battlefield, but the movers and shakers of the Empire should appreciate that you are using your magical powers on their behalf. Any magic used for altruistic reasons is a great opportunity for good publicity, especially if you make sure everyone knows what troupe you represent.<br />
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Don't get too hung up on either the performance aspect or the particular magical tradition. As is mentioned above, it is still a magical ritual if you don't have an audience, and some plays are performed well away from prying eyes. While the majority of troupes practice theatrical magic, it is not impossible to imagine a group that works more-or-less like a troupe does but practices a very different theme to their magic. Keeping the elements of expecting to be paid, secrecy and rivalry with other magicians can help such a group keep the feel of The League.<br />
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==Helpful Questions==<br />
Here are a number of questions you could ask about the group when creating a troupe. This is not an exhaustive list, but should allow some jumping off points for ideas.<br />
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*''' How are the decisions made?''' Is there a single leader who makes decisions? Do all members get a vote on what the Troupe does - and are all votes equal? Who handles the money and other resources?<br />
*''' What is the Troupe's focus?''' Do you pay more attention to magic or performance? What kind of performances do you favour? Do you specialise and try to be the "best" at one or two types of magic, or are you generalists?<br />
*''' How do you join?''' How are new members of the company brought on board?<br />
*''' What kind of patrons do you cultivate?''' How does this impact your performances? A Troupe that is attached to a Free Company might have a very different feel to one that seeks the patronage of a Bishop, for example. <br />
*''' Where are you based?''' How are the cities of the League reflected in your style and appearance? Do you own a theatre of your own? <br />
*''' What about when you’re not casting spells?''' Do you put on theatrical performances for cash? What about in downtime? There's a difference between a troupe that picks only magical resources – mana and library, for example - and one that picks less magic and more “financial resource” to represent a larger, richer theatre that also has political pull.<br />
*''' What kind of masks do you use?''' Where do they get them from? Are they antiques, held by the company, or are they remade, year after year, according to the recent fashions?<br />
*'''How secretive are you?''' Are you jealous of your secrets? Do you seek out the secrets of other magicians to add to your own? Are you engaged in an active rivalry with another troupe?<br />
<br />
==Stock archetypes==<br />
League magicians, even those who do not practice [[dramaturgy]] directly like to draw on a roster of stock archetypes. Common elements include naming characters after the rivers or the cities of the [[The League|League]].<br />
<br />
===The Rivers and their Qualities===<br />
The four rivers are common figures in theatre. Playwrights compete with one another to include one or more of them in a subtle, unexpected way; challenging their audiences to identify who represents which character. The [[Dramaturgy#The Personae|personae]] used in [[dramaturgy]] are almost always named after one of the rivers, and their name helps define the magic of the ritual they are used with.<br />
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*''' Couros''' - Languid; Primal; Wise; Crude; Instinctual; Content and Prosperous due to natural bounty.<br />
*''' Gancio ''' - Capricious; Vengeful; Enigmatic; Ambitious; Quickwitted; Discontent and Prosperous due to hard work.<br />
*''' Scorrero ''' - Mentally "Slow"; Tenacious; Courageous; Methodical; Humble and Loyal.<br />
*''' Vassa ''' - Furious; Fast; Foolhardy; Determined; Proud and Vigilant.<br />
<br />
===The Cities===<br />
The cities of the League often appear in plays. Sometimes they are stand-ins for the [[League_Egregore|Egregore]], other times they represent either the people of the city or some mystical "genius locii." Magical rituals that are designed to influence a territory often include a character that represents the city. The most common characters in Tassato usually appears in the form of the rival twins Mestra and Regario, Holberg is usually depicted in armour, Temeschwar in furs and Sarvos in silks.<br />
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===Other Common Archetypes===<br />
''The original material about common archetypes has been superceded by the discussion of [[dramaturgy]]. You should still feel free to create rituals and plays using the [[Dramaturgy Archive|earlier material]].''<br />
<br />
==Using Dramaturgy==<br />
League troupes often perform rituals using [[dramaturgy]], a process of using narrative, [[Dramaturgy#The Personae|stock characters]], [[Dramaturgy#The Instruments|props]] and [[Dramaturgy#The Thrones|situations]] to create a magical effect. <br />
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For example, if you are about to perform a ritual to grant a soldier or group of soldiers extra battlefield prowess, you might create a narrative in which a band of soldiers from Holberg lead by [[The Captain]] using the name Vassa encounter a [[Dramaturgy#The Beast|beast]] and overcome it with the good advice of [[The Bishop]]. Having a basic plot that includes an obvious moment to deliver an [[enchantment]], you get to work with the other ritualists to come up with a few lines and a rough idea of what order things will happen in.<br />
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[[Category:The League]]</div>Jamiewhttps://www.profounddecisions.co.uk/mediawiki-public/index.php?title=Imperial_history&diff=33630Imperial history2015-02-15T22:25:50Z<p>Jamiew: </p>
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<div><br />
Imperial historians date from the foundation of the Empire. Events that happened after the Empire is created are recored as '''YE''' for "Year of the Empire" and '''BE''' for "Before the Empire." Most nations had their own calendars before the foundation of the Empire so historical documents that predate the Empire use different systems. A very few Highguard historians stubbornly cling to the numbering '''SL''' for "Since Landfall" dating from the point at which they first set foot on these shores, but this is a largely discredited system.<br />
<br />
==The distant past== <br />
According to historians among the [[Navarr]], [[Urizen]] and [[Wintermark|Winterfolk]], the orcs occupied land that had once belonged to early human kingdoms. What is known is that there were some powerful human kingdoms at this time, but that they were ultimately defeated and overthrown by the orcs.<br />
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When the first waves of human colonization began, most of the initial inhabitants were in retreat - the Navarr to their forests, the Urizen to their mountains, the [[Suaq]] and the [[Kallavesi]] to the inhospitable north, the [[Varushka History|Ushka]] huddled around their camp fires, and the [[Feni]] lurking in their wilderness. There were also humans living among the orcs, largely as chattel, slaves or subjects. Where these humans were freed from orc oppression, they were usually assimilated by the conquerors leaving no records of their own culture.<br />
<br />
==Formation of the nations==<br />
Three waves of colonization brought people that founded new human nations. The [[Highguard|Highborn]] are generally held to be the first, landing in the south, the forebears of [[Dawn]] and [[The Marches]] settled in the east and the [[Steinr]] and Vard appeared in the north leading to the creation of Wintermark and Varushka respectively.<br />
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These nations grew in size and power through constant warfare with their neighbours, particularly the barbarian orcs who claimed the land as their own. While the nations were successful, life was hard and brutal for the initial settlers and historians believe that it was only a matter of time before these new human nations would have been overrun and subjugated, like their predecessors.<br />
<br />
==Foundation of the Empire==<br />
===Year Zero===<br />
With an eye to the conflict between the human nations and the risks posed by the orcs, the First Empress began her crusade in Highguard. She gathered around a small group of like-minded individuals from various nations and with their assistance, and with the aid of the Navarr, she brought together the leaders of humanity to discuss the barbarian threat. Her vision and charisma - and the hard work of her allies - convinced many of them to recognise the value of an Empire. The people of [[Urizen]] declined to join, but sufficient folk from [[The Brass Coast]], [[Dawn]], [[Highguard]], [[The League]], [[The Marches]], [[Navarr]], [[Varushka]] and [[Wintermark]] accepted the proposal to allow them to form the Empire.<br />
<br />
====(1 YE - 5 YE) Internal conflict====<br />
In the early years the Empire concentrated on consolidating its position. The creation of the Empire led to a brief but bloody civil war in the Marches and the first of many battles with the orcs. During this time the first [[Nationality#Egregore|Egregores]] were created through a ritual created by the [[Hakima]] of [[The Brass Coast]] to ensure that the various nations are able to maintain their distinct cultural identity.<br />
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The most significant conflict was in Varushka where the Imperial forces engaged those of the corrupt boyar [[Alderei the Fair]] who threatened to conquer Varushka and create his own corrupt Empire. With the magical aid of the [[Volodny]] magicians, his armies proved to be a match for the Imperial forces. The efforts of powerful magicians ultimately neutralised the Volodny and the tyrant boyar was defeated by the Marcher general Tom Drake, although his body was never recovered.<br />
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====(6 YE) The Senate, The Synod and the Military Council====<br />
The Empress and her advisors laid the groundwork for Imperial structures to support and empower the Empire. Building on traditions of government in Wintermark, the [[Imperial Senate|Senate]] was created to advise the Empress and give the nations a voice in the rule of the Empire. Following a plan developed in the Marches, the [[Imperial Military Council|Military Council]] of generals was set up to coordinate the military forces of the various nations. The [[Imperial Synod|Synod]] was formed by the priests of Highguard, allowing the Imperial Faith to serve as a unifying force with a remit to ensure that the leaders of the Empire did not become corrupt.<br />
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====(22 YE) Death of the First Empress ====<br />
The First Empress led her troops from the front, rallying and inspiring them in their campaigns against their enemies. She died on campaign in battle against an orc barbarian tribe on the Brass Coast who were subsequently wiped out. She was interred in the [[Necropolis]] at Highguard, creating the tradition for many dead Emperors and Empresses that followed.<br />
<br />
The last known [[Horses|horse]], the mount of the First Empress, died at this time. Highguard tales described the pair's final battle, but Urizen records of army logistics from this period suggest that the horse died before the Empress. Although the first Empress is always shown on a horse, there were no more horses after this time.<br />
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===(22 YE - 34 YE) Reign of Emperor Giovanni the Peacemaker===<br />
After the death of the First Empress, Emperor Giovanni of [[Tassato]] was chosen by the Senate to replace her. An advisor to the late Empress, Giovanni was a statesman and politician rather than a military leader like his predecessor. He set about ensuring the Empire had the infrastructure required to help it prosper. His first act was to initiate a tradition of meeting once every three months at the site of the first meeting where the Empire was formed. A Senate building was built on the site, and it was declared Imperial Territory. <br />
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Giovanni approached the people of [[Urizen]] with an invitation to join the Empire, and this time they accepted. In return they offered their expertise as scholars and mages. Urizen scholarship slowly helped to raise levels of education and literacy across the Empire. Harnessing the power of Urizen divination with the manpower of the civil service helped Giovanni to transform the Imperial Civil Service into its current form. <br />
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The Urizen worked with the Empire to create the [[Imperial Conclave]], inspired by experiences during the war with Alderei the Fair in Varushka. The divided magicians of the Empire, each jealously guarding their own secrets, were barely able to neutralise the much smaller force of the Volodya, and the Senate was keen to ensure that this does not happen again.<br />
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Giovanni also laid the foundations of the [[Imperial Bourse]], and worked with the Senate and Synod to codify the body of Imperial Law. During his reign he establisheed a single currency based on steel coins issued by the Imperial Mint, based in Tassato under the ultimate control of the Civil Service. Giovanni died in 34 YE but his legacy was at least as durable as that of his predecessor. His relentless commitment to civilisation earned Giovanni the epithet "Peacemaker".<br />
<br />
==Consolidation of the Empire==<br />
===(36 YE - 69 YE) Reign of Empress Richilde, the Sun Queen===<br />
Following the reign of Emperor Giovanni, there is a brief period during which the Throne is unoccupied. The next Empress is [[Empress Richilde]] of [[Dawn]]. Senator for [[Astolat]], this accomplished Dawnish noble parlayed her cleverness and charisma into political influence. She instituted the Imperial bards, served as a patroness of the arts, accompanied the Imperial armies on campaign as an inspirational symbol of the Throne, and worked extensively to encourage both national and Imperial pride. After her death, she was recognised as an [[Paragons and Exemplars|Exemplar]] and later a Paragon of [[Pride]].<br />
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====(46 YE) Karsk captured====<br />
Imperial armies from Wintermark and Dawn supported the Varushkan force's conquest of [[Karsk]]. The war was long and did not produce tales of heroism or glory.<br />
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====(52 YE) Semmerholm defeated====<br />
An unusual alliance between Marcher and Dawnish forces caused the destruction of a major orc tribe in the territory now known as <br />
[[Semmerholm]]. <br />
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====(54 YE) Scouring of Redoubt====<br />
A combined Imperial force assisted the seers of Urizen in systematically removing the majority of orc occupants from the territory of [[Redoubt]]. Urizen control of the territory expanded allowing it to be represented in the Senate.<br />
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====(56 YE) Reikos gained====<br />
Highborn forces finally succeeded in conquering the [[Reikos]] on the borders of the Great Forest of Peytaht. The territory was accepted as part of the Empire although it took over a year to return the first senator for the territory.<br />
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===71 YE - 91 YE Reign of Empress Teleri the Pious===<br />
This [[Navarr]] [[Empress Teleri|Empress]] was deeply involved in the business of the Synod, and it was during her reign that they first began to exert the political powers they possessed. During her reign, the Synod gained increasing influence over all other parts of Imperial life, especially the Imperial Senate. <br />
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====(74 YE) Westward expansion====<br />
A campaign to secure the western flank of the Empire took the Mourn from orcs and secured Mitwold to the sea, giving the Empire a western coastline.<br />
<br />
====(88 YE) Invasion of Kahraman====<br />
Freeborn and Marcher armies concluded a successful pincer invasion of the mountainous territory of [[Kahraman]]. The occupants were split in two by the invasion and forced out of the territory in the following years.<br />
<br />
===92 YE - 102 YE The First Interregnum===<br />
Following the reign of Empress Teleri there is a period known as the ''First Interregnum'' during which there was nobody seated on the Throne. This period is marked by close co-operation between the Conclave, Bourse, Senate and Military Council with the Imperial Synod serving a vital role as supporters and intermediaries. As the interregnum progresses, however, there is increasing dissatisfaction with the dominance of the Synod.<br />
<br />
===103 YE - 120 YE Reign of Empress Aenea the Builder===<br />
The [[Highguard|Highborn]] [[Empress Aenea]] spent most of her reign improving the infrastructure of the Empire. Several border wars occurred during Aenea's time on the throne, and at various points the Empire was at war with [[Faraden]], [[The Iron Confederacy]], [[Axos]], [[Skoura]] and even (technically) the [[Sumaah Republic]].<br />
<br />
===125 YE to 167 YE Reign of Empress Varkula, called 'The Undying'===<br />
Taking advantage of a weakened and divided senate the ruthless [[Varushka|Varushkan]] [[Empress Varkula]] manipulated (and in some cases, allegedly extorted) her way to the throne. She then set about dramatically increasing the military strength of the Empire. Her reign saw the Empire's borders expand, and also saw a reduction in the powers of the Synod that had expanded in the reigns of more pious Emperors and Empresses.<br />
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====(125 YE) Assimilation of Zenith====<br />
The seers of Urizen completed the assimilation of [[Zenith]] after a lengthy campaign involving Highborn and League forces and a long sequence of powerful rituals.<br />
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====(136 YE) Fall of Holberg====<br />
Imperial armies from Dawn conquered the territory of [[Holberg]]. The city of Holberg was convinced to join the Empire by League diplomats, leading to a political coup in the Senate that resulted in the territory being assigned to the League.<br />
<br />
====(154 YE) Skarsind pacified====<br />
Although it proved impossible to drive the barbarian orcs from [[Skarsind]], enough of the territory was conquered and fortified for it to be declared an Imperial territory.<br />
<br />
====(167 YE) Domination of Miekarova====<br />
Steady expansion by the Varushkan boyars over the preceding century led to the inclusion of [[Miekarova]] within the Empire.<br />
<br />
===168 YE to 179 YE Reign of Emperor Frederick, called 'The Philosopher'===<br />
[[Emperor Frederick|Frederick Ritter van Holberg]] reigned for eleven years, over a time of relative peace during which the Empire consolidated the gains secured in the reign of Empress Varkula. He was a philosopher and political scholar who fiercely protected the rights of the individual over those of the state, and encouraged citizens of all nations to view the prosperity and security of the Empire as both their responsibility and something in which to take great pride.<br />
<br />
===(180 to 198 YE) Reign of Emperor Barabbas===<br />
The [[Highguard|Highborn]] [[Emperor Barabbas]] was driven by the desire to expand the Empire to control the entire Bay of Catazar. He was only marginally successful, managing primarily to alienate the people of [[Surann]] and [[Skoura]] and ultimately seeing his ''Barabbine fleet'' sink in a terrible storm that would have left the Imperial Navy crippled if not for the foresight of his [[The Brass Coast|Freeborn]] allies.<br />
<br />
====(183) Expansion into Segura====<br />
A united front by the Hakima of the Guerra and Riqueza led to the Brass Coast expansion into [[Segura]].<br />
<br />
==Stability==<br />
<br />
===(200 YE - 209 YE) Reign of Emperor Nicovar "the Mad"===<br />
The first reversals in the Empire's fortune occurred during the reign of [[Emperor Nicovar]]. Initially a brilliant administrator, Nicovar expanded the role of the civil service in support of the Empire. However, a decade of attempting to micromanage every element of the Empire, as well as a reliance on the magic of Day to gather and interpret ever greater amounts of information, eventually caused him to descend into madness.<br />
<br />
The [[draughir]] Emperor became increasingly unstable, perceiving patterns in events that appeared paranoid to others. His unpopular policies divided the [[Imperial Senate|Senate]] and the [[Imperial Synod|Synod]], and there were rumbles of civil war. He began to demand extreme amounts of record keeping and it became clear that he was not in his right mind.<br />
<br />
Things came to a head in 209 when Emperor Nicovar sent his troops to burn down the Empire's libraries. There was a revolt, which culminated in the destruction of the central repository of records in Highguard and several key spires in Urizen. The mad emperor was executed by the captain of his own guard, the [[Navarr]] [[Thorn]] Isaella. Despite appeals for clemency from the Synod, Isaella took full responsibility, and was convicted as a traitor, while simultaneously being lauded as an exemplar of courage and duty and a hero of the Empire.<br />
<br />
The destruction of the libraries left a big hole in the history of the Empire - thousands of books and scrolls are lost. While records still existed, there were many gaps and those that remained were fragmentary. Since then scholars have attempted to recreate the books and records they had lost, but with mixed success.<br />
<br />
==(204 YE - 259 YE) Years of turmoil==<br />
This period was characterized by a sequence of military defeats as earlier conquests were lost to resurgent barbarian forces beginning with Segura in the Brass Coast in 204 and ending with the war in Karsk in 259. Most of the defeats were eventually reversed, with the borders moving back and forth. By the end of the years of turmoil, the Empire actually controled slightly more land than at the beginning, but the period is still regarded as a low point in Imperial history.<br />
<br />
===(212 YE - 234 YE) Reign of Empress Mariika===<br />
After three years without an Emperor or Empress, the [[Suaq]] [[Empress Mariika]] ascended the Throne. The Empire was on the verge of financial collapse, and Mariika's reign is remembered for her ruthless and efficient reorganisation of the Imperial Economy. She disbanded two entire armies, slashed funding to the Military Council, gave the Bourse control of a number of raw material surpluses, recognised several informal positions as Imperial offices, and generally took steps to ensure the Empire avoided economic disaster. <br />
<br />
===(239 YE - 248 YE) Reign of Emperor Guntherm===<br />
The [[Steinr]] [[Emperor Guntherm]] ascended the Throne after a series of successful campaigns against the [[Jotun]] barbarians. He was committed to expanding the reach of the Empire, and chafed under the economic restrictions placed by his predecessor. The early part of his reign is committed to strengthening the borders of the Empire, and a number of castles and fortresses were built during his reign. The latter part of his reign is known for some of the bloodiest battles in Imperial history.<br />
<br />
===(249 YE - 257 YE) Reign of Empress Brannan===<br />
The [[Navarr|Navarri]] [[Empress Brannan]] followed Guntherm to the throne, and was another military-minded ruler dedicated to smashing the orcs and expanding the borders of the Empire. Ultimately, her abusive attitude to the powers of the Throne, and allegations of improper relations with certain [[Eternals]] resulted in her being the only Emperor or Empress to be [[Revocation|revoked]] by the [[Imperial Synod]]. Despite her failings, some of the most glorious battles in Imperial history take place during her reign, she showed what the Empire was capable of when sufficient resources were given to it's armies, and with her support the Navarr made great advances in their fight to destroy the [[vallorn]] and reclaim their lost cities.<br />
<br />
===(257 YE - 281 YE) Reign of Emperor James===<br />
The [[Marcher]] [[Emperor James]] took the throne as a peacemaker - not to make peace with the barbarians, but to make peace within the Empire. He was responsible for fixing the borders of the Empire.. <br />
<br />
====(265 YE) Fixing the borders====<br />
The Senate decreed that the Empire was now large enough and argued that further expansion was counterproductive, despite vociferous argument from the Synod and the Military Council. Trade routes with various foreigners were established, and peace treaties were signed with various barbarians,ushering in an era of economic growth and prosperity.<br />
<br />
Some barbarians continued to threaten the borders, but the armies shifted to a more defensive role.<br />
<br />
===(281 YE - 300 YE) The Second Interregnum===<br />
After James' reign, a period of relative peace settled on the Empire. The borders were reinforced, relationships between the Senate, the Synod and the Military Council achieved a degree of status quo, and both the Conclave and the Bourse focused on their own interests. Modern scholars suggest that this was a period of increasing complacency and introspection for the Empire, but others point to the high quality of life for most citizens, the various advances in magic, the arts and technology, and consider it a golden age built on the solid foundations laid by Emperor James' reign.<br />
<br />
=== (300 YE - 318 YE) Reign of Empress Deanne ===<br />
[[Empress Deanne]] ends the Second Interregnum by taking the throne in 300 YE.<br />
<br />
====(322 YE - 324 YE) The Orc Rebellion====<br />
Prior to 322 YE, many orcs that were defeated in battle were enslaved. Orcs had no rights in the Empire before this time, as they were not considered people in the eyes of the Constitution. There were slave populations in Dawn, Wintermark and Highguard and especially in Varushka and The League.<br />
<br />
During this period an orc hero arose among his people, leading them in [[The Orc Rebellion|armed revolt]] that saw them occupy parts of Varushka, the League, Dawn and the Marches. The Freeborn Emperor Ahraz arranged a deal with the orcs, and a motion to recognise them as people was brought before the Senate. The motion passed by a tiny margin, making the Imperial Orcs citizens of the Empire.<br />
<br />
===(324 YE - 329 YE) Reign of Emperor Ahraz "the Liberator"===<br />
The only [[The Brass Coast|Freeborn]] Emperor to date, [[Emperor Ahraz|Ahraz]] came to the throne with promises to end the Orc Rebellion. He did so by bringing the slaves into the Empire, and by recognising the right of orcs to be citizens. His reign was marked with turmoil, and he abdicated in 329 YE a broken man.<br />
<br />
====(324 YE - 328 YE) The Freedom Heresy====<br />
A briar priest preaching the heretical virtue of freedom ultimately inspired an [[Freedom Heresy|attempt to secede from the Empire]]. When the rebellion was defeated by Imperial forces, the priest led her followers into [[The Barrens]] where they attempted to found a rogue state; the kingdom of Mountane. In 328 YE the heretics were destroyed by barbarian orcs, and in 329 YE the ringleaders of the heresy were tried and executed for heresy and blasphemy.<br />
<br />
==Decline==<br />
===(331 YE) The Decline begins===<br />
In 331YE the territory of [[Spiral]] was lost to [[Urizen]]. This marked the start of the current period called the decline. A greedy and corrupt Senate, more concerned with internal political manoeuvring than the strength of the Empire, supported two weak occupants of The Throne ([[Empress Giselle]] de Sarvos and [[Emperor Hugh]] the Fat of House Rousillon) and a third catastrophically incompetent Emperor (the weak and self-indulgent naga-lineaged [[Emperor Walter]] Upwold who did not enter the Senate once during his two year reign). <br />
<br />
The Synod was mostly concerned with dogmatic disputes and began to lose sight of its mission.<br />
<br />
In 346 YE the territory of [[Holberg]] was lost to the barbarians. This triggered a defensive mindset and a period of recriminations. More territories were lost, leading to further defensiveness and less inter-nation cooperation. The generals of the Military Council found it impossible to collaborate effectively during this period. The addition of the first [[Imperial Orcs|Imperial Orc]] generals in 351 YE simple made the matter worse.<br />
<br />
Several more territories on the edges of the Empire were [[Lost Territories|lost]] during this time.<br />
<br />
===(331 - 346 YE) Reign of Empress Giselle 'the unwise'===<br />
[[Empress Giselle]] de [[Sarvos]] of the [[The League|League]] takes the throne following the loss of [[Spiral]] in 331 YE and despite some early efforts entirely failed to re-take that territory. Her reign is marked with a period of political upheaval largely caused by the Empress herself whose blatant favouritism towards the League splits the Senate and the Synod, and causes problems among the generals and the archmagi. Her reign ends with her death during the battle for [[Holberg]] which sees that territory lost to the Empire.<br />
<br />
===(348 - 368 YE) Reign of Emperor Hugh, called 'the fat'===<br />
After the death of Empress Giselle de Sarvos, [[Emperor Hugh|Hugh de Rousillon]] of [[Dawn]] takes the crown. Nephew of the Dawnish general Leon de Rousillon, and a noble of a politically and militarily powerful Dawn [[Noble house|noble house]], Hugh was a personable, enthusiastic and idealistic knight with extensive battlefield experience. Unfortunately, he was an absolutely abyssmal administrator, incapable of delegation, torn between the realities of political life and his personal idealism. His reign is marked by a dizzying number of feasts, banquets and tourneys during which he desperately tried to woo an increasingly jaded [[Imperial Senate]], as well as a sequence of crushing military defeats as Generals began to compete with each other over dwindling resources. <br />
<br />
By the end of his reign, the Emperor was almost unrecognisable as the energetic young man he had been when the took the Throne. Decades of feasting had left him corpulent and unhealthy, barely able to fit into his harness. Trying to stay ahead of the manipulations and machinations of the Senate had left him exhausted and despondent. According to those who saw him in the fateful battle for Karsk that spelled the end of his reign and ultimately his life, he was a broken man who embraced the peace offered by death.<br />
<br />
===(371 - 373 YE) Reign of Emperor Walter, the ham-fisted===<br />
[[Emperor Walter]] [[Upwold]] was a [[The Marches|Marcher]] [[naga]] who took the throne under dubious circumstances and was widely considered to be a disaster for the Empire. Under his 'reign' the Senate fell even further into open bickering and factionalism. He choked to death on an olive pit in 373YE during a state dinner with a group of [[Sarcophan Delves|Sarcophan]] and [[Principalities of Jarm|Jarmite]] diplomats.<br />
<br />
===(374 YE) Coronation of Empress Britta===<br />
A Steinr woman named [[Empress Britta|Britta]] became the nineteenth Empress. In the wake of the disastrous Emperor Walter (who was already being termed "the Ham Fisted") she took up the sword and shield and challenged the corruption of the Senate and Synod. She surrounded herself with competent generals, and began to formulate and prosecute a campaign to recover lost territories and drive the barbarians back.<br />
<br />
A popular and charismatic figure, she united the people of the Empire behind her and dealt ruthlessly with her enemies. She had the wisdom to select competent advisors. People began to call her the Young Empress, and hailed her as the reincarnation of the First Empress, come to protect the Empire in its time of need.<br />
<br />
====(376 YE) Death of the Young Empress====<br />
The Empress Britta was killed during a disastrous attempt to retake Skarsind. The first event in the game took places four weeks after her death was confirmed.<br />
<br />
[[Category:History]]<br />
[[Category:The Empire]]</div>Jamiewhttps://www.profounddecisions.co.uk/mediawiki-public/index.php?title=Monstering&diff=33629Monstering2015-02-15T22:24:03Z<p>Jamiew: </p>
<hr />
<div>==Overview==<br />
Most of our Empire events feature large battles that take place between the elite heroes of the Empire and their barbarian enemies. Everyone who attends Empire has the opportunity to play some monster roles if they wish to do so, you can volunteer to monster for any of our quests, skirmishes or battles. If you want to play your character in one of the battles then you '''must''' volunter to monster the other one - otherwise it's not possible to give anyone a challenging battle to fight.<br />
<br />
==Volunteering==<br />
The [[Imperial Military Council]] makes the decision on Friday night, which battles they are going to attempt that weekend and which nations will fight on each. This determines the battle opportunity that is available for your character - and which battle you will be expected to monster. Ideally, we hope that the Imperial generals will try to inform everyone of the decisions that have been made, but if you are unsure then ask your [[Egregores|Egregore]] and they can let you know if you are fighting or monstering the next day.<br />
<br />
Mustering for monsters begins at time-in at 10am. The intention is that those people who are monstering the battle will muster up at the monster tent rather than going in-character that morning. Please try and be as prompt as possible.<br />
<br />
==Getting More Involved==<br />
We strive to make monstering as enjoyable as possible, so much so that some players choose to monster both battles if their character is not a combatant. However live roleplaying is ultimately a hobby where much of the enjoyment flows from the act of participating - the more you put into a game - the more enjoyment you can get out of it. Turn up for a battle is the basic minimum expected of everyone - but Empire has been deliberately designed to allow participants to invest in the experience to make the most of monstering for themselves and the other players.<br />
<br />
Playing a [[barbarian]] lists some of the things that are possible for people who want to get more involved and get the most out of monstering and explains how the game setting is set up to handle this.<br />
<br />
==What to Bring==<br />
===Costume===<br />
We can provide top layers of costume themed to the battle but please bring a base layer of generic IC kit, such as a long sleeved shirt and IC trousers.<br />
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===Weapons & shields===<br />
You must bring a weapon with you if you have one. If you have a choice of weapons then please bring a one-handed weapon and a generic shield if possible.<br />
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===Bows===<br />
We only use a limited number of archers in each battle. You are welcome to bring a bow in case you are chosen to play one but please bring an alternative weapon if you have one.<br />
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===Armour===<br />
We have plenty of resin mould breastplates but please bring any other pieces of armour - even mage armour - that you are happy to wear while monstering.<br />
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===Drinks===<br />
We have crew assigned to carry water for monsters during the large battles, but it is a really useful to bring your own water skin if you have one.<br />
<br />
==Essential Monstering Rules==<br />
===Roleplay, Roleplay, Roleplay===<br />
You should endeavour to roleplay your blows and injuries as much as possible. The challenge of the battle is set by the actions of the players, the choices they make and the characters set by the battle manager. Your goal is to make the battles and the fighting as atmospheric and immersive as possible, by emphasizing the roleplaying of the fights.<br />
<br />
===Roleplay Heroic Blows===<br />
Do not deliberately aim heroic blows at hands and feet, while they are valid targets under the rules, they are not credible locations for a heroic blow under the spirit of the rules. As a barbarian your goal is to emphasize the heroic nature of this blow, by aiming a suitable strike at the torso or limbs of your enemy.<br />
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===Remain IC and Support Immersion===<br />
If you are unsure whether you were affected by a heroic ability or spell, then take the effect. The battle will be cooler for everyone if you react to the actions of the Imperials rather than arguing over whether an arrow hit a steel plate or leather instead.<br />
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===Play the Ball, not the Man===<br />
As a barbarian your role is to provide an amazing challenge for the players who are playing their character, but it is important to stress that you are there to bring their adversaries to life, not to ''beat the players'' or ''kill characters''. You must roleplay as a barbarian according to your brief and follow the instructions of your leaders and referees. It is up to the Imperial characters to win or lose the battle.<br />
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===Pay it Forwards===<br />
Don't forget that as a barbarian you are there for the enjoyment of the Imperials as well, if you give them a great fight with amazing roleplay, they will want to do exactly the same for you.<br />
<br />
===Roleplay Warriors, not Murderers===<br />
Under no account should you use the execute call unless specifically briefed to do so by a referee. In general barbarians do not stop to execute fallen opponents while the fight is still ongoing. Forces like the Jotun in particular are noted for their honourable behaviour, allowing their enemies to withdraw if defeated and taking hostages.<br />
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If the Imperial forces engage in widespread butchery, murdering barbarians who have fallen, then we will respond accordingly by providing our dedicated NPC crew with instructions to retaliate against the murderers.<br />
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It is not helpful for player volunteers to execute player-characters under any circumstances, as this damages the trust in the volunteer system that is essential to the game.<br />
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===Do not Loot the Fallen===<br />
Do not loot fallen Imperial characters unless specifically briefed to do so by a referee. In general barbarians are focussed on defeating their enemy and winning the battle, not collecting loot. In some battles specific NPCs from our dedicated monster team will be instructed to loot fallen characters for their wealth.<br />
<br />
It is not helpful for player volunteers to loot player-characters under any circumstances, like execution, this damages the trust in the volunteer system that is essential to the game.<br />
<br />
==Non Combatants==<br />
If you are affected by health issues that limit the roles that you can portray on the battlefield, then please make sure you let someone from the Profound Decisions crew know. Everyone who plays their character on the battlefield needs to volunteer to help with another battle, but there are a wide range of different roles that are available. Everyone has a chance to get involved and help create a great battle for their fellow players.<br />
<br />
[[Category:Monstering]]</div>Jamiewhttps://www.profounddecisions.co.uk/mediawiki-public/index.php?title=Astronomancy&diff=33628Astronomancy2015-02-15T22:22:38Z<p>Jamiew: </p>
<hr />
<div><ic>As above, so below; As below; so above.</ic><br />
<br />
===Overview===<br />
The constellations have been known since time immemorial – they figure, largely unchanged from their present forms, on some of the oldest buildings and artifacts in the world. Many magicians – especially those of Urizen – believe them to be a map or chart of the powers of the world reflected above – as if the sky were a great dark lake and reflected on its surface was the means to understand, control and manipulate the forces of nature. <br />
<br />
At its core, astronomancy is a magical tradition that involves identifying patterns in the stars associated with fundamental magical and natural laws, and drawing power from them to fuel ritual magic. These patterns - the constellations - are held by many astronomancers to be the same tools the Creator used to forge Creation. Like the [[Rune Overview|runes]] and the narrative principles of [[dramaturgy]], Astronomancy is a means of placing magic in context and understanding it. <br />
{{CaptionedImage|file=RelativePositionslores.JPG|title=The Night Sky (Constellation)|align=right|width=471|height=450}}<br />
===Invocation and Command===<br />
The stars are handles – physical ways to grab the force of magic. Nobody in the Empire imagines The Stork is an actual stork. That arrangement of stars you can see in the sky is the way it is to represent one of the primal powers of creation; by using that imagery and incorporating it into your rituals, you are tapping into that primal power and associating your ritual with it. <br />
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Astronomancers believe that the sky is limitless, and so are the powers it represents; the constellations known and codified by the Empire are merely the tip of the iceberg. Every star is part of a constellation and every constellation is a representation of a cosmic principle, a natural force or a universal power. The codified ones are simply those whose meaning and purpose is clearly understood; there exist many more to discover, comprehend and codify. Every Astronomancer dreams of naming a new constellation and adding them to the great catalogue. <br />
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Using the constellations the easy way, an Astronomancer can draw the design on an implement or artifact, arrange things or people to recreate the design below (such as standing your ritualists in the shape of The Fountain or The Chain) or simply invoke them during a ritual to shine favourably or unfavourably upon the outcome or a specified target. By naming propitious stars to someone you could bless or curse them. <br />
{{CaptionedImage|file=RelativePositionsIllustration.JPG|title=The Night Sky (Illus.)|align=right|width=471|height=450}}<br />
===As Above, So Below===<br />
Astronomancers firmly believe that echoing the structure of the constellations strongly influences the environment – it is not uncommon to find an Urizen spire's encampments laid out in the form of The Net, or Astronomancer’s chambers arranged specifically to evoke a particular constellation.<br />
<br />
===Tulpas===<br />
The constellations are not sentient or sapient in any meaningful way – they are symbols of potentiality, emblems of cosmic forces ill-understood by the Empire’s magicians. But sometimes during a ritual, a combination of the existence of the constellation, coupled with the efforts of the magician, will cause the manifestation of a Tulpa. These are thought-forms; concepts and ideas given form by magical will and the motive power of the Constellation. <br />
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Tulpas are curious creatures – constructs of will and magic that make it easier to form a connection between the constellation and mortal men. The process by which a Tulpa forms and manifests is structurally and magically very similar indeed to the process by which a national [[Nationality#Egregore|Egregore]] is formed; some Astronomancers view them perhaps as the understandable face of principles too vast and alien for our minds to clearly understand. As the [[Varushka_Egregore|Varushkan Egregore]] sometimes represents a way for magicians to understand what it means to be Varushka, to interact with the soul of a nation in a meaningful way, so Tulpas of the Claw allow a magician to interact with the principle of conflict between living things.<br />
<br />
They are bridges, formed by magicians to connect them to these potent principles. Essentially the magician gives the magic a physical form or a spiritual form that is easier for mortal minds to interact with. In a real sense, if the magician were not doing the ritual the Tulpa would not exist - it is like a combination of the cosmic principle and the ritual itself. It exists from moment to moment at the point where magicians work magic using it. Through the principles of Astronomancy, the tulpa allows magicians to connect to the power of the constellations; they are not entities in the way the Eternals are entities; the Urizen in particular describe them as being much more like cosmic ushabti.<br />
<br />
Whilst Tulpas traditionally form their own bodies, Astronomancers who are deeply aligned with a constellation during a working sometimes experience what they describe as “brushing by” or "alignment" with a Tulpa. The ritualist’s mind brushes the consciousness of a Tulpa during a ritual and the ritualist finds themselves behaving in a way which personifies or exemplifies the principle of the Constellation. The ritualist does not lose control or consciousness, they remains in control of their own actions; but all factors to do with the constellation are amplified.<br />
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===Constellations===<br />
There are eighteen constellations recognised by Imperial astronomancers, from which they can draw power:<br />
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<table><tr><td style="background-color: LightGray;">Constellation</td><td style="background-color: LightGray;">The Law</td><td style="background-color: LightGray;">Common magic</td></tr><br />
<tr><td>[[The Chain]]</td><td>Things hold together</td><td>Bonds, oaths</td></tr><br />
<tr><td>[[The Chalice]]</td><td>Things heal; things apart come together</td><td>healing, mending, connections</td></tr><br />
<tr><td>[[The Claw]]</td><td>Things bleed</td><td>Battle, destruction, violence</td></tr><br />
<tr><td>[[The Door]]</td><td>Things move and change</td><td>transport, travel, personal transformation</td></tr><br />
<tr><td>[[The Drowned Man]]</td><td>Things end</td><td>Curses, misfortune, ending</td></tr><br />
<tr><td>[[The Fountain]]</td><td>Things live</td><td>Growth, fertility, foundations</td></tr><br />
<tr><td>[[The Great Wyrm]]</td><td>Things change and transform</td><td>magic, grand transformation</td></tr><br />
<tr><td>[[The Key and The Lock|The Key]]</td><td>Things are revealed</td><td>scrying, opening, skills</td></tr><br />
<tr><td>[[The Key and The Lock|The Lock]]</td><td>Things can be hidden</td><td>wards, defence, concealment</td></tr><br />
<tr><td>[[The Mountain]]</td><td>Things are not easy</td><td>obstacles, effort, trials</td></tr><br />
<tr><td>[[The Oak]]</td><td>Things endure</td><td>strength, endurance, fortitude</td></tr><br />
<tr><td>[[The Phoenix]]</td><td>Things learn</td><td>knowledge</td></tr><br />
<tr><td>[[The Spider and The Web|The Spider]]</td><td>Things are watched by a hidden eye</td><td>hidden forces, eternals, sovereigns</td></tr><br />
<tr><td>[[The Stallion]]</td><td>Things procreate</td><td>fertility, growth, wealth</td></tr><br />
<tr><td>[[The Stork]]</td><td>Things matter</td><td>decisions, responsibility, leadership</td></tr><br />
<tr><td>[[The Spider and The Web|The Web]]</td><td>Things are connected</td><td>relationships, synchronicity, sympathy</td></tr><br />
<tr><td>[[The Three Sisters]]</td><td>Things are connected by blood</td><td>consequences, ties of blood, sorrow</td></tr><br />
<tr><td>[[The Wanderer]]</td><td>Things are not what you think ''or'' Things go awry</td><td>destiny, fate, chance</td></tr><br />
</table><br />
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In each case, the common magic mentioned is just a starting point or summary. The individual pages for each constellation contain a lot more information about the use of a constellation in ritual magic or spellcasting.<br />
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[[Category:Astronomancy]]<br />
{{pdf}}</div>Jamiewhttps://www.profounddecisions.co.uk/mediawiki-public/index.php?title=Senator&diff=33627Senator2015-02-15T22:21:14Z<p>Jamiew: </p>
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<div><quote by="Walter Brewer, senator for Upwold">Politics is like muck-spreading. No matter how much the stench turns your stomach, it still has to be done. So quit bloody whining; all that matters is what we achieve, not how we go about it. A tree is known by it's fruit, not by its leaves.</quote><br />
<br />
==Overview==<br />
The [[Imperial Senate]] is a representative chamber; each territory in the Empire selects a single senator according to the customs of that nation. To be eligible to return a senator, at least half of the territory must be under Imperial control. If more than half of a territory is controlled by barbarians or foreign powers, then it cannot be represented in the Senate. A territory must be part of one of the ten nations of the Empire. When new territories are captured, they are allocated to a nation by majority vote of the Senate. A territory may only return a senator who is recognized as a member of that nation by the nation's [[Egregores|Egregore]].<br />
<br />
==Responsibilities==<br />
Officially senators represent the people of their territory and their nation in the Imperial Senate. As part of the ruling body of the Empire, senators are ultimately responsible for the well-being of the entire Empire. Collectively their duties include passing laws, assigning the Imperial budget, and appointing other Imperial titles, notably [[The Throne]] and the generals of their nation.<br />
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Senators are expected to attend at least some of the Senate sessions, and to both raise [[Senate motion|motions]] and cast their votes wisely. In doing so they must balance many competing interests; the Empire, their nation, their territory, the people who got them elected, and their own ambitions. It is rare that all these interests align and even the most virtuous senator can find themselves forced to make painful compromises. <br />
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During a sitting, a senator is expected to comport themselves with proper decorum and act respectfully toward their peers. A senator may be [[Speaker_for_the_Senate#Powers_of_Censure|sanctioned]] by the [[Speaker for the Senate]] in response to boorish or disruptive behaviour.<br />
<br />
==Powers==<br />
===Member of the Senate===<br />
Each senator is a [[Senate session#Member_of_the_Senate|member of the Senate]]. They are entitled to enter the Senate chamber at the start of a [[Senate session]] and participate in the debates.<br />
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===Representation===<br />
Senators may cast a [[Senate_motion#Voting|vote]] on any motion that is brought before the Senate.<br />
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===Proposal===<br />
Senators may [[Senate_motion#Proposal|propose]] a single motion for consideration by the Senate each summit.<br />
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===Executor===<br />
If a motion requires significant decisions to be made outside the Senate chamber, then it is respnsibility of the senator who proposed the motion to execute those decisions. E.g. if the Senate passes a motion to construct a dam across the Couros river in the territory of Bastion in Highguard, then any further decisions are the responsibility of the senator who proposed that motion. The dam will require materials that must be purchased from the Imperial Bourse, so the Senate may vote a budget for this project. That money is then '''given''' to the senator who proposed the motion who can use it as they see fit to attempt the goals stated in the motion.<br />
<br />
Historically it was considered virtuous for a senator to keep any funds assigned by the Senate that are not required to carry out a motion. It was widely held that a successful senator who worked hard to secure the resources needed at a cheaper price deserves to be rewarded for his prosperity. In recent times this practice has been strongly criticized and senators have felt a heavy pressure to return unused funds. Although it is unconstitutional to legally compel a senator to return any funds - this new practice remains widespread.<br />
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===Curtailment===<br />
A sitting lasts until either all the planned motions have been discussed, or until a senator calls for a Vote of Curtailment. Curtailment is not a motion, and the call does not need to be seconded, the senator simply asks the Speaker to curtail the session.<br />
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When a Vote of Curtailment is called, those present must vote in favour to continue the session; otherwise the sitting comes to a premature end. Motions that have not been voted upon are then pushed to the next sitting after all other business has been conducted.<br />
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===Proxy===<br />
A senator is entitled to appoint a [[proxy]] who may exercise the legal powers of their office in their name.<br />
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==Limitations==<br />
===Military Council Prohibition===<br />
Although senators choose the generals, the Senate is forbidden by the [[Imperial Constitution]] from interfering with the [[Imperial Military Council|Military Council]] under any circumstances. The constitution states that "The Military Council will execute the strategy of war without interference from the Senate." Interpretation of what constitutes 'interference' is complex, but it is always a crime for a senator to enter the Military Council chamber when it is in session. Magistrates work hard to enforce this law and senators risk harsh penalties if they break it.<br />
<br />
Some historical scholars claim this reflects the importance the First Empress and her advisers placed on the separating the business of war from the business of politics. Less flattering interpretations point out that since the Empress (or Emperor) is a member of both chambers, this ruling also enhances the prestige and power of The Throne. This restriction supercedes even the right of [[Witness]] possessed by a Senator who is a member of the Synod.<br />
<br />
===Abstention===<br />
Senators do not have the power of abstention as they represent the citizens of the Empire. If they are present for a session then they are legally required to vote and face censure by the Speaker, as well as the censure of the Synod and the attention of the magistrates if they try to abstain.<br />
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Senators are permitted to miss a session entirely. In such cases they must only explain themselves to the Synod. Omission is commonly accepted by those senators who take the battlefield regularly, but those whose absence is driven by a lack of courage or prosperity risk revocation.<br />
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==Selection==<br />
Each nation has a traditional mechanism to return a senator for a territory. Usually, but not always, the ability to directly influence the choice is limited to those who dwell in the territory. The Imperial Civil Service are responsible for overseeing the appointment processes for senators and do their utmost to ensure due process is followed. When a new territory is assigned to a nation, the Imperial Civil Service consults the egregore of that nation to determine how the senator for the territory will be selected.<br />
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==Removal==<br />
A senator can be [[Revocation|revoked]] by the [[The_Assemblies_of_the_Synod|General Assembly]], the Assembly of the Nine and by the appropriate National Assembly of the [[Imperial Synod]].<br />
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{{Senate Further Reading}}<br />
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[[Category:Imperial Titles]]<br />
[[Category:Senate]]</div>Jamiew