Thursday, December 21, 2006

Milosevic Arturo

Milosevic Arturo, Milo to his friends, became a professor at a record young age within the Faculty of Post-Modernity and History at the Chicago University and he quickly claimed the Chair of Postmodernism and the position of Head of Faculty within the Faculty of Post‑Modernity and History. An avid researcher, writer and teacher with an encyclopedic knowledge spanning any discipline or piece of trivia imaginable Milo’s passion is infectious and it continues to win him friends amongst those who have attended his lectures, tutorials and seminars.

Throughout his academic career, Milo has pursued his childhood love of Boxing and he has donated his time to Police and Social Work initiatives with homeless and troubled youth in the city. Providing training and discipline to young men and women through ongoing physical instruction, time in the boxing ring and new skills in boxing, and a modified form of box which he has dubbed street fighting – designed to allow a quick escape from trouble. This has won him respect amongst the Civil service of Chicago and he has support and friends amongst the police and social workers as well as contacts amongst those who live on the streets of Chicago.

Milo’s personal passions became a fine complement to his role amongst the Uratha after his late transformation. Amongst the Uratha he forges his knowledge and understanding of history, humanity and the Uratha into a tool to protect. He provides advice and leadership when the opportunity arises, though subtlety and this often goes unnoticed – though not without effect - amongst the more brutish members of his pack and the wider Uratha.

Milo is proud of his intellect and knowledge and the subtle strength this gives him amongst both humanity and especially the Uratha where raw power is to often the tool of choice - one that often begets more problems than it solves. Milo is not though without fault as he has extensive reserves of wrath for those who would endanger those things he most values.

Milo stands an angular and some would say gaunt 6 foot tall, usually dressed in well worn but still respectable jeans, cool but understated leather shoes and collared though un-tucked shirts, he has brown slightly unkempt hair that is a little bit to long, Milo doesn’t look his age of early 40, more mid-Thirty, like a student that has never left University, but those who know him understand he is no professional student but a respected and capable academic and community member. Those that really know him understand his passion and protectiveness towards the weak of humanity is a shadow of the real and powerful intellectual passion he seeks to wield amongst the packs of the Uratha. When necessary Milo brushes up very well and dresses in formal academic dress; top hat coat and tails or; on the very rare occasion it is necessary, in a funky business suit – usually pinstriped.

Unmarried Milo has had a number of on-again off-again relationships and continues to seek partners amongst the University population of staff and students alike. He maintains friends amongst the faculty, particularly Assoc Professor Jim Brown, with whom he enjoys karaoke. He is particularly close to Gang Specialists the tough Sergeant Fred O’Malley and the inquisitive Lieutenant Anna Scully through his work with homeless and disadvantaged youth on the streets of Chicago. In addition, Sarah and Luke, two teenage street kids and the younger Izzy, are three of the kids he continues to teach and train through the boxing program he is involved in and to whom he has developed a reciprocated attachment.

Assoc Professor James (Jim) Brown

6’2” dark black with a short afro and forever in a lounge suit that is gold, green or red Jim Brown is an Associate Professor of History at Chicago University and pursues his research with the gusto that he pursues undergraduates. He enjoys drinking and singing with his friend since graduate school, Milo.

Their favourite drinking and karaoke venue is the Red-I Lounge. In Chicago’s Chinatown, Red-I is a karaoke and dance club on the second floor above the corner of Wentworth and Cermak and yes, it is red. The entrance -red - is unassuming to say the least (a pair of paper signs are taped to the doors), and once inside, you cannot help but notice the walls -red. After grabbing a drink, there are plenty of couches (very, very red) to sit on and watch the show until the dance floor opens up.

VIP rooms are available for private parties and singers who'd rather not share their talent just yet, and the change is made from karaoke to dance at 10 p.m. Entry is free during karaoke hours - expect to hear karaoke-favourites like "Tainted Love” and “Here Comes The Sun"; later on you might have to pony up $5. On Saturdays 272 Entertainment steps in to handle the music, a fact that matters if you are into beats. If you are running low on cash, bring a college ID (plus your real one) and get yourself a 10 percent discount.

Sergeant Fred (Mal) O’Malley and Lieutenant Anna Scully

Inquisitive and questioning the stocky and muscular 5’5” O’Malley is the red haired and ruddy muscle in the Scully O’Malley team. As good with a shotgun as with monstering those on the wrong side of the law O’Malley takes his work trying to curb the power of gangs on the streets of Chicago through both traditional policing and positive community action very seriously and sees Milo as an ally in this.

The investigative and inquisitive mind that drives the duo Scully is as intelligent as she is quick witted and will follow a lead on the streets with the obsessive determination and guts of a veteran police officer, despite her short time out of the academy. Scully has a six sense for danger and though reluctant to shoot, she is not afraid to pull her pistol at a sign of trouble on the streets. She is close to Milo seeing his work as a positive step in making the streets of Chicago a better place.

Milo, Mal and Anna like to eat and chat at the Stock Yard Truck Stop. Lit by a larger-than-life neon sign this 24-hour diner has been around for as long as anyone can remember. The Jammin' Oldies radio station is always on and the Truckstop Burger -- topped with two strips of bacon -- is what keeps the truckers coming back. As a special bonus, there is a free telephone at every table.

Sarah, Luke and Izzy

This trio of street kids sticks together for protection and takes part in the community action group as a way to learn some survival skills on the streets. Led by the 17-year-old Sarah they enjoy their classes with Milo and have taken a shine to him, they all often meet at El Taco Loco for a Taco or Kevin's Hamburger Heaven for Kevin’s Super Heavenly Special. Sarah is small, dark and feisty, Luke has a temper that he can largely keep under control and Izzy cannot get enough music in his life.

Tuesday, December 05, 2006

Hanno Barca: Corsair of the However Many Seas There Are, Aaaaargh!

Even more secure in his abilities Hanno’s confidence is unmatched, daunting to foe, and compelling to friend. He cuts a magnificent and conspicuous figure in his marvelous red silk flared pants and large voluminously sleeved jacket topped by a huge wide-brimmed hat with large white feathers of an unknown but obviously rare bird – all materials embroidered, of course, with fine Jade Dragons. He of wears no shirt, what corsair would! However, he sports a splendidly embroidered red sash crossing from right shoulder to left hip that highlights the rippling muscles on his tanned chest and stomach. He carries a quite magnificent Cutlass and very fine Rapier in scabbards on a brightly buckled fine leather belt - finally spotting you he winks and doffs his large hat in your direction and grins a grin of passion, friendliness and power in equal measure.

Hanno’s background

Born and abandoned in a back alley of the great trading city of Carthagum, Hanno was raised by a combination of his own wits and the less than altruistic hands of swindlers, professional spruikers, thieves, bouncers, bartenders and prostitutes. Hanno likes all manner of action.

Carthagum is a large and prosperous city state where everything is for sale, and everything is available. Combined with this is a total absence of discrimination, so long as you can pay, and all manner of humanoids and goblinoids exist in a semi-peaceful state with a multitude of other races. Hanno can happily exist side by side with anyone.

Amongst this population Hanno spent most of his time in the Carthagum docklands amidst goblins, dwarves and humans learning to talk, fight and think his way into and out of trouble. It was in these alleys that he also found and started to worship the Goddess Volineadiri before joining a Corsair crew bound for the Open Ocean and distant ports. For want of a mentor or father figure Hanno has embraced his religion and is a fanatical follower.

Volineadiri (Neutral Evil) is the Goddess of Drink, Wenching, Song and Death. She is beloved of the Corsairs of Carthagum as she offers guidance for Ocean travelers and those that get in fights, loves the confident and dexterous, is a Goddess for the individual and bloody unpredictable and favours the Cutlass and Rapier. To achieve Divinity Volineadiri has and continues, to cheat death an infinite number of times and looks most beatifically on those who cheat death in the mortal realm – of course this means that when you die and stay dead she has no time for you.

Sunday, December 03, 2006

Developed Concept

Alkaios ran away from his Master, Faber, a landholder and Innkeeper in Eastern Cyprus, when he was eight - the moment Faber got him home. Alkaios has been on the run ever since, gradually working himself westwards across the island. The Innkeeper long-ago gave up looking for his run-away slave but he has reported him to the authorities and should he hear of the boy he will come looking.

Alkaios has become adept at hiding and trapping animals to survive. He is particularly adept at finding locations to hide that no one seems able to find. Though he does not know it, he is currently using a Magical Regio near the Covenant as his base of operations. Whenever he feels at threat, he slips into this area.

He found that sometimes he gets a tingling sensation and he perceives entryways that apparently escape the notice of others, he slips into these entryways and easily escapes his pursuers. His powers are magical in origin.

It goes against his nature but Alkaios keeps to himself, his fear of others finding him and returning him to slavery ensures Alkaios continues to hide.

Ameliorating his curiosity and desire to associate with people is his only friend a Magpie, which Alkaios rescued from a particularly ferocious cat and brought to one of his hiding places to nurse. The animal and Alkaios have grown close, it troubles the young boy not a bit that the Magpie and he chat.

The Runaway Slave

Characteristics: Int 0, Per 0, Pre ‑2, Com ‑2, Str ‑2, Sta ‑2, Dex ‑1, Qik ‑2

Size: ‑1

Age: 10 (10), Height: 3'10'', Weight: 80 lbs, Gender: Male

Decrepitude: 0

Warping Score: 0 (0)

Confidence: 2 (5)

Virtues and Flaws: Second Sight, Magic Sensitivity, Strong‑Willed (Will Rolls: +3), Self‑Confident (Confidence: +1), Puissant Stealth, Puissant Hunt, Luck (Luck Bonus: +1 to +3), Tough (Soak: +3), Affinity with Stealth, Affinity with Hunt, Slave, Compassionate, Small Frame, Outcast, Magical Animal Companion (Magpie, Size: ‑4, Might: 14), Busybody

Personality Traits: Brave +3, Stoic +3, Friendly +3


Dodge: Init: ‑3, Attack ‑‑, Defense +0, Damage ‑‑

Dagger: Init: ‑3, Attack +4, Defense +1, Damage +1

Knife: Init: ‑3, Attack +2, Defense +0, Damage +0

Bite: Init: ‑3, Attack +1, Defense +0, Damage ‑2

Fist: Init: ‑3, Attack +1, Defense +0, Damage ‑2

Kick: Init: ‑4, Attack +1, Defense ‑1, Damage +1

Soak: +2

Fatigue levels: OK, 0, ‑1, ‑3, ‑5, Unconscious

Wound Penalties: ‑1 (1‑4), ‑3 (5‑8), ‑5 (9‑12), Incapacitated (13‑16)

Abilities: Greek 5 (slang), Cyprus Lore 2 (geography), Second Sight 2 (regiones), Magic Sensitivity 1 (auras), Charm 1 (first impressions), Animal Handling 1 (birds), Chirurgy 1 (animals), Stealth 3 (natural areas), Survival 2 (natural areas), Swim 1 (long distances), Hunt 3 (covering tracks), Folk Ken 1 (peasants), Brawl 2 (Dagger)

Equipment: Fur Armor (Soak: 2) (Soak: 2; Protection: 1); Peasant Clothes; Animal Traps

Encumbrance: 1 (1)


Characteristics: Int 0, Per +3, Pre 0, Com +1, Str 0, Sta 0, Dex +3, Qik +6

Size: ‑4

Age: ‑‑ (‑‑), Height: 1'4'', Weight: 60 lbs, Gender: Male

Decrepitude: 0

Warping Score: 0 (0)

Confidence: 1 (3)

Virtues and Flaws: Size: ‑4, Keen Vision (Sight: +3), Lightning Reflexes (Initiative on Surprise Attack: +9), Strong‑Willed (Will Rolls: +3)

Personality Traits: Friendly +3, Loyal +3, Proud +3


Talons: Init: +5, Attack +10, Defense +14, Damage +2

Beak: Init: +6, Attack +10, Defense +11, Damage +1

Soak: 0

Fatigue levels: OK, 0, ‑1, ‑3, ‑5, Unconscious

Wound Penalties: ‑1 (1‑1), ‑3 (2‑2), ‑5 (3‑3), Incapacitated (4‑4)

Abilities: Athletics 4 (swift flight), Awareness 4 (searching), Brawl 4 (talons), Hunt 4 (forage), Survival 4 (natural areas), Enchanting Music 5 (control birds), Cyprus Lore 4 (geography)


Encumbrance: 0 (0)


Magic Might: 14 (Animal)

Call of the Magpie's Friends, Points: 1, , Initiative: 0, , Form: Animal: Magpie can call all the birds that can hear him, even magical ones if he can effect them, the birds will obey his commands.

Song of the Magpie, Points: 1, , Initiative: 10, , Form: Animal: the Magpie's song can boost a positive personality traits by +1 per might point spent up to +3

A Companion Concept

The Slave

The Slave is Stoic and Honest, but he has little choice as everyone that
counts knows what he is up to anyway, which is generally not much - he
doesn't even have a name, everyone just calls him Slave. Being a Slave
the Slave is not in control of his own destiny, which is probably lucky
as an Evil Destiny awaits him anyway. He is a Busybody so if there is
trouble and his master allows he will find it and get involved,
otherwise he won't. He is also Generous so if he ever gets ahead he will
give everything away to the first person that asks for it. Luckily for
him the virtues he has make him a survivor, otherwise he wouldn't have
lasted as long as he has...

Characteristics: Int 0, Per +1, Pre +1, Com +1, Str +1, Sta +1, Dex +1, Qik +1

Size: 0

Age: 25 (25), Height: 5'7'', Weight: 160 lbs, Gender: Male

Decrepitude: 0

Warping Score: 0 (0)

Confidence: 2 (5)

Virtues and Flaws: Self‑Confident (Confidence: +1), Common Sense, Clear Thinker (Bonus: +3 to resist lies, confusion, subterfuge), Strong‑Willed (Will Rolls: +3), Tough (Soak: +3), Reserves of Strength (Strength: +3 once/day), Enduring Constitution (Resist Pain: +3), Intuition, Luck (Luck Bonus: +1 to +3), Long‑Winded (Fatigue Rolls: +3), Busybody, Evil Destiny, Generous, Slave

Personality Traits: Stoic +3, Generous +3, Honest +3


Dodge: Init: +0, Attack ‑‑, Defense +3, Damage ‑‑

Fist: Init: +0, Attack +3, Defense +2, Damage +1

Kick: Init: ‑1, Attack +3, Defense +1, Damage +4

Soak: +4

Fatigue levels: OK, 0, 0, ‑2, ‑4, Unconscious

Wound Penalties: ‑1 (1‑5), ‑3 (6‑10), ‑5 (11‑15), Incapacitated (16‑20) (total penalties reduced by 1)

Abilities: Greek 5 (expansive vocabulary), The Levant Lore 2 (geography), Athletics 2 (grace), Awareness 2 (alertness), Bargain 2 (hard sell), Brawl 2 (Dodge), Carouse 2 (funny slavery jokes), Charm 2 (first impressions), Climb 2 (natural areas), Etiquette 2 (slaves), Folk Ken 2 (slaves), Hunt 2 (covering tracks), Intrigue 3 (gossip), Leadership 2 (inspiration), Legerdemain 2 (picking pockets), Music 2 (sing), Ride 2 (speed), Stealth 2 (hide), Survival 2 (natural areas), Swim 2 (diving), Animal Handling 2 (equine), Disguise 2 (peasants), Teaching 2 (Intrigue)

Equipment: Ragged Peasant Clothes

Encumbrance: 0 (0)

Walchelin the Redcap, redone


Walchelin attempts to charm all those he meets, not out of any personal desire but because he is genuinely Friendly and Generous. Dedicated to the pursuit of his Redcap Duties and Music he in Compassionate in his dealings with others and he is more than willing to lend his support to those in need whom he meets upon his travels. He constantly endeavours to draw the threads of his music, duties and passion together in his life as a Redcap and Troubadour.


Recently becoming a Redcap Walchelin had been a student of the Universitas Magistrorum et Scholarium in Paris. He graduated first from the School of Arts, and then attended the School of Theology. While at the University, he was also a member of the Normandy Nationes and an apprentice to the Mercer Redcap Mireille LaCroux of Marseille, a Goliard who took more interest in the Order of Hermes’ affairs within Paris and the Schools of the University than traveling the paths between Covenants. Walchelin’s apprenticeship and education has therefore been a full one - if somewhat minimal regarding skills to survive in the outdoors, focusing more on interpersonal skills, performing, composing and achieving a broad education.

As a member of the Normandy Nationes and a student within the Schools of Arts and Theology Walchelin was always rowdy and boisterous during his revelries, but at all times remained articulate, charming and passionate, especially towards his studies within the University; something he has carried with him into his Redcap duties. His time in Paris also paralleled the University riots and strike.

Events in Paris

In March 1229, on Shrove Tuesday, Paris's pre-Lenten carnival began and Walchelin, along with a band of Normandy Nationes associates began their revelries at the tavern of Les Yeux d'Émeraude (the Eyes of Emerald) in the suburban quarter of Saint Marcel. Walchelin and the other students drank heavily, got rowdy, and Walchelin undertook a lively and spirited performance of a large number of drinking songs, ballads and poems to an increasingly raucous audience. Eventually a dispute broke out between the band of students and the tavern proprietor over the bill, which led to a physical fight. The students were beaten up and thrown into the streets, Walchelin and his associates returned to their college. However, word of the dispute and beating had somehow quickly spread and the next day, seeking revenge, students arrived at the tavern in large numbers. Armed with wooden clubs they broke into the tavern, beat the offenders and destroyed the establishment. Other shops were damaged in a subsequent riot that spilled into the streets.

Because students are exempt from the king's courts, angry complaints were filed with the Pope's courts. The Pope's courts knew that the University tended to be very protective of its students and they were trying to approach the matter carefully. However, the secular ruler, Blanche of Castile, the ruler of France, stepped in and demanded retribution. The University authorized the city's police to punish the student rioters. The city guardsmen, known for their rough nature, found a group of students – including Walchelin - and with an unexpectedly heavy hand, killed several of them. After attempting to do what he could for his bloodied Compatriots, which was sadly very little, Walchelin eventually fled the retribution of the guard and made his way back to the University and his Parens to continue his studies and apprenticeship.

The strike and the results for Walchelin

Unfortunately, the response from the University was immediately to go on strike. Classes closed and striking students either went to other universities such as Rheims, Oxford or Toulouse, or returned home or found employment elsewhere. Faculty ceased to teach. Walchelin finally completed his apprenticeship and on the suggestion of his Parens and a newly discovered friend, he decided to head towards Provencal to seek a home, perform, fulfill his Redcap duties and possibly learn from any Troubadours that survived the Crusade.

The role of Euphêmía

On the night of the riot, during a break in his performance at Les Yeux d'Émeraude, a beautiful young woman, by the name of Euphêmía, befriended Walchelin. With her striking green eyes, he was immediately attracted to her and he performed to the best of his abilities, attempting to engage her with a passionate performance. During the ensuing songs, he performed the full spectrum of his repertoire, including a beautiful and original tale of Hades and Perspehone, which referenced the unmatched work of Ovid – it was especially successful in the satirical targeting of Hades in-ability to control his stolen wife Persephone – a tale Walchelin himself made up. The performance, ultimately unfortunately, attracted some unexpected attention from a quarter that Walchelin has yet to realise – Hades himself, who did not appreciate the satire. Additionally the performance had a substantial impact on all of his audience who, rather than become friendly and happy towards each other became rather unfriendly, and extraordinarily passionate in their unfriendliness – not only those in the audience but Hades himself had quite an adverse reaction. Unknown to Walchelin a well-intentioned member of his audience had botched her intervention in the events of the night. During his performance the young woman he had met led a dance amongst a number of the crowd but unknown to her this dance had not only failed but gone completely awry having the reverse of her intention of friendliness amongst all who heard the performance, instead unfriendliness, leading ultimately to fisticuffs and bloodshed ensued over the following days.

Nevertheless, the magnificent performance of the Troubadour Walchelin won the undying adoration of Euphêmía who proceeded to spend much time with the young Walchelin, arriving at all his performances and taking part in many dances with the crowds who attended. Eventually she revealed her true form of a Fae Muse to Walchelin – who had already guessed – after she collapsed minutes after a particularly long and frenetic performance and accompanying dance. Euphêmía is now accompanying him south to continue her dancing, carousing and enjoyment of Walchelin’s art. For his part Walchelin appreciates the beauty and dance of Euphêmía and her ability to exhort the crowd, he suspects that she enhances his Music through her own performances, but little suspects that her dancing is Faerie Folk Dancing that requires another to be performing in order for it to succeed in having any effect.

The Curse of Hades

Unfortunately, Hades took great umbrage at the young Troubadour’s performance and he is biding his time to exact revenge. Hade’s plan is that when the Troubadour finds himself truly in love the Faerie God has decided that he will steal the object of the Troubadour’s affections away to Hades. As he has done with a number of young loves in the past, and then, at every opportunity, Hades will taunt the forlorn Minstrel with his powerlessness in the face of the Fae God.

Beliefs and Patron Saints

Walchelin is a firm believer in the Divine and tries to be a good Christian. He venerates Saint Cecilia, patron Saint of Musicians and Poets, for the beauty she has brought to the world in offering song and music in praise of the Divine and the protection she offers to those who continue to perform and compose music and poetry. Walchelin has been considering a pilgrimage to her Church in Rome in the hope of being able to perform in her honour on her Holy Feast Day on 22 November. He annually celebrates her feast day to as large an audience as he can muster. He also venerates Saint Christopher, patron Saint of Travelers, Bachelors and Storms, for his compassion and aid to travelers. Walchelin always celebrates Saint Christopher’s Feast Day on 25 July with a performance for the Saint, even when on the road pursuing Redcap duties and finding himself without an audience. He sees both these Holy figures as inspiration for his own actions as he moves through the world helping others by working for the Order of Hermes and composing and performing to bring joy to audiences.

Music Style and Genre

Walchelin prefers a style of playing and singing that consists of rich dialogue varied by refrains, the melodies to which have the character of folk music, and are spontaneous and tuneful but overlay elaborate and complex compositions that are harmonious. Normally he performs trobar ric, though increasingly trobar leu has exerted influence over his music. Very rarely Walchelin plays the more restrictive trobar clus. When playing, two of his favourite genres are Descort and Tenso; though he finds the combination of challenge and foolishness that is the Sestina occasionally driving him to attempt this more difficult genre. He prefers to play the Mandolin but is also skilled with other stringed instruments, as well as wind – such as the Bagpipes - and percussion – particularly the Tabor.


Trobar leu

The trobar leu, or light style of poetry, was the most popular style used by the troubadours. Its accessibility gave it a wide audience.

Trobar ric

Distinguished by its verbal gymnastics trobar ric, or rich form of poetry, has always played a secondary role to trobar leu.

Trobar clus

Only an elite few truly appreciate Trobar clus, or closed form, troubadours for their more discerning audiences’ use this style of poetry. Marcabru developed it extensively, but by 1200, its inaccessibility is leading to its disappearance.


The poetry of the troubadour songs covered many topics, from the profound to the humorous and from war at home to the crusades. However, they are best known for expounding on the theme of fin' amors, or courtly love.

· Alba: The Alba is a song of the morning, used by the troubadours. It concerns the departure of a lover in the early morning.

· Coblas: This poem or song is composed of several strophes, each a pair of stanza of alternating forms. A band is also a Coblas.

· Descort: The Descort is a song of disagreement used by the troubadours. The subject matter is one of disagreement and this is emphasised by unusual metric structures and irregular rhymes.

· Devinaill: No clue on what this Genre is about.

· Estampida: The Estampida is the Occitan equivalent of the French Estampie. The Estampie is a melody without words with a complicated melodic progression. This does not seem to have been a universally accepted definition however; the song Kalenda Maia by court troubadour Raimbaut de Vaqueiras describes itself as an Estampida.

· Pastorela: The Pastorela is a poetic genre used by the troubadours. It concerns the meeting of a knight with a Shepherdess, which may lead to any of a number of possible conclusions. They are usually humorous pieces.

· Planh: The Planh is a funeral lament used by the troubadours, modeled on the Medieval Latin Planctus. It differed from the Planctus in that it is performed for a secular audience.

· Retroencha: This is a classical song of praise.

· Sestina: Of all the poetic forms, the sestina is perhaps the silliest. The troubadour Arnot Daniel almost certainly invented it and had the good sense to write only one. Created using six key words, the sestina has six stanzas of six lines each with a concluding three-line stanza at the end. The six key words appear at the end of one line each in the first stanza, and we shall call the order they occur in 1, 2, 3, 4, 5, 6. In the second stanza, each line again is concluded with a key word, this time in order 6, 1, 5, 2, 4, 3. In the third stanza the words are shuffled the same way, so that the order is 3, 6, 4, 1, 2, 5. This continues until six stanzas have been completed. The six words are then used in the concluding three-line stanza, with two key words per line.

· Sirventes: a satirical poem devised to a melody.

· Tenso: A Tenso is a song style favoured by the troubadours. It takes the form of a debate in which each voice defends a position on a topic relating to love or ethics.

Saturday, December 02, 2006

Euphêmía the Muse of Poets


Friendly, Mischevious and entirely Obsessed Euphêmía will seek to have Walchelin perform to as large a crowd as can be mustered to enjoy the performance. It is through this performance affecting the audience that she can weave her spells and nurture the fame of Walchelin to work even greater and more wonderful magic. She also takes an interest in those of the crowd, desiring to ensure that they enjoy themselves and spread the word that a performance by Walchelin is truly inspired and leaves you feeling Passionate, Friendly and seeking more.

The Moving Finger writes; and, having writ,

Moves on: nor all thy Piety nor Wit

Shall lure it back to cancel half a Line,

Nor all thy Tears wash out a Word of it.

~Omar Khayyám


Euphêmía has been actively inspiring and drawing on poets since Homer composed the Odyssey and the Iliad in Asia Minor. Since that time she has found her way to several poets, no doubt making great poets into magnificent ones. Amongst her other famous charges have been Sappho of Lesbos, the Roman Catullus and most recently the Persian Omar Khayyám. Each she sought to make as magnificent as possible.


Euphêmía is driven by her own obsession to take part in great and original works of music and poetry. It is through these that she can affect her magic and grow in strength and so contribute to that which she is obsessed with. Her obsession is never demanding or forceful, rather she will encourage, direct and support with a light hand – she knows creativity is not at its best when forced. Though good-natured and mischievous manipulation is not something she is adverse to.

Soon they were here, and you, Blest Goddess,

smiling with your immortal features,

asked why I’d called, what was the matter now,

what was my heart insanely craving:

‘Who is it this time I must cozen

to love you, Sappho? Who’s unfair to you?

‘For though she flee, soon she’ll be chasing;

though she refuses gifts, she’ll be giving;

though she love not, she’ll love despite herself.’

Yes, come once more, from sore obsession

free me; all that my heart desires

fulfilled, fulfil – help me to victory!



Euphêmía’s powers are inexorably linked to music and dance, she requires another to perform, to sing and make music for her to affect the crowd and bestow her Faerie blessings. As her charge grows in fame so to does her own strength and she does all in her power to encourage Passion, Goodwill, Beauty and Fertility.

We should live, my Lesbia, and love

And value all the talk of stricter

Old men at a single penny.

Suns can set and rise again;

For us, once our brief light has set,

There’s one unending night for sleeping.

Give me a thousand kisses, then a hundred,

Then another thousand, then a second hundred,

Then still another thousand, then a hundred,

Then, when we’ve made many thousands,

We’ll muddle them so as not to know

Or lest some villain overlook us

Knowing the total of our kisses.


Friday, December 01, 2006

Loafsknock Knockerclod the Badger

Completely black, swarthy and covered head to foot in an incredible amount of wirey hair. You don't think he is wearing any clothes. Loafsknock says: "Badgers...they're comin for ya..."

Male Gnome/Celestial Creature/Sorcerer 6;
Small Humanoid/Small Outsider (3'4");
Age: 50; Eyes: Black; Hair: Black Frizzy Afro; Skin: Black; Build: Wiry.