..

Smoke. Mirror and Muse. Inc.

and
Laughing Pan Productions. Inc.
Present

Deliria: Faerie Tales for a New Millennium®

An Interactive Urban Fantasy Adventure
By Phil Brucato
and
The Silver Circle

©2003 by Laughing Pan Productions. Inc.

Published by Smoke. Mirror and Muse. Inc.

Smoke, Mirror and Muse, Inc.

P.O. Box 23834. Rochester. NY 14692'3834 Author's Warn ing

Stock Number LPD 777 I offer n o excuses whatsoever for the contents of this book. Instead,
I offer you, the reader, the respect of treating you like an adult.
ISBN: 1-932115-00-5 Personally. I don't endorse recreational drugs, psychosis, faerie­
We welcome your comments and suggestions about this hunting, dealing in strange antiquities with unknowable
book. Please write to us at: personages, or running around with swords in public. What you do
Laughing Pan Productions on your time, however, is your choice and your responsibility.
Attention: Deliria Team Blessed Be!
P.O. Box 23834. Rochester. NY 14692-3834

Visit our website at: http://www.Iaughingpan.com

To order additional copies. please calI 1-877-372-0112 X82

All rights reserved. No part of this book may be reproduced in any form by any electric or mechanical means, including information storage
and retrieval systems, without permission in writing from the publisher, except by a reviewer who may quote brief passages in review.

Laughing Pan Productions is a division of Smoke, Mirror and Muse, Inc. Smoke, Mirror and Muse'" and Deliria'" are protected and

registered trademarks in the United States of America. Laughing Pan Productions™ and the Laughing Pan Productions logoTM are

Trademarks of Laughing Pan Productions, Inc.

Distributed in the United States by regional distributors.

Published by Smoke, Mirror and Muse, Inc.

Printed in the United States of America.

 Cred i t Where Due
Compact Disc l\ppendix Credits
Writing and Conceptual Design: Phil Brucato CD Programming: Michael Jesse and Jason Prefetto

The Silver Circle Creative Design Brain Trust: Mark Jackson, W riting and Design: Phil Brucato

julianne Lepp, Karl Lepp, Elizabeth Leggett, Lucinda Maberry, Additional Writing: Julianne Lepp and Raven Silva-Barton

Katie Saracen, Nicholle "Raven" Silva-Barton, Auclre Vysniauskas, Editing: Lindsay Woodcock

and Lindsay Woodcock Featured Musical Artists: The Changelings, Emerald Rose, and Faith

Editing and Proofreading: Lindsay Woodcock and the Muse

Cover Art: Audre Vysniauskas and Elizabeth Leggett Special Thanks for Musical Rights. Permissions and Arrangements:

Crosskey Logo Design: Heather McKinney-Chernik Paul Mercer, Nick Pagan and Damon Young (Changelings);

Art Direction and Graphic Design: Phil Brucato and Lucinda Maberry Logan Sullivan (Emerald Rose); and William Faith, David

Typesetting and Layout: Kelly Cale and Lucinda Maberry Heckman, and Monica Richards (Faith and the Muse)

Artwork: Phil Brucato, jeff Holt, Mark jackson, Elizabeth Leggett,

Marrus, Lucinda Maberry. Heather McKinney-Chernik,

Kees Roobol, Ruby, Christopher Shy, Andy "Hobbit" Simmons,

Nene Thomas, and Audre Vysniauskas

Note: See Appendix for full credits, page numbers, and biographies.
Compact Game System Design: Phil Brucato and Karl Lepp, with

input from Julianne Lepp and Wayne Peacock

Character Sheet Design: Elizabeth Leggett, with Phil Brucato and

Megan Walters Brightwell

Laughing Pan Logo: Mark jackson and Phil Brucato

General Lack of Sleep: Kimberly Charzenski, Tara Crawford, Kevin

DiVico, Michael Jesse, Oanielle Starcevic, and Matthew Wood

Playtesting and Commentary: Wendy Blacksin, Duncan Brennan,

Megan Walters Brightwell, Scott Brightwell, Tara Crawford, Kevin

DiVico, Ryan Eichelberger, Brian Flatley, Deborah Flatley,

Francesca Gentille, Kathleen Hayward, Jennifer Kellam, Michael

Kellam, John Kornberger, Nina Kurian, Elizabeth Leggitt, Julianne

Lepp, Karl Lepp, Tyra Mitchell, Wayne Peacock, Heidi Pruess,

Sandra Robertson, Kathleen Ryan, Katie Saracen, Raven Silva­

Barton, Jennifer Smith, Danielle Starcevic, Kevin Taster, Walt

Walters, Austin Wilson, and Matthew Wood

Additional Thanks: Sigrid Cattle, Lee Denman, Jr., Liz Maclaren,

Stephen Pagel, and juli Shamas

With very special thanks to Scott "The Exorcist" Brightwell, and

no thanks whatsoever to my computer, Satan
 Dedications To:

.. My Father, for inspiring my love of books,

music, a n d imagination;
.. My Mother, for her eternal support (even when she didn't
know what the hell I was talking a bout);
• Wendy Blacksin, for her patience and occasional lack thereof;
• Kevin DiVico a n d Matthew Wood, for their faith;
.. Francesca Gentille, for putting up with my often-cranky child;
• Karl and Julianne lepp, for being bodhisattvas of the earthly plane,
.. Rose Robins, for being Mom for a while;
.. Danielle Starcevic, for awakening the Dragon.
.. Lucinda Maberry. for coming through .
.. Mark Jackson, Heather McKinney-Chernik, and Lindsay Woodcock, for weaving magic
La these many years;
.. Ian Anderson, Francesca lia Block, Angela Carter, Storm Constantine, Erik Davis,
Charles de lint, William Faith and Monica Richards, Rhys Fulber and Bill Leeb, Lisa
Gerrard and Brendan Perry, Richard "Moby" Melville Hall, Loreena McKennitt, Gustave
Moreau, Arthur Rackham, and John Williams Waterhouse, for drawing me into strange
and wondrous worlds;
� Janie, Jason, Mike, Jerry, Debbie, Juan, Connor, Kelly, Sarah, Brenda, Karen, Michael,
Yolanda, Ingrid, John,Jane, Melissa, and a l l the other folks at B&N who asked me how
the book was going and put up with my often�surly answers;
• Byron a n d Salome, for leaving fur a l l over my lap, desk and computer (but being adorable
nonetheless);
� And to everyone who has purchased, read, or otherwise enjoyed Deliria:
Thanks and bleSSings to you all.
"I'm just in love witb tbe wor[o/' sbe sa�s! "anD tbere's no greater reason tban tbat.1I
Kell;g shackett's pUIJpets are in the bag, put awa;g at the foot of He chuckles again. "Laughter, Kell;g. A larb bount;g is
the picnic table. Her chinese e;ges have a catlike sheen; the laughter!'
purple highlights in her hair Don't come from a bottle. she's el�n, Her e;ges l1arrolV slightl;g. "Not sure I get it"
angular, petite, with short, sharp locks. "I know there's something "You will."
better," she continues, "anD I'm sick of people whining. I want to The lVa;gfarer turns awa;g to look at a mural not far off.
inspire hope, to get people to iJo better, to be better. To let folks The circular Desigl1 calls to minD a mal1oala, a oizz;ging
know there's still magic in the worlD." tracework of geometrical patterns al10 shimmering colors. "wbat
Her visitor is a shaDOW, balD anD black anD 00 ;gou see?" he asks, almost DistracteOl;g.
Dresseo like thunoer. He smiles with true "See wbere?1I
warmth, thougb. A breeze stirs the "Tbat mural over there. That
parktree branches. The thunoer stral1ge oesign. wbat 00 ;gou see whel1
passes, but the visitor's cloak still ;gou look at it?"
swallows sunlight "I'm glaD/, Kell;g scrunches ber face up,
sa;gs Malachi Fortune, "to see concentrates, puzzles. "WeirD/,
someone who still cares she sa;gs at last as the lines
enough to try." On the begin to Dance anD the colors
trackless roaos betweel1 the glow brighter, ever brighter to
worlos, be's calleo Black her e;ges, "It almost looks like
winD Dancing or The a Ooorwa;g or somethil1g !'
...

smiling Man. Here, he'S "Il1oeeo/, sa;gs Malachi

just a gu;g hal1ging out in Fortune. "That'S exactl;g what
the park on a FriDa;g it is.1I
afternoon. Kell;g shakes her heaD,
Kell;g sweeps back her blil1ks the oazzle from ber vision.
thatch;g bangs for the 50th time "But it's just a pail1ting."
toila;g. she smiles sh;gl;g, but her "A110 ;gaur puppets are just
e;ges are bolo, electric, an;gthil1g but puppets!'
sb;g. "well, thanks/, she tells him. "It's not "I oon't get it!'
like there's much mone;g il1 it But whel1 I see the "o h ;ges ;gou Do, Kell;g/, he replies, still lookil1g
e;ges of the kios - of their parel1ts, evel1 - as I perform... at the ooor. To him, the colors l1ever stop their Dal1ce. "You 00
well !' she pauses to laugh, "let'S just sa;g the Ramen nOODles
.. get it, better thal1 ;g0l< kl1ow."
taste a little better these Da;gs!" "Explail1!'
The worlDwalker laughs as lVell, il1 booming gooO humor. "Like ;gou saio, there's magic il1 the worlD. It's right in frOl1t
The hOlVlers who've crosseD his path 1V0ulD be startleo to hear of ;gou every oa;g. All ;gou l1eeD to 00 is recognize it"
him souno so merr;g, but here he's just a man like al1;g other. "Ano ;gou cal1 use it?
"You're a gi�eo perSOl1, Kell;g," be sa;gs at last "Astute, talenteo. "Or it/' he pauses slightl;g, "cal1 use ;gou."
A larb bount;g, some might sa;g." "ob", she sa;gs. Her e;ges scan him, puzzle over bim like the
"Huh?/I oesign. Malachi sa;gs 110thing. Fil1all;g she speaks again.
"oka;g, thel1/, she sa;gs. "Tell me more."
INTRODUCTIONS and INVITllTIONS
Can ;pou fee! it?
Feel the sDng at CreatiDn's heart, ten thDusan� vDices trilling in the
night? Do ,l)DII hear the scamper Df enigmas fleeing past ,l)Dllr win�Dw?
An� �D the hDwls Df the gDblin market rDuse hi��en places in ,l)Dllr heart?
of cDllrse.
YDII're Dne Df us.
We're the shamans Df a new era, ri�ing electric ti�es frDm �arkness
into �awJ1. With Dne fDDt in the mDrtal wDrl� an� the Dther in Faerie, we
trea� the roa�s where the fDllr win�s meet. Art is Dllr gDspel, m,l)ster,l)
Dllr temple. We're the twilight people, the wa,l)farers, watchers at the
threshDl� an� keepers Df enchantment.
Bllt enchantment is fDr sale these �a,l)s. EveY,l)Dne is bll,l)ing bllt nD
Dne collnts the cost. DragDns have risen; wDlves haunt Dllr steps. LiDns
stan� besibe us, too, bllt their cDmpan,l) is fearsome anb their path is
harb.
Ollr worlb is changing. We are changing.
All the pDwers Df CreatiDn are within Dllr grasp.
SD what will we becDme?

Ch e Cwi l i gh t Ci de
We're living in a magical age. All over the world, people have begun to

embrace a new and vital era, one in which old boundaries of identity and

culture are rapidly dissolving. A sense of wonder pervades OUf faith, OUf

entertainment, and especially our technology. We're halfway into Faerie,

inheritors of an enchanted age.

But this is not the Faerie of European lore; rather, it's a swirling

realm of colors and cultures the likes of which has never been seen before.

Nor is it easy; indeed. like any trip to Faerie, it's paved with epic dangers. It

is, however, fascinating: influences merge and mingle in phantasmal waves

of Old World and New Era, of magic and mundanity, faith and technology.

That which has been eternally separate is melding into something new and

wonderful. It's terrifying to some, a miracle to others.

It's an age of transformation. A changeling time, a goblin market. A

world where anything is possible if only we dare claim it.

We are alive in the age of miracles.

Welcome to De(iria.
Let's play.

Where Am I ?
What is Deliria? A crossway, a blending, a state of mind and being
in which all elements converge. It's a stage for legends, terrors,
romance, and treachery. It's the dominion of sorcerers, futurists,
ancient spirits, and new divinities. It's where you go when the
mundane world is not enough.
It's also a world we share, a setting in which you, the reader,
create adventures and tell tall tales. It's a fantasy world set amidst
the real, where everything is larger than life. It's the magic garden
flowering against an apathetic sprawl, a bright escape of imagination.
It is, as Malachi Fortune says, a lark's bounty: the legacy
of hope.
Who Am I?
Simply put, a hero in the modern age. An ordinary person in an
extraordinary time and place.
The book you hold, this Prime Codex, contains an overview of
Delirials world: a vast yet subtle realm of faeries, angels, demons,
elementals, shape-changing animals, and, of course, people. These
last might just be the most amazing denizens of Deliyials world,
because though our otherworldly kin possess strange powers, we
humans share the gift of change. And in Deliria, change is quite
literally the name of the game.
What Am 1 Doing Here?
In small yet potent ways, you're here to save the world. One deed at
a time.
Long ago, we mortals lived at the mercy of our world. No
longer. In the modern era, our technologies have remade this world
in our image. For better and worse, it responds to our handiwork.
But the changes we enact upon our world echo into other
worlds as well. Now our faerie cousins pay attention. Some are
curious, others enraged, and still others fascinated. In older times, we
mortals kept our eyes on the wood nearby, watching for wolves that
might devour us and faeries who might lead us astray. Now, that dark
wood watches us back. The wolves and faeries are as entranced by us
as we've been by them ... and as fearful, too. For we modern people
�ii�
are as beguiling as any woodland aelf Our charms may be
made of light and plastic, but their worth outweighs Midas'
kingdom.
So as we live our lives, we must be careful what we do.
Our miracles remake the world. And all that world is
watching.
Why Faerie Cales?
Aren't fairy tales for kids? Yes and no.
In older times, such stories took the challenges of life and
spun them in fantastic ways. Parents became giants,
wisdom a golden thread; lust became the Big Bad Wolf,
and the Fascinating Other became the Faerie, a shape­
shifting trickster of riches or ruin. Outside home lay the Dark Wood,
a metaphorical wilderness through which heroes and heroines
ventured. That forest's perils might have been imaginary, but there
was truth behind those tales.
For the Dark Wood is life, its tangled path the uncertain trail
from childhood to maturity. On one level, the fairy tale is about our­
selves; on another, it's about humanity, wandering from darkness
toward enlightenment.
As children, we were told those woods would end someday
and we'd be happy ever after. But as we grew, we discovered that the
journey is eternal. The briars of the forest give way to the thickets of
the office and the home. And for humanity, the Dark Wood of
ignorance have been replaced by a maze of options too vast to
comprehend. And so the journey continues. The Wood spills out
before us, its shadows thrown by cathode tubes and LEDs. And yes,
the wolves, faeries, angels, and so forth are still there, waiting for us,
watching us. We cannot hope to avoid them all.
Each person, you see, has a Dark Wood of his own. To step
into Delirials realm is to enter it head-on. Like a hero in a faerie tale,
a character in Deliria begins innocent of the world around him,
faces challenges that force him to grow or perish, and ultimately
transforms into something new and different.
In Deliria, each character undertakes a journey. The person
he was in the beginning of the saga is not the person he'll be at its
end. As any faerie tale will demonstrate, the hero's road is never
easy, but then, ease is the lie of luxury. Life is not easy, in fiction or
reality. It's not easy because ease teaches us nothing. Without
challenge, nothing grows.
So yes, we live in an age of legends. Years from now, they'll
tell stories about us that begin with "Once upon a time..." But as in
any mythic era, there are wolves in the wood and dragons in the
skies. War and fear and hatred of a thousand kinds shadow the
promise of a better day. And if that better day is to be won, then
those with courage and vision will have to look those dragons in the
eye and either make their peace with 'em or slay them ... not for loot
or glory or entertainment, but simply because it needs to be done.
 And for each character and player, that journey is
intensely personal: like most faerie tales, Deliria is personal. The
setting provides a backdrop for adventures, but it's not the
adventure on its own. Those tales of heroism are yours to tell.
They might involve the infighting of the Palenoch, t he pe rils of
the Shear, the expanses of the Altwald, or none of the above.
What they will involve is change. The constant miracle of being
alive.
And hopefully that's something we'll never outgrow.
Ch e Book an d M ore
Following the faerie·tale tradition oflucky seven, the Deliria Prime
Codex has seven chapters, with additional material on the enclosed
CD:
• Chapter r: Beyond the Fields We Know: In the company of the
Dreamfire Stag, we explore the Mysterium, the Faerie realm,
and the strange miracles beyond.
• Chapter 2: Fire in the Head: A journey through the world of
twilight folk.
• Chapter r Good Neighbors: A glance at the often-contradictory
realm of aelden and aelderfolk.
• Chapter 4: Circle and Saga: A look at faerie tales - what they are,
what they are not, and how you can create your own.
• Chapter 5: Challenge and Chance: We learn the rules of the game.
.. Chapter 6: Mask and Mirror: We make our characters.
• Chapter 7: Pocketful of Miracles: We learn how magic works.
• And finally, there's a CD·ROM Appendix included with this book,
loaded with useful toys: sample characters, optional rules,
character materials, design commentary, source material, web
links, credit bios, and a computer program that will help you
resolve game challenges without cards or dice.
leans and Boxes
For easy reference, many items in this book have been marked with
ca�ii::===:,;���t
icons, enclosed in boxes, or otherwise set aside as metatext. Many of
these elements are pretty obvious. but others might need explanation:
= You can find out more about this subject here.
The highligh ted text offers chapter and page info.
= This offers an optional rule that you can either use
or ignore.
Different systems elements have icons of their own. These are self­
explanatory, and you'll know them when you see them.
<!iii\>
'Che Nome
of the Game
Deliria is more than just the name of the setting. It evokes a disoriented
mental state and reflects a world on the fringe as well. The root, delirium,
means "a state of mental confusion... intoxication and shock...
characterized by anXiety, delusions and hallucinations .. a state of
.
uncontrolled excitement or emotion."The Latin base of the word translates
roughly into "to deviate from the line, to step outside the path." I n other
words, to wander off course and venture into the unknown.
That, to me, sounds like a perfect description of Faerie - and of the
new millennium world as well: agitated, uncontrolled, a bit frightening, but
intoxicating nonetheless.
And so Deliria reflects the characters' strange state of mind, the
skewed reality of their world, the tension of our shared age, and the
dreamlike quality of the stories taking place within it. Like a hallucination,
Deliria h as many meanings, many sources. It's slippery, elusive. Kinda like
a faerie - and like the odd and changing spirit of the times we live in.
Fye: " For Your. .. "
FYE could stand for lots of things:
• It might mean "For Your Example" and provide a helpful case in point.
., It might mean "For Your Enlightenment" and supply a bit of data.
.. It could even mean "For Your Enterta inment." These are pretty long
sidebars, covering people, places, events, or groups that might wind up
within your saga. If nothing else, they can inspire your own ideas or give
you an example of life in Deliria'S vast realm.
�
Oh, aJ1� thcrc arc il1tcrlu�cs, quotes,
al1� commcl1ts scattcrc� throughout thc
book that arcl1't part of the mail1 tcxt
but cast a l1ew light 011 its subject.
...before Time began, there was a Song. It began like a tiny flute, into strange and .... onderful
\ advenhlfes. Wolves became men,

whistling lonely yet serene in darkness. For eons it piped alone, its women became trees, swans took flight for a thousand years, and

plaintive notes echoing against eternal night. the folk of all dominions told tales of those who dared to dance

Then those echoes began to chime back of their own accord. among the Others.

The notes interwove, deepened, quickened. One flute became two, But as the human race expanded, its heartsong swelled too

two became six, six became a dozen, that dozen became a multitude. deep and loud for Faerie's tunes to match. Once drawn by aelder

Notes became symphonies. Sounds became light. Light became games, man grew enchanted by his own achievements. With gods,

substance. Thought became them all. The music awoke and governments, and marvelous machines, he filled his world with

Creation opened Its eyes. sound. The timbre of the primal realm was drowned by the

Gods and galaxies swirled outward from the Song. Elements symphony of progress. Man's song changed. and the harmony

danced with dreams. Worlds were born, and upon them, lives. The was strained.

music spun ribbons of harmony and dissonance, here smooth and Strained, but never lost.

gentle, there brittle or fierce. If there was a single Piper behind For the Song still echoes in the world of man. Human

those notes, that grand musician simmered behind a million inspiration stirs in such bright and tragic swells that even

different melodies. But in each trill and twist, the divine music immortals must join the dance. The aelderfolk and half-kin watch

played on, crafting oceans, lands, storms, and seasons. in fascination as man's world spins and quickens; like children

Some worlds hovered close to one another. caught in outside a faerie ring, they stand amazed, alarmed and yet

different frequencies but near enough to meld. A few scattered out compelled to step inside and dance their lives away. Likewise,

to the very rims of hearing, too dissonant or subtle to endure a mortal folk still caper to the faerie tunes, drawn by strange desires

fellow hymn. The notes spun themselves into a forest, a primal to cross into Deliria's fey lands; through gates both technological

garden rooted in the center of all worlds. From there, the and primal, these wayfarers slip beyond the earthly roar and find

multitude of songs divided, chiming out the Piper's will to vast themselves on Faerie's mystic roads.

and disparate realms. But those roads have grown perilous of late.

Among them, two we know: Faerie's dominion and the Some faeries, disturbed by man's cacophony, now seal their

realm of Man. lands or form alliances to quiet that mortal scream. The echoes from

Between these rich and sistered realms the Song \vove the human .... orld
\ have begun to reshape Faerie lands. and such

glorious designs. Giants and tempests, flowers and forests, heroes changes are... unwelcome. Even so. the ageless ones are drawn in

and fiends, accords and illusions. So close wcre they that hearts growing numbers to partake of human novelty. Like mortals, these

could span both worlds at once or cross between them at a glance. strange cousins fear the Other yet cannot bear to nm away.

One world birthed the immortal aelderfolk. dream-lwings of We have so much in common, the faeries and \ve.

wondrous disguise; the other bred hardy mortals, animals, and TIle Song changes. It always has Jnd always \vill. For the

human beings whose imaginations could reshape their rcalm. Some Piper is a changing god whose music is eternity. We might not hear

folk. the shimmerlings and aelden. wavered at the vcrge of each, fcy that music, but it's there - pulsing in our hearts, spinning in our

yet mortal, changeable yet rooted to their realm of origin. And each minds. weaving through our spirits in a dizzying refrain.

race held traces of the Song deep in their hearts, weaving thelll And so as we dallce this dallce of life, our cousins now

together, blending into one. beside us. too. For we arc each - faerie, mortal Jnd half-kin - bound

Enchantments grew between these cousins, heartsongs in by common music. Its tllne rises and swirls but never truly ends.

different keys yet following a similar refrain. The immortals d�H1CE'd For the heartsong of our �'orlds vibrat('s in a single chord. The keys
in mortal dreams, tantalizing l1Ian \",ith treasures and illusion. Man might differ. but the overture remains.

wove those dreams into cities and steel, driving facries mad with Once upon a timC'.

hunger. Each tempted the other with inspirations and longings.

games and travesties, And between them they wove a Mystel}. a

half-realm bct\veC'11 thC' worlds in which both might dwell.

In E'lder days, the harmony bct\vcen those worlds W.:lS

Deeds begull all all£' world took shape in thc fields of til(' othC'f.

Brave souls - morlal and othern'ise - passed through crossways �lI1d

strong.

Ever a ter, too. f

entered one another's rcalms, Fond h(,�lrts and fiendish passions

dfCW Jacks and U('autys, Aladdins and Coyotes. aclrknights and

curiolls pcasants, tnefch:mts and wayf'lfcrs 3\Io,'<1Y frolll hOllle and

 CHllPTER 1: BEVOND THE FIELD S WE KNOW

&is hoofbeats crackle in the corri30rs of tWilight.

If ;<)OU listen, �ou migbt bear bim outsibe ;<)Our

Beyon d th e H i l l s
There's a place beyond the sunset. You can find it if you dare.

Call it Faerie, if you like. It has names without number and

catch lip Ivith &il11, join bis journe� on the thrice those in tales. Amid its glens and castles, the impossible

becomes commonplace. Straw becomes silver, hair becomes steel;

crosswa� paths. who knows? Stranger things birds speak and people fly. And there, it's said, odd visions of our­

selves -like us, but somehow Other -populate the landscape.

These faeries seem both youthful and immortal, capricious as children

yet more powerful than kings. The land is like them, and they are

Once upon a time, it's sai3, life was like the land: magical, strange, and unspeakably ancient. From these

folk we name their land: Faerie is the common term for both.

A 'Couch of Faerie
cast oown b� co{3 realities. We get the term "faerie" from Fata - "Fate." Reworked through

French and English asfee,faie,

But that iSl1't true. faylfty,faer, and eventually fairy,

the word still carries connotations

There'S magic still. of magic, destiny, and more than

a hint of menace. For to be fey is

to seem lost... pixie·led. delirious.

The delicate sound of the word

beral3 change. belies its potency. Faerie - place

or being -is implacable unless

Join bis flight. close ;<)Our e�. you know its rules. Even then, it

extracts a price: to encounter

Run with bi»� an3 see that Faerie is to be forever changed.

"once upon a time" is now.

 Trying to define Faerie is like wrestling So, of course, some mortals do.
smoke. The more you grasp at it, the thinner It's been called a state of mind, a spirit prism, or the echo
it becomes. Faerie realms and beings seem of the primal world. But Deliria resists such easy labels, Like
rooted in our expectations; as soon as we everything in Creation, the Faerie realm is a symphony of essence,
think that we have mastered them, however, they matter, and consciousness combined; it's played at a different pitch
fade away. No wonder they're associated with than our own world, certainly, but it's made up of the same notes in
illusions, mist, and endless longing. Faerie has a similar combinations.
heart that we can feel, but its touch is fleeting and To the ancient tale-tellers, Faerie was any distant realm­
its form mirage. under the sea, beyond
Although the word "faerie" conjures up visions out of the hills, deep in the
Europe's storybooks, every culture has its realm beyond the forests where no one The most beautiful thing
sunset. The Celts spoke ofTir-Na·n'Og and Annwyn; the Greeks dared to go, Later,
wrote of Olympus, Arcadia, and the Elysian Fields; Nordic sagas when cartographers
placed our world between eight others, whereas Indian tales tried to grasp all we can experience is the
maintain that it's an illusion cloaking the infinite jewels in Indra's mysteries, any place
net. The Bible speaks of Eden lost and Jerusalem regained, and that evaded them was
Tibetan lore places us among the lakes at the foot of Rirap Lhunpo, declared unreal, a mysterious, It is the source
jeweled mountain home of gods. Literature is loaded with such delusion, delirious. A s
realms as well. Middle Earth, Namia, Never-Neverland, and Oz these forebears
don't begin to scratch the surface. Even science has its alternate mapped each hidden of all true art and science,
dimensions, lost worlds and distant planets... and then speculates on place, Faerie seemed
the creatures that might dwell there. Each culture crafts its realm of to fade into a

legends, then peoples it with shadows of ourselves. background for He to whom this emotion is a
Why? What are we searching for? And what is it that we children's tales and
intuitively sense in that space beyond? madmen's prayers.
An echo of our childhood, perhaps. Of innocence and magic But even so, its lure stranger. who ['an no longer
that maturity must take away. Maybe an enduring shard of wonder lingered. Lost
in a complex, often cheerless world. Relief is the balm that Faerie continents, terra
brings - relief from the tedium of Everyday. incognita, distant pause to wonder and stand
Relief, and a memory of What Once Was and Ought to planes or planets...
Be Again, all received a bit of
scientific inquiry rapt in awe, is as good as
Deliria, the Faerie l}ealm before being tossed
Deliria: both a common name for Faerie and a tenn for the sideways out on the crank heap.
sense that allows mortals to experience it. Dismissed by most as a Now, with innovations dead: his eyes are closed,
delusion, it's considered by others to be the only true reality. like the phone and
Described as everything from the happy hunting grounds to the Internet, theories have
perilous realm, it's all those things and more. Like our own mortal arisen that Faerie is, i n i\lbpd f'inslein
vale, Deliria is vast, unknowable, filled with treats and terrors. fact, the realm o f
By their nature, both Faerie and its folk lay outside our virtual reality, where
bounds. They take the possible and warp it to illusion. By necessity, consciousness and spirit escape the limits of the body. Even then,
this places Faerie outside of sanity; to perceive it as real is to admit however, Faerie eludes capture. To draw near is to distance further.
that what was reality is no longer. Thus, those who encounter Faerie The only sane approach to such a place is wonder mixed with
in its many guises are enchanted - mad by association. And caution. But then, De{iria isn't about sanity; indeed, in such a place
through this state of mind and soul, Deliria is named. One has to be sanity itself is suspect. .. and occasionally dangerous. like sight i n a
a little mad to see it, madder still to enter it, and downright delirious pitch-black room, mortal sanity is limited in Faerie. It misleads your
to travel or remain there. steps, leaves you stumbling i n darkness.
 What's a Faerie?
By nature, faeries are ill-defined. Try to slap a label on one
and the faerie disappears! In general, "faerie" refers to
creatures o n a different frequency than ours. In the
metaphysical song described below, they exist in a
different key and possess inhuman gifts. Despite
uncanny talents, though, the fey are creatures of our
earth - more attuned, perhaps, to nature and the mystic
soul than human beings, but still very much our cousins.
Sometimes called the ageless ones, faerie beings transcend many
physical limitations; even so, they have their own laws to bind them. Not mortal
in the human sense, fey beings exist outside our concepts of time and shape.
They change form, travel, appear, and perish by their principles, not ours.
Faeries don't have to seem human; in fact, many favor beast-forms over
human guise. Spectral hounds, dragons, nameless horrors - these, too, are faerie folk,
no less fey than an aelfin princess. The idea that faeries look like people is just one of those
amusing human conceits that fly out the window when mortals meet the fey.
Even so, some distinctions in Deliria's world can help sort that ephemeral term into
something more substantial:
� Aelderfolk, the true or greater faeries, are entities from outside the mortal realm. Although they can (and
do) cross over, they're natives of Deliria. Masters of shape-shifting and illusion, these beings seldom truly die;
instead, they take on different guises, changing identities to suit their mood or circumstance. Thus, a single aelder
can be known by humans under dozens of different names and faces... and a dozen aelders may adopt the same name
and guise to deal with mortal folk. (As true wayfarers understand, there is no King Oberon of Faerie - Oberon is a
human name given to a faerie guise that different aelders can assume.)
� Aelden, lesser faeries, are creatures hovering between the worlds, sharing both mortal and immortal aspects.
like mortals, aelden are born, can die, and do age; like aelders, they possess unearthly gifts, though at far less
potency than true aelders. Most faeries that human beings meet are truly aelden, not aelderfolk. The difference
between them is impossible to fathom unless you've met both entities and impossible to miss once you have.
� Shimmerlings -also known as sprites, little people, and so forth - are swirls of faerie essence tethered to
this mortal plane. Often tiny, rarely smarter than a child, these diminutive entities are to aelderfolk what insects are
to us. The common image of the flower fairy is actually a shimmerling, and though such a being might amaze a mortal,
it's actually a rather fleeting manifestation... sort of like a ripple in a pond, visible for a short time, then gone. Still, even
shimmerlings can seem immortal; like aelders, they exist outside of time as we know it. A sprite's existence is bound
more to a place or occurrence than to a mortal lifespan, and it still possesses gifts that mortal science deems impossible.
Other beings share Creation with us, too: the whisperlings of souls trapped in ghostly shape; the alien
charasha that seem drawn from distant worlds; the mighty emanations known as celestials and howlers
- angels and demons to mortal religion but greater than any faith could presuppose; and other,
nameless things. Yet the faerie folk seem closest to ourselves: unearthly, yet undeniably familiar.
For more details about the faerie folk, see Chapter 3.
 No simple fairy tale can contain Deliria. No picture, song. or Echo and lnterplay
story can distill its essence. Within its boundless reaches lie soft There's a song, it's said, at the heart of Creation. A primal

glens and raging oceans, rustic hovels and flying cities. A traveler symphony that swells and deepens with each living thing. This

might find temples of tranquility not far from hell-courts decked in great Song vibrates along frequencies and scales beyond mortal

the skins of flayed slaves. Its time and distance obey no calendar or comprehension. Its tones echo each element of the universe.

map. The moment you think you've nailed it down, something When it falls silent, all things will cease to be.

unexpected comes flying out. In short, it's like our own world: Within that Song, think of our mortal world as a scale of notes

familiar yet incomprehensible, strange, beautiful, and often deadly. in a single key; think of De[iria as the next key - resonant and related
to our own but at a slightly different pitch. Other worlds (sometimes

A M od Beloved neflection
, called the aeldervales) are additional keys; Creation's Song

Meanwhile, to Faerie denizens, mortal includes them all. Now think of entities within those

earth is equally enticing. Like us, worlds as instruments in the orchestra; if everyone's

they hear the siren-song of distant in harmony, the interplay is smooth and fine. lf

realms peopled with enigmas. Donn of Clements someone's out of key, the whole piece is marred.

Our mundanity is their In Deliria, Creation is an interplay of matter, spirit, and At certain times, this interplay does

wonderland, and they find us consciousness that weaves throughout the worlds. Each go out of key. At others, the music swells

fascinating. Fey lure pulls us thing, each pla ce, is a symphony of all three parts. Nothing majestically, changes tempo, or trickles to

each both ways: no matter is truly inanimate because all things are, on some level, alive. near-silence.

how profound the tide, we This is a helpful thing to remember when adventuring i n This is one of those times. No one

always watch that distant and around the otherworlds; afte r a ll , plen ty of beings will be knows which one it is, but people in this

shore and dream of happy to remind mortals who forget their manners that all world and others have begun to notice

swimming to it. things are worthy of respect! the change.

The old tales speak Not everyone is pleased with

of faeries who cross into our world the results. And thus Deliria, which

in search of mortal playmates. Some has chimed along with our world

fey-folk kidnap children, whereas others since time began, wavers into our

take on lovers or move into a mortal home. own key. Some entities cross over

These aelderfolk and aelden seem enchanted to our realm to play, trade, or seek

with mortality. asylum. Others huddle against

Just as earthly humans feel compelled to visit the coming change, raising songs

Faerie, Deliria's hosts are ever-drawn of separation.

to earth. The tune is altered.

Perhaps we each provide a mirror to A new era has begun.

the other, reflecting back our best and worst in

a dream-pool of distractions. Like Narcissus, we can't help but gaze New songs swell above the echoes of the old.
at that reflection. And that reflection cannot help but gaze back at

us. (Which one's Narcissus, and which the reflection? Ah, that's a
riddle no one can answer!)

So the Faerie realm enchants us. And we, in turn, enchant

the fey. Each world provides a welcome dose of madness, yet

neither one can grasp the other.

No wonder Deliria is named for sweet insanity.

 FVE: A Wayfarer's Guidebook
Welcome to the otherworlds! Before you tear your hair out looking for the
differences between a locus and a locust, check out this overview of common
otherworldly terms and the meanings often given to them. Caveat: Faerie is
defined by indistinctions, so don't expect big signs reading "Enter Crossway
Here,"The terms below are names of convenience only. Not everybody uses
them. and few folk define them in exactly the same ways.
Altwald: literally, the Old Woods; the eternal wilderness of Faerie, spreading
out forever around dominions and reaching into myriad vales. The trackless
and forbidding forest primeval seen in dreams and remembered within the
collective unconscious.
astral there: Informal term for the place you go when you're on the phone
or Internet.
bramble: Blazing tangle of crystalvine that sprawls through portions of
Deliria. A manifestation of the earthly Internet, the Bramble spreads into
the Altwald, much to the annoyance of the fey.
Creation: When capitalized, Creation refers to... well, everything.
crosskey: A round design or disc decorated with arcane filigree. Used by
travelers to pass between worlds, a cross key allows a wayfarer to carry his
ticket to the other realm along with him.
crossway: A passageway between the mortal realm and Deliria. Often a
location, occasionally a time, and sometimes a living entity born with
worldwalking talent. Such individuals are exceedingly rare and usually end
up on some regent's must- have list.
crystalvine: Faerie reflection of human infotech; vitreous kudzu choking
the Altwald.
Deliria: (Sometimes called the Deliria, or the Deliriae.) Strange realm(s)
hovering on the edge of the earthly vale. Often described as Faerie, Deliria
holds primal echoes of the mortal world. Sometimes considered an
embodiment of the collective unconscious, though its residents would laugh
at such conceits.
dominion: A settlement in Faerie, usually governed by a council, a regent.
or several rival factions.
earthly: General term for things within the mortal aspect of our world.
faelight: Bright mystical light; the essence of the Fire element.
glen: A primeval locus, pure in nature and unchanged by mortals or the fey.
goblin market: Genera l term for a place of otherworldly commerce.
home-soul: The animating spirit of a man-made place.
Ioc:us: A place of power. (See also glen, nexus, and sacred space.)
metropolis: Anyone of the gargantuan dream-cities rising
out of Faerie.
mindcasting: Astral travel, either through meditation, altered states
or technological trance.
Mysterium: Collective name for the occult underground; loose society (or
societies) of the paranormal, hidden (often in plain sight) from mortal view.
By definition, a Mysterium crosses worldly boundaries and includes mortal
and fey activities.
nexus: A place of power crafted through human (usually technological)
means.
Palenoch: A group of faerie and mortal merchants dedicated to the
preservation of crossways and commerce between the worlds.
realm: A world; general term for both a plane of existence and a state
of being.
regency: Mystic ritual that claims an area and binds it to the regent.
regent: General term for the ruler or rulers of a dominion.
sacred space: Area that's been ritually prepared for magic-work or worship.
Silver Sea: Vast astral ocean and tributaries that range through Faerie; said
to be the embodiment of consciousness, the essence ofWater, or both.
Song. the: When capitalized, this refers to the essential vibration and
harmony that supposedly makes up the universe.
striding: Worldwalking. Also slipping, drifting, phasing, wayfaring,
and world-hopping.
twilight people: Mortals who've been touched by Deliria and who now
dwell in and around the Mysterium.
vales: The various planes or worlds that fill Creation. Said to be manifesta­
tions of divine consciousness. Our world is one of many vales, but it's the
one we're most familiar with.
vashard: A Faerie wasteland, desert, or ruin.
vitality: The essence of life, humming through all things in Creation.
wayfarer: A mortal who travels between the worlds often or who
ventures deep into Faerie for lengthy errands. Also worldwalker.
Worldwind: The essence of Air, which sweeps through all the vales.
r

Where We Are, Where We're Going

Home: Che M agic Castle
There's enchantment in your own back yard. Just look, and
it appears.
Adventures don't require far-off lands. Each faerie tale begins
at the hero's door. Before the world goes strange, there's a kind of
innocence, a sense that the world fits in a box a nd everything is
simple. Whatever trials lay before our hero, he or she greets "once
upon a time" as just another day. The challenges and
transformations that await the hero will take him far beyond the
realm he knows, but that journey begins with a single step - the
step that takes him from his home.
But first, before we travel outward, take a good, long look at
the magic castle you call home.
The magic what?
The magic castle. That srurdy feat of engineering that
provides comfort and security and access to gifts old gods would
envy. Gifts like television, telephones, home computers, video
games, refrigerators, and insulation. That weatherproof sanctuary
that keeps out the worst of Mother Nature's fits. That fount of
running water and electrical power. That place you can sleep in
without fear. That palace of technology so many of us take
for granted.
Some folks claim technology banished magic from our
world. Nonsense. Our modern homes are magic castles. That we call
their craft technology does not diminish its significance. Technology,
the human art, is a form of magic... or maybe, if you prefer, magic is
a form of technology. Both use Creation's innate rules. Both demand
work and study. Both can be abused. And both have a price to pay.
House-Sprites
But the wonder of our world runs deeper still. Between the cracks, a
different kind of magic lies. Older. Primal. The magic of a living
world whose inhabitants cannot be banished because they're a part
of everything that exists.
Call them by a thousand names: sprites, elementals, keepers
of our castle homes. Ketterlings, good neighbors, brownies,
household gods. Minor faeries tethered to a mortal place, these
shimmerlings tend our homes. Tiny, often invisible, such sprites
seem like mice or insects; sometimes, you can hear them skritching
in the walls or scuttling past on tiny feet while you toss restlessly in
bed. Ofttimes, they amuse themselves by fIxing - or destroying­
our homes or furnishings. But unlike common pests, house-sprites
don't infest a home; indeed, they're part of it, manifestations of the
home-soul bound within its essence.
Possessed of dim intelligence and prepossessing wit, home­
faeries view human beings as intruders upon their domain. Under
good circumstances, you're like their neighbor; if they don't like
you... well, they'll let you know. Although ageless by human
standards, house-faeries are somewhat mortal; when a home gets
demolished, the fey within it cease to exist. For this reason, house-
FVE:
'Che H appy M onkey
For over three decades, this small
apartment near an urban college
campus has sheltered and inspired many
young souls. A sprawling four-bedroom
affair on the top floor of a turn-of-the­
century brownstone, the Monkey's named for
the stuffed chimp that's been hanging outside its door since 1968.
That year, four friends performed a ritual to protect and preserve the
folks within this space. Despite the tensions that naturally arise when
young people cram together in close q u arters, that ritual has held its
promise for decades. The Ha ppy Monkey's residents suffer the usual
tiffs and tragedies that befall any human life, but the apartment itself
has remained a safe haven, even during times of outside crisis. Fires,
busts, gang warfare, even the occasional visit from unearthly forces
have passed the Monkey by.
A crash pad par excellence, the Monkey remains an open
secret that only the right people ever discover. Students, artists,
budding mystics, homeless people, r unaways, band members,
survivors of domestic horror - all have shared the Monkey's gift.
Although it's designed to fit four residents, the apartment has
sheltered as many as a dozen folks at any given time. Rare is the
month that goes by with only four or five tenants, and every couch
or mattress has provided crash space for stray souls and loving
couples. Despite the traffic, though, the Monkey remains in good
repair. The tenants keep it clean, and the home-soul and resident
sprites handle less-obvious maintenance.
Although mortal tenants joke about making offerings to the
household gods, long-timers take that duty very seriously. Each night,
no matter how little food there might be, someone leaves a plate of
goodies out on the kitchen floor. Said goodies are always gone by
morning, and though various folks have pondered the tradition, no one
dares to break it.
continued next page
 faeries are protective; they maintain a residence for their own sakes,

not ours! Some lucky tenants might be rewarded, but most house­

sprites simply keep to themselves and prefer neighbors who do

likewise.

If and when they deal with us, home-faeries can be kind,

cruel, or in betv-leen. Some prefer small tricks - like making

laundry disappear - whereas others plague us with small

continuedfrom previous page hostilities. Often, they take their cues from the behavior of the

As you might imagine, the Monkey boasts mortal tenants: indifferent people receive indifference, respectful

a vast, jf private, folklore. Trusted visitors ones earn favors, and hostile ones are punished. The most

hear about the little girl who healed vindictive acts, however, are reserved for neighbors who start out on

Graham's knife wound, the gray tomcat that good terms with the sprites but then turn disrespectful over time.

talked Barry down from a bad trip, the Home-sprites hate rejection, and the misfortunes that surround
shimmerlings that danced at Sue's birthday party, teenagers - those children who outgrow their affections for the fey

or the ghost-dogs that chased that asshole Tim - show what happens when home-sprites feel rejected.

down the stairs in the middle of the night. Several In the old days, the household gods appeared as little people

residents have claimed friendship with the household faeries, but or annoying beasts. These days they take on different forms: the

everyone seems to have a different idea of what they look like: although helpful cat, the favorite toy, the computer virus, the power surge.

tiny chimps are staples of Happy Monkey lore, some folks claim to have They alert us to potential trouble or stash our car keys out of sight.

seen or spoken with small trolls, tiny elves, shadow-people, and even a Despite our rational worldview, we still recognize such entities on

teddy bear that whistles "Yesterday" as it does some midnight laundry. an instinctive level: we talk to them, make monetary sacrifices to

Because the Monkey attracts people with open minds and active keep them going, and bang on their homes when the TV or PC

imaginations, nobody thinks much about such stories. The place seems stops working properly. And though we think we've outgrown

safe, and for most of its tenants, that's enough. faeries, every so often we see the grinning philk or gressling

The Happy Monkey's house rules are simple: 8e cool. Various scamper past, just out of sight...

tenants have reworked their interpretations of "be cool," but everyone The fey, it seems, are not quite done with us. Thank God.

agrees that so long as you clean up your messes, respect one another,
and add cash to the house funds on a regular basis, it's all good. Every Home-Souls
so often, someone arrives who takes advantage of the Monkey's laid­ And then there are the spirits of the homes themselves - the

back nature; even though the roommates have to drop-kick people essence that gives each place its soul. Deep inside, every building

out upon occasion, the home itself has ways of dealing with people holds the spirits of the materials of which it was built and the place

who abuse its hospitality. of its construction; after a while, it begins to absorb life-essence

Housed i n a roomy (if old-fashioned) brownstone building, from the inhabitants as well. Over time, a new spirit - the spirit of

the Happy Monkey has high ceilings, hardwood floors, radiator heat, Home - takes form. That spirit's nature depends on many things:

and Vintage fixtures. It's a bit run-down, and the house shows its age, the people who dwell there, the things they do, the energies they

but nothing serious ever goes wrong with the structure. Decades of summon, the fates they endure. Some homes absorb serenity,

artists have left their mark: the walls feature dozens of murals, becoming spots of comfort; others absorb malignancy, becoming

etchings, sketches, and decorations. Arcane bric-a- brac fills every little hells.

empty space, and each tenant leaves a little something behind as a Like house-faeries, a home-soul hovers on the edge of our

remembrance. Suffused with aromas of cooking, incense, smoke, and perception. Some folk, more sensitive than most, can taste the aura

old laundry, the Monkey isn't exactly a pal ace Still, to the bohemians
. of a place just by walking into it. Most mortals, though, remain

who find solace here, the Monkey glows with comfort, safety, mystiC oblivious unless the home has potent energy. In that case, that

power, and inspiration. energy can reach toward average minds. Have you ever felt especially

at ease somewhere nice, like Grandma's house? O r on edge in a place

that just felt wrong? That's the aura of a strong home-soul - the

sense of peace or edginess that pervades a given place.

For the most part, a home-soul provides a sense of comfort

or unease, sustains the quality of the place and residents, spins off

the house-sprites we just mentioned, and attracts or repels other

beings based on the feel of that location. Occasionally, the spirit

might grow strong enough to provide a locus or a crossway. And This interplay goes both ways, too - mortals who understand such

every so often - especially in places that have witnessed great things can tune a home-soul with behavior and decorations. Feng

passions, joys, horrors, or magics - the home-soul might even shui, ward-rites, blessings and other home-craft, codes of conduct,

manifest in sometimes-physical ways: a book that tumbles off a tended gardens - these and other arts can shape a home's

shelf and open to just the right page, as lights that turn on Dr off disposition. In the same way, neglect and ruin, disarray and

or doors that close or open of their own accord, as rooms far more constant hate can corrupt a home-soul. Long after the violence

expansive inside than their physical dimensions could possibly stops, malignancy can linger in the house itself. House-sprites, too,

allow, or as phantasmal entities that haunt the home and bring both draw their natures from the home-soul's power: sprites in good

good and ill to its inhabitants. Some rare places are so charged with homes do favors for their neighbors, whereas tricksters of the darker

power that they provide all manner of phenomena - ghosts, kind haunt houses where the home-soul has sickened. The home­

portals, impossible dimensions, and a near-sentience that even soul plays a vital part in the lives of its inhabitants. Too bad few

mortal minds can feel. Naturally, such homes become treasures in mortals stop to think of the effects they have on the places in which

the shadow-world of the Mysterium . . . but then, we'll speak of that they dwell!

soon enough. We folk are creatures of the hearth, products of the homes

The home-soul nurtures its inhabitants; it often guides their we make. So look upon your home with new eyes and see the magic

moods and health - the way they sleep, the way they feel. On deep nestled there. Because it is here, not in some primal woodland, that

yet subtle levels, it stirs sensations and behaviors. A serene home­ the road to wonders starts.

spirit sets residents at ease, whereas a malevolent one oppresses them.

..0. Festival of Strangeness

TI;e stag', ou"iIJe ))Our wi"ilow HOW. To follow U;eyve kept the place i,,"'ct for ge"eratio",. If she f"sak" ber

him, ))OU """t [eave borne beJ;;,,0 auo race Out�, <IS '" ma,,� bave before, si;e ktlOw, the bo= mirJJI.

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,,,oi,,� see"" both C"riOU.l 0"0 �irJ}I£"i"fj p[a� out before ))O"r R.io, Al1gelina weeps; ber lover tuntei) to foam ani) me{rro, ani)

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I" New E"o[a"o, a [itt[, girl [""'" milk. for ketl£r[i"fJ'; Here, it seems, even gOOS COltte out to p{a;g.

In
Dow� the cobblesto�es of Berli�, tbe Stag clatters 011 bis
breathless waiJ. Strol19 air al1b beeriJ voices cba�t il1 ecboes of
nig&ts past, even tbougb bawn ligbts up tbe borizo�. Here a�D
there, grim kobolbs bart towarb s/;abows, bibing from tbe su�.
Knight-impressions, clatter-clab, boof bOlVI1 the cobblestones,
invisible to the mortal eiJe iJet rigbt on the verge of bearing.
their age-olD traDe, their furl1aces replaceD biJ burl1ers, tbeir
quest for golb forsaken in pursuit of better bmgs.
Tn Dublin, there's a bouse that breatbesj il1 waikiki, a tree
that whispersj beneatb Antarctic ice, the mins of a citiJ built
IOpOO iJears before the Greeks. Tbe Stag m�s past them
enblessliJ, anb iJet iJow know that wbat iJou pass is bwt a fraction
of this enbless realm. Owr worlb, iJou see, is more ancient anb
alive than iJou migbt guess. Just J1/be� iJOU tbi�k iJou've got it
Down, a�other miJsteYiJ pops up, cbuckli�g, besiDe iJou. "Tbere
are more thi�gs in beaven a�D earth/' inDeeD, a�D if iJOU trieD to
Before iJou rUI1S the Dreamfire Stag. In bis wake, those lVonbers
are revealeb.
Che Mystery
They're everywhere - fey currents in our mortal realm. Despite
assurances from class and clergy. our world seethes with mysteries.
Each city has strange avenues; each forest boasts its paths to Faerie.
The miracles are everywhere, yet hidden in plain sight. Occulted.
A mystery.
And that's why it's called Mysterium: Uthe Mystery." The
hidden realm, the invisible world, the place where the sidewalk
ends. Unlike Deliria, the Mysterium is part of our mortal realm;
no crossing is necessary. It's as present in the modern world as it
was in ancient times - disguised sometimes, ignored often, but
present nonetheless.
Mysterium is both singular and plural. Singular, it refers
to the shadow-world at large; plural, to the occulted pockets of
individual towns and cities. Boston has a Mysterium; so do Paris,
Kabul, and Tokyo. Your town has one, too - it may not be very
active, but it's there.
What M akes a Mysterium?
Each Mysterium has certain features: a sense of dreamlike
strangeness, a group of folks who know the score, a fringe of
hangers-on who realize something's going on but aren't quite sure
what it is. a handful of power-spots where mystic currents run
strong, and a body of local folklore that captures (with some
exaggeration) its otherworldly history. Large Mysteriums (also called
Mysteria, underworlds, sub-cities, netherworlds, candlestreets,
darklands, haunted cities, and many other names) also boast a goblin
market, a regency, a handful of crossways, and one or more sanctora
where the locals meet on neutral ground. And like the mortal day­
cities they rest within, Mysteriums host their versions of local
politics -weird collections of sects, cults, artists' galleys, night­
spots, hidden chambers, bohemian corners, social rivalries, and
secretive overlords who like things to remain as quiet as possible.
For the most part. the People of the Mysteries - the twilight folk
who make up each Mysterium - keep to themselves. Like
neighbors in a vast apartment complex, they occasionally brush
across one another's lives, meet sometimes to say "hello," hear one
another through the walls, or step in one another's dog shit. You
could live right next door to one and never know his private life.
Unless you stumble into this twilight world, these folk are quiet
neighbors, the people no one notices.
Once you do notice ... well, you often become one of them.
Fling Wide the Gate of Dreams
You'd think that modern science would have banished such strange­
ness. But it hasn't - indeed, it's made the mortal world a stranger
place than it than it used to be. How? That's an interesting story:
Each advance i n technology expands humanity's horizons.
New devices make new ideas possible; new ideas, in turn, breed
newer devices. Soon the cycle picks up speed. With each burst of
ingenuity, our foundations of what's possible crack. From those Thanks to technology, our world and Faerie have merged closer than

cracks, new possibilities arise and bloom. Old certainties begin to they've ever been before. And the more profound our imaginations

crumble down: space, time, perception, self. And soon, Creation is grow, the more our realm and Deliria merge. Ironically, man's
revealed for what it is: not a concrete slab of measurements but an conquest of reality has made this world of ours unreal. The toys of our

arcane mesh of interweaving truths, each connected. Each alive. old certainties render certainty obsolete. We find our mortal selves in

You see it every day in the morphplay of CGI, the impossible the middle ofnew faerie tales. The modem age provides the stage, and

perspectives of digital imaging, the eclectica of world-dream techno, the show's in progress all arolU1d.

and the books announcing the end of science as we know it. Mortal Through technology, we aLL live in the Mysterium now. Some

men and women enter the astral realm many times a day, meeting of us just get closer to it than others.

one another in the no-space of the

Internet. Modern wizards craft their arts 'Che Price of Admission

Lux umbram
with turntables and nanotech, whereas S o how can you get closer? How do twilight people

more traditional magicians haunt best­ enter their local Never-Never Land? Well ... some

seller lists. Atheism fades like a mirage are invited, others come looking for it, a handful

monstrat,
as religions both old and new gain are born or raised to it, and the majority stumble

followers and fervor. Hardcore scientists in through happenstance.

explore impossibilities like time travel, Invitations come from weird beings who show up

mysteria autem
superstrings, and suspended suddenly, show you the way to the rabbit hole, and

probabilities. Popular media dare to offer you a choice:follow me now, or wonderforever

guess whether a thing is real, then what might have been. Many people take that chance;

veritas.
enchant us by showing how illusory many more err on the side ofcaution and spend

everything has become. Children rule their rest oftheir lives pondering what if .. ?
virtual kingdoms; nine-to-fivers slay The people who come looking for the Mystery

dragons when the working day is done. hang with odd crowds, pursue arcane vocations, or

The mists that used to shelter Faerie are Light shows shadow, hover around places with reputations for uncanny

drawn aside each night on television. goings·on, waiting for something to happen. If

And as the barriers between real and you're one of these folks, you'll either get bored

unreal crumble, the otherworld comes but mysteries are revealed by truth. eventually and give up, or you'll get what you're

into view. looking for... whether you're ready for it or not.

Drawn by the thunder of Kids born and raised among mystics, artists,

collapsing truths, our ageless cousins inscription on a slmdial witch-covens, or other subcultures have ready access

join the show. Some of them recoil to the Mysteries. And then you have the folks

when they see what we have done; who've been born different - people whose affinity

others gape, bedazzled, and rush in like fearless angels. A brave few for animals, spirits, psychic senses, o r magical powers mark them as

decide to make their living among the mortal folk, and soon new both blessed and cursed. Should you come from this rare stock, you fit

faeries manifest - immortals birthed by changing times. We right in; what's strange to most people is normal for you.

mortals transform, too. Like straw spun into gold by magic spindles, But the vast majority of twilight people are just plain folks,

we're becoming creatures our forebears would scarcely recognize. folks just like you whose lives took an odd turn one day. Maybe you

Physically, socially, spiritually, psychologically, we achieve a new picked up a gorgeous stranger and got sucked up into his mad

humanity. We change. The faeries change. The worlds we live in world, or perhaps you opened that locked chest in Grandmother's

change, and the lines between them blur to nothingness. attic and found something that changed your life forever. Or you

This isn't a new dance. It's been going on since humankind may have simply woken up one day to find the foundations of your

first struck flint. But during the last 200 years, the tune and tempo world shaken out from under you. Either way, everything's changed.

quickened, and there's no telling how fast they'll go. Innovation You couldn't go back to normal if you tried.

melds with innovation; cultures dash, then blend together; Welcome to enchantment in your own back yard. The price

perceptions of mortality become unfettered consciousness, and the of admission? Your ideas of normalcy. Your ability to cruise through

Gate of Dreams flings wide upon new-oiled hinges. Through that life. Your preconceptions about what is and isn't possible. And the

door, the faeries come, bearing gifts and warnings alike. And here, apathy that marks the average mundane life. Once you've tasted

in the Mysterium, we all begin to spin . . . twilight, nothing will ever be the same again.
 Aspects of Mysteri um
Tbe briDge be�eath �H thHmps a�D ecboes il1 the earl;g mOYl1i�g light. Tbe local kiDs sa;g a troll lives bere. It's trne, ;gOH k�ow.

Tbe;g're right... al1D be might be bul1gy;<). Best to burY;<) 011.

Tbat alle;gwa;g's a goblil1 baH�ti tbat crest, a witcb's sigil. Tbat sparrow o� the fel1ce l1earb;g cocks bis e;ge for the palel10cb al1D their

glitter traDe. Tbat graffiti 011 the swre{rol1t spells a curse. AI1D tbose carvil1gs 011 that �earb;g wall keep the wbisperlil1gs awa;g. 011

full-moo� l1ights, the;g gather a�D bowl i� their aHtHmn voices, bitter al1D Del1ieD.

Down the street, three cloakeD, be-glittereD figures emerge, wrappeD in spell-maskeD finer;g. Tbe;g go borne {rom the gbost-bars wbere

tbe clientele light cal1Dles with their minDs. AnD behil1D those bigb sWl1e walls lies a garDen with flowers that bloom gree� at miDnight.

Some folks swear the;g've seen sprites Dancil1g in a ring aroHnD that garDen. It's trHe - the;g bave. Glance over the wall, al1D ;gOH

might catch the last of them as the;g piroHette il1w the Dawl1.

"By the Pricking of My Chumbs . . ." Folklore, U rban and Otherwise

What are the landmarks of a Mysterium? How can you tell the
rabbit hole from a hole in the wall'
To start with, there's a distinct feel when you step out of the
mundane realm. I can't really be more specific than that - you just
know. The air tastes clearer; all scents seem sharper; sights either
blur slightly or crystallize to uncanny brilliance. The skin across
your arms and back tingles with primal energy; time slows, and
passions stirred within you swell and deepen. Fascination freezes
And then there's the folidore of the place - the rumors, legends,
and drunk confessions that begin with, "You didn't hear me say this,
but..." You can find them in local histories, children's tales, or bars
near closing time. In half-heard rumors or tabloid newsclips. Family
secrets or crime-scene blotters. Newspaper morgues and library
archives. You might hear them on the lips of friends or in the
ramblings of a corner madman. They're everywhere when you pay
attention - each place has home·brewed legendry. The tales might

you in place, locked on some small flash of Other. Your body knows
that something's different. Like calls to like, and the sense of the
strange within you responds.
Some people hear soft voices, raised in song or dropped to
mutters; others catch a glimpse of What? on the edges of
perception. A primal thrill, a rippling belly, a voice inside your head
insisting, Yo, Dorothy, check this out... Part of the Mystery is that it
not be accurate, but they are there.
Though faerie tales traditionally take place in rural groves
and ancient kingdoms, their power has been passed down in urban
legends, those odd my·brother·saids of the media age. Although
most urban legends are pure fiction, a few hold true if you trace
them back to the Mysterium. Stranger still, some stories come to
pass because so many people believed in them before they

always feels different. The atmosphere you sense may depend on the happened! Faerie loves to play its tricks, and few tricks are as
nature of the place you visit, but just as often it depends on who you amusing as rattling mortal cages with self·fulfilling prophecies.

are, what you expect, and where your head, heart, and soul conspire
to place you in the dream.
The atmosphere is different on the fringe. It might seem
comforting, scary, erotic, or just plain weird, but it's unmistakably
Other. No matter how familiar you might become with the
candlestreets and their peculiarities, that sense of Other remains.
Some faerie tricksters take their cues from urban legends, acting out
their roles with glee. Occasionally, the very forces of Nature herself
spawn sequels to the urban lore - rains of frogs, man-eating trees,
holes in time, and so forth. If they think it can happen, Nature seems
to say, maybe it should happen. And then, of course, it does happen!

It's the wind blown in from Faerie, and it never truly fades.

<il l�
 Fye: Not-So-ldle Qumors
A clever bit of folklore can become a plot hook, misdirection, a vital
clue, or a simple burst of color. Although we suggest that you make
up your own lore, the following not-so-idle rumors can provide
inspiration for your own inventions. Remember, though, that rumors
exaggerate; the amount of truth behind them is up to you, but it
probably won't be dead-on accurate.
• That shopping mall was built on a Civil War battlefield; I knew
this guy who worked there. and he said at night you could still
hear them fighting.
., [Name of actress] is actually of faerie stock. If you really look at
her, she hasn't aged a bit in years. Check out her eyes; watch the
way she walks. She's not human, they say, and I think they may
be right.
.. There's this really intense online game that boots you up into an
experimental VR where you actually become your character. It's
still in beta testing, but my friend Mike played it and he says it's
like nothing he's ever seen before.
.. Shalimar has been talking since the day she was barn ... literally.
The doctor who delivered her nearly dropped her on the head
when she cussed him out in perfect Spanish.
• Paul's favorite violin was enchanted by a girl he met last year in
Ireland. I hear they made love in a magic circle and that the violin
cries like a baby when it's left alone.
.. Ifyou watch Mr. Skinner closely, you can see weird faces in the air
around h i m.
.. five kids disappeared in that garden tast year. No bodies, no
notes, just vanished .
.. Great-grandma was a sorceress. If you look around her house, you
can still find bits of old spellwork, hidden rooms, and a boarded-
up sub-basement with a bloody altar sitting at the center of the
room. Oh, and the blood is still wet. all these years after her death.
Wonder what she sacrificed there ...
• Every one of those CD covers is a little bit different; the artist figured
out a way to create living eGI that actually moves even after it's been
printed out on paper.
• There are unicorns in these woods - I saw them myself.
.. This bookstore I walked into in SoHo is a front for a black magic
coven. Just inside the door, I felt like throwing up. I barely made it out
to the corner before I puked my guts out. and nothing could ever
convince m e to go back in!
.. The guy who used to live in that apartment claimed he saw little
gremlins dancing around his bedroom at night. Every morning, he'd
wake up to find his milk carton empty. and he didn't have a
roommate... well, no normal ones, anyway.
.. Did you watch Mariah Dorn last night? She had this guy on who was
totally channeling an Egyptian warrior. last year, he killed five people
with this whack-ass sword he stole from the museum. Here's the
weird part: he speaks ancient Egyptian, like perfectly, and he can read
hieroglyphs that even the best archeologists can't translate.
• The new issue of The Weekly Truth? has another story about Monkey
Girl on the cover. It's funny as hell! Where do they come up with this
shit. anyway?
 Where Four Wi nds Meet
When you track those stories down, chances are you may

discover a locus - a place of power where metaphysical

forces are especially strong.

You hear about them all the time: the magical spring with

waters that keep you young, the Zen garden where no voice

can rise above a whisper, the troll bridge (with real troll). the

haunted room, the laboratory where physics seem

suspended. . . places of power, alL They might seem

mundane enough (or not, as the case may be), but these

regions mark the fringes between our realm and others. The

Mystery nestles in such places and calls them home.

You'd expect a place of power to be remote and ancient,

like Petra or Angkor Wat. But though there's truth in that

assessment, any place can be a locus: a basement, an archive, a

places of Power bridge, even an arcade. Throughout the world, there are thousands,

if not millions, of power·centers. If, as we've already said, our world

Tbe nm slows nowi .ll0U can see the iletails of a cit.ll, not far is alive, these spots are like its reflex points. Sensitive to touch,

reactive to sensation, they gather life-force, providing contact with

other realms.

Materialist science dismisses such ideas. Yet studies show

111 Barrett's Pop Al1tiquitiliS; .ll0U cal1 hl10 relics from .ll0ur anomalies that cannot be ignored: electromagnetic fluctuations,

radioactive pulses, magnetic field distortions, time discrepancies,

cbilobooo. How oio be get them? Barrett won't tel( but if .ll0U and biochemical reactions have been measured and documented

around such places. Most intriguing are the studies that link power

want these treasures bac� the price is fair - if unexpecteo. sites with human consciousness; the sites, it seems, both influence

and respond to thought. The implications are profound.

Not far mva.ll lies a wooo wbere a stal10 of rowan trees forms What makes a place of power come to be? Mortals have

pondered that since the dawn of time. Many arcane crafts, from feng

a perfect circle. In the cel1ter, .ll0U hear fail1t music al10 the shui to circle-dances, have been designed to raise a sacred space. But

though these practices can be effective, the most vital spots just

laughter of small voices. Kios oare each other to vel1ture tbere happen, without mortal cause or agent. Not long ago, I compared

cities to cathedrals; in that analogy, power-places are the altars,

b.ll l1ight, ana rumor has it that those who've maoe the trip sanctified by use and ritual but boosted by something more beyond
our comprehension. They're those spots where four winds meet and

returl1 with bags of gala. the cosmic song resounds.

At that cafe past Grace catheora( neomancers gather to Serenity ond Horror
Like music, the life-force swells in such a place. Its vibrations hum

oiscuss their traoe. Tbe oisbes all have sr}iral pattems that see,n deep into your bones and make your spirit dance. This vital song

affects you on levels beyond words or scientific measures, and it

to move in canolelight. Amber waits tables barefoot there, .llet no often shapes the nearby landscape. In serene places - quiet

temples, peaceful groves, mountains of tranquility - this song

one protestsi at night, .ll0U can hear tral1ce/ragalcelto/oub ana refreshes man, beast, and plant alike. Kind spirits and helpful

aelders hover around such regions, adding their goodwill to the

watch patrons emerge from evel1ing mists. Past closil1g time, harmony. Such sanctuaries provide much-needed rest from the

hectic pace of life.

ligbts oance behino the glass. Tbis cafe neeos 110 securit.ll - But like life, the music isn't always pleasant; terror, fury,

desolation ... they have energy as well. Some power-spots are

the place takes care of its own. maelstroms, swirling with misfortune. Battlefields, dumps,
malignant woods, and other simply evil places carry life-force of a
toxic bent. Dissonant as trash day, these sinkholes fester with bad
vibes, parasites, and vicious spirits. Ghosts howl at their peripheries,
and trolls and villsprites gather to feast on living flesh.
It's easy to blame such regions on human malfeasance, but
Other common names include heartstone, center, wellspring, dragon's
eye, peak, vortex, axis, dreaming corner, place ofpower, power point, and
just plain space.
.. A glen is virgin wilderness, unaltered by either mortal or fey.
A natural manifestation of energies, the glen centers around

the truth is that light and darkness have rightful places in Creation. some natural formation of trees, plants, rocks, waters, or even

As aspects of the Mystery, these places of power intensify the force (in Faerie) unlikely elements like living fire or an eternal bolt of

of Hfe in all its guises, good and ill. The sinkholes are as natural as lightning. Despite the pastoral implication of the name, a glen

serenities, and both can be found in equal measure. might focus malignant energies, too. Often called snarls, blasts,
or shards, these blights host venomous flora, vicious fauna,

Names for the Nameless capricious spirits, and devastating forces of nature.

In typical human fashion, people have slapped names on different � A nexus, by contrast, is a locus formed by human craft. Named for
types of sacred space. These distinctions are more for man's con­ the action of binding things together, the term suggests

venience than for Creation's comfort. A place of power is just that: a technology. In the old days, nexi were shaped from stones and

place where power dwells. We can sense it, even use it, but we cannot living wood; modern nexi have been made with metal, plastic,

begin to truly understand it, much less define what it is or is not. glass, and even digital imaging. Some extropean philosophers

Still, when out among the Mysteries it's often helpful to have suggest that each computer is a nexus, granting access and giving

a map. Thus, names are given to places that truly have no names. power far beyond its physical capabilities. This theory would

But then, we mortals have a habit of placing definitions. Some of explain a lot about Deliria and where it's heading...
these include: • Finally, a ley provides a vein for power. Crossing the earth and

� Sacred space refers to a location that's been sanctified by ritual, dotted by sacred structures, these lines have been called

either before or after power has gathered there. Of course, to a everything from dragons' veins to landing strips for aliens. In the

mystic, all places are essentially sacred; the term comes into play modern era, electrical grids and phone lines have set new leys into

when people (or other beings) devote attention to some space, motion; neomancers call electric magic "riding the neon dragon,"

nurturing its energies with prayer. and they refine their gadgets to take full advantage ofthis power.

Such space might be permanent or temporary; permanent Invisible to mortal eyes, leys link one site to another. People who

spots include temples, churches, warded spaces, personal shrines sense energies can feel power pulsing when they stand close to a

and altars, or areas where festivals or ceremonies take place. ley line. Some seers claim that leys run between computer systems,

Temporary spots include impromptu too, reinforcing the idea that humanity'S latest toy has reshaped the

altars, meditation grounds, ritual circles, or simply places in metaphysical fabric of our world. There's more truth than poetry

which someone in that assessment.

says, "I feel

sacred here,"

then celebrates

that feeling.

• Locus is a general
term for a sacred

space that's more

or less permanent.

One of the more

clinical terms for

a power-place,

locus means "a

source or center."

In vogue among

New Agers,

despised by

traditional folk,

the term is

hardly universal.
 FYE: Blackwell's Cove
From water we are born, and to water some ofus return.
Long ago, on the shores of a lake i n the Old Country. Lady Blackwell
lived in a crumbling manor owned by her aged, indifferent husband.
Young and vibrant, she often shunned his company, rambling along the
shores of the lake with no company save her own thoughts and occasionally
her horse.
On one such ramble, she met a proud and handsome man whose eyes shimmered like the lake at morning
and whose limbs glistened with cool droplets. Who could blame the lady for her admiration? Who could. in her shoes,
take proper leave and return to her dreary home? And who could say what transpired between Lady Blackwell and her
new friend, save things not discussed in polite company?
For months, the Lady met the stranger for secret rendezvous. And for months, not a soul betrayed her. But
chambermaids are known for talking, and the amusement they expressed at the scent of lake-water (and some less
savory odors) on their mistress' garments soon reached the ears of one who heard without amusement.
The Lord's men caught the stranger one morning shortly after. He was,they later said, quite strong, and the
Lord's men were much abused before they tied him down. They took him to a clearing, where Lord Blackwell and his
wife waited. As she howled like a branded cat, Lady Blackwell watched the men take her love and toss him upon a
pyre. His howls matched her own, but instead of burning hair and flesh, the witnesses smelled steam rising from the
flames. When the fire died down, no scrap of bone was found.
Lady Blackwell was confined soon after, raving of a garden far beneath the lake. III-treated by her angry
master, she soon escaped. They found her clothes at Blackwell's Cove, by water's edge at daybreak. It's said she still
walks the shores at night, hand in hand with her true love.
Blackwell's Cove retains its bleak, romantic power. Its legendry predates the tale, however: for as long as
anyone can recall, the cove has hosted tales of merfolk, kelpies, and watery ghosts. Children have disappeared near
its shores, young men have been lured off by slender maids frolicking in the cold lake waters, boggy shuffling has
been heard outside the windows of Blackwell Manor, and then, of course, there are the spectres of Lady Blackwell and
her paramour.
Even without aquatic creatures, the cove runs deep with secrets. Stretched out between shrouded mountains,
the lake shimmers like an old god's mirror, its surface calm, its depths implacable. Chilly on the best of days, it steams
each night and morning with a haze that swallows up a l l sight by water's edge. Remote even in the modern age, the
lake and cove evoke a restless melancholy, yet they brim with power nonetheless. Long rumored to be gates to Faerie,
Blackwell's Cove, the manor, and the lake attract occasional visitors. Some come to pay tribute to romantic ghosts,
some seek solace, and a hardy few drop by to swim. Every now and then,you can see nude figures in the lake's deep
draw, cavorting as if they had not a care in the world.
 Goblin Markets: 'Che Glitter 'Crode
Uke sacks upon a peddler's back, goblin markets often duster on or the strange cafe? Another. A market might be a strip of stores and

near a place of power. Shops, bazaars, stands, or even strip malls taverns open after dusk, a shopping mall that never seems to be

known for unusual commerce, these markets provide touchpoints open until you go by at just the right time, a single shop on a

for the Mysterium. campus fringe, o r a cluster of stalls open

What's a goblin market? It's where And said the hour was early still, just one night each month, at full moon's

merchants from this world and the other The dew not fa ll'n, the wind not c h i l l : height. I've seen them tucked in discreet

realms congregate for business and Listen i n g ever, but not catching corners of the mortal realm or rising from

pleasure. Open from twilight until dawn, The customary cry, the Faerie wood. You might have visited

a market features products you can't find "Come buy, come buy," one in dreams or stumbled into one while

just anywhere: heirlooms from your With its iterated jingle searching for a special gift. Some are

childhood, books of secrets, mystic trinkets, Of suga r-baited words ... obvious, others disguised. All of them carry

music albums that never reached mortal mundane stuff for browsers, but they stock

shelves, dothes not made by human hands. Christina Rossetti prizes for the customer who wants

Each shop has a specialty - collectibles, from ''The Goblin Marke!" something... special.

antiques, music, talismans, herbs and This so-called glitter trade reaches back

potions, books, furniture, clothing, even wishes. (These last are to be into antiquity. The ancient Greeks and Hebrews, Phoenicians and

avoided, though - they never come true quite like you planned and Chinese trafficked heavily with their faerie kin; Arab traders and

rarely seem worth the cost.) Hindu merchants set up stalls alongside djinn and apsara; islanders

You've heard the tale of the antique store that appeared one from the great Pacific canoed to islands where gods were said to

day, sold odd wares, then was never seen again? A goblin market. Or dwell; Lakota and Cherokee held banquets at which spirit·folk were
 FY€: Che Brick
It's easy to miss: a single glass door sandwiched between two small
stores in an urban shopping strip. The door says simply The Brick Book
Shoppe in painted letters. Fliers from local clubs and bands paper the
door in garish colors. The Open sign is always out, and light glows from
within. Past the door, you find a set of stairs; sometimes they go up, sometimes
they go down. Not even the regulars know from visit to visit which way those stairs
will lead.
At the top (or bottom) of those stairs, a spacious room beckons - a room too large, it seems, for the space the
shop could occupy. Floor-ta-ceiling shelves tine the walls; waist-high display stands vie with reading chairs. small tables,
and a number of shoulder-height bookshelves crammed with stock. Incense and the aroma of coffee glide above the smell
of books, and a smooth, even light pervades the space regardless of the hour. Here and there, bright posters and tapestries
betray the shop's New Age leanings - zodiac posters; prints by Boulet, Waterhouse, Klimt; work from local artists; Near­
East patterns on batiked cotton drapes. Off to the sides, small alcoves take the space in unexpected directions: a rack of
hanging posters displays wall-wares; a black-shelved wall boasts dozens of CDs, plus a player with which to sample them;
candles and essential oils bedeck a glass-and-silver rack; mannequi ns display the vivid clothing stocked nearby. In the
furthest corner from the door. a coffee bar boasts cheap yet savory brews and treats. A rack of magazines like Creen Egg,
Parabola. and �enaissance offers light reading nearby.
The Brick is always open. Its staff is always cool. Depending on the hour, you could find Carl and Azam discussing
politics, Miranda flirting with the customers. Jasmine trying oh-so-hard not to spend her paycheck on this week's
deliveries, Tara showing off her newest tattoo, linda reading Ta rot, or Jase studying for his next exam. There are two
constants in the shop: Wicklow, the store manager (though not, it seems, its owner). and Danelaw, his wolf-hybrid
companion ... who bears a striking resemblance to Wick low himself.
The Brick's stock is what you might expect, but better. Fantasy and SF sections devote their space to obscure
authors - not a pulp novel in sight! A small history section leans heavily toward alternative perspectives, Cultural
Studies defies conventional wisdom, and Pop Culture celebrates brave perversity. As for metaphYSiCS, take your pick:
magic, alternative lifestyles, divination, quantum SCience, info age, religion (sorted by faith), and many others. A store so
small should never be able to hold this much stock, but the Brick is no ordinary store...
No matter what you're looking for, you can find it here. The shop a lmost seems to know your selection (and your
available funds) before you get there. The prices are reasonable but not too cheap - low enough to afford your
purchase, not so low as to let you off easily. The staff is helpful, but not obtrusive - they always seem to know when
you need help and when you want to be left alone. Browsing is encouraged here. And stealing? You don't want to know
what happens to shoplifters.
 Sanctoro: Gathering p laces
Commerce is companionship, too. And S0, (Dashwoods, a very exclusive occultist dub, supposedly has
some markets are meet points rather than cages in its basements. People who show up uninvited are befriended

shops. Clubs, museums, caf

es, taverns, by the staff, then drugged, hustled down the cages, and either

festivals, even living rooms become gathering brainwashed into servitude or used as toys by Brimstone Green,

places for people with unusual temperaments. the master of the club.)

Although occasionally called sanctora, Private sanctora boast a high weirdness threshold. Without

such places have no true definition. mundane clientele, both hosts and regulars indulge themselves.

Generally, a space is claimed and consecrated Occult subcultures like the masked sophisticati or the Dawnfire Dregs
by a group who either holds meetings there, stage elaborate masques and dub-crawls, faerie creatures unmask, and

keeps the place open for whoever might enjoy practices and attire that would be difficult to get away with in most

it, or designates it for certain activities. venues are commonplace. Rituals and demonstrations of weird

Eventually, word spreads through the local science oerur, and though their effects remain fairly subdued, the

Mysterium. The right people begin to show energies involved are obvious.

up. the right events are held, and the place's The atmosphere may be raucous

reputation begins to grow. or refined, but by mortal

Most sandora are open to the public. standards, it's pretty strange.

The twilight folk maintain a fairly low profile, Both goblin markets and

and mundane clients keep the spot in sanctora use guardian spirits,

business. Even so, a public business attracts bouncers, and magical wards to

attention - mortal and otherwise. Faerie keep the peace. Disruptive parties

beings, twilight folk, people who desperately are either ejected or dealt with...

wish to be either one ... those pack the venue otherwise. Most times, however,

on a good night. Even when sum folk stay on clients of such places keep

their best behavior, a perceptive visitor will themselves in check. Peer

notice something... odd. He may spot strange pressure and threats of

dress and behavior among his companions, retribution maintain a certain

overhear sinister conversations, or catch amount of decorum, but most

weird feelings in the energy of the place. Of twilight people behave

course, this makes a sanctorum even more themselves in a sanctorum

attractive to certain mortals. And so, if the simply because it's there. A host,
place is public, business there is often good. after all, doesn't have to open his

Of course, some sanctora remain private doors at all. Ifhe wants to avoid

affairs. Exdusive dubs, residences, invite-only headaches, he can just dose

parties, and the so-called ghost bars that move down. Even in large cities, a good

from place to place - only the right people sanctorum is hard to find;

know about such venues, and only the right nobody in the local scene wants

people are welcome. Trespassers come and go, of course - a party is to lose one once they've found it.

that much more attractive ifyou're not on the guest list - but most

sanctorum hosts have plans in place for gatecrashers.

 Fve: Shingo's
Nestled i n the heart of Harajuku, Tokyo, lies the entrance to
wonderland. Send PostPets to your friends on a candy-bright cell
phone. Wave to Miho-Neko, the beckoning cat statue colored like a
firestorm cyclone. Drift down two flights of neon-blasted stairs, wrapped in
your Kabuki best. Immerse yourself i n swirling J-pop and marvel at the latest
kei (fashion). Use your bright purple harau card to buy a fizzy sea-green drink
(non-alcoholic, of course!), and come blend into the technomass that is Tokyo youth
culture at its most intense.
It's girls in vibrant flash, faces painted in day-glo masks; boys in mirrored shades, b-boyed out in ersatz hip-hop
gear; a manga storm in three dimensions, set to a deafening techno score. But despite the clublike ambiance, nobody
here is dancing- some customs are hard to break, even for Japan's most vibrant generation. Kids come to Shingo's to
be seen, to sing J-pop karaoke, to play this week's hottest arcade games and peruse the crop of manga. They watch the
robots dance in jerky rhythm with the beat and mill among bright strangers who might not actually be human.They
scope out fresh kei and get ideas for the next persona they will don. And most of all, they trade in secrets, lies, and
gadgetry. For though the grown-ups don't know it yet, some of the marta I world's foremost neomancers thrive among
the Harajuku scene... and nearly all of them are under 17-
There's a revolution going on in Tokyo. It has nothing to do with guns or violence and everything to do with
technological perception. In the sizzling Ground Zero of wearable technology and pop-CUlture tsunamis, the Harajuku
kids (girls especially) have adopted a "whatever works" approach to pretty much everything. Favoring fun over function,
style over sheer utility, these children of infopop tech mix and match devices like cell phones and MiniDisc players with
handmade jewels and anime iconography. Most of these kids are just playing, but - as with so many other things
Nippon - that play is brow-creasingly intense. Innovation rules here; the kids here make not only their own clothing,
but - when they have the materials and know-how - their technology as well. Personal designs are ike-teru (cool),
store-bought ones dasa-i (not). And so, naturally, Shingo's has become a Mecca for bleeding-edge inventions ... and
identity as well.
For the Japanese, identity has always been a group thing, but the waves of pop-culture infotech these last few
decades have eroded that foundation. An almost American sense of self has begun to replace traditional ideals, but ­
as always - it bears a distinctly Japanese impression. The kids of Harajuku are melding group and individual identities
into a stylish new creation: a meta mask where everyone's a star in larger-than-life adventures. Mundane life is far too
stifling for these kids, so they create personas and enact their own adventures.
Like a living manga, the Tokyo streets now host a Mysterium too outrageous for mere adults to understand.
Identity and reality bleed out like cheap silk in the rain; their colors run together, become something bright and clever.
Spirits of old Nippon and new Japan mingle with the youth, and both the aelden and their mortal cousins are
transformed...
l Cross i n g Over

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Crossways: Gates of Passage
So dose and yet so distant lie the realms of man and faerie. Like
guitar strings, the two worlds vibrate dose together, ringing in
harmony but still separated. Crossing between them is possible, but
it's not often easy. Even long ago, when creation's song was new, the
passage between realms was difficult. Certain times and places were
- and still remain - prime crossing zones. But stepping between
our world and the next has never been as simple as walking through
a door. .. not for us, and not for our ageless cousins, either.
And yet...
There are places. times, and even items that can bridge this
divide. Like doorways. these portals open and shut; when opened,
they let visitors see - and occasionally even pass - into the
neighboring realm; when shut, they're nearly impossible to notice.
These crossways form in places where elements run
together: crossroads, douds of mist, gravesites, caverns, beaches,
cliffsides, mirrors, flaming infernos, and the banks of running
waters. In some lands, the crossings lie beneath large hills or at
the foot of mountains; in other tales, you reach them by diving
deep into lakes or oceans. The crossways might open at only at
certain times of day, like dawn and dusk, or at certain moments of
the year, like solstices and full moons. Any time or place where one
thing borders on another might, under the right circumstances,
become a crossway. But then again, it might not.
A crossway, you see, has no set form or trigger. The whims
of Nature, not the will of her creations, seem to dictate what can and
cannot pass. Even so, certain times and places seem more
appropriate than others. Legends tell of 13th floors, lost lanes, secret
groves, and hidden gardens; holidays like Halloween, Christmas. or
Midsummer's Eve mark times when worlds can - and do! ­
merge into one another. At such times or places, the borders grow
thin indeed.
Living beings can be crossways. too. Although this gift is rare
among mortals and feykind, it occasionally manifests as an arcane
birthright. Certain spirit-beings - notably celestials - are notorious
for their worldwalking talents. Tales abound of angels and aliens
who appear from distant planes, take mortals by the hand, and
whisk them off for visitations. Some animals - like cats, larks, and
owls - are famed worldwalkers, too; such creatures flit between the
realms with hardly a second thought. Most times, a worldwalker
travels alone; her gift cannot bear another's weight. Every so often,
though, a living crossway can open gates for other travelers. Such
folk make prized. companions among the twilight people, for their
gifts of passage are more reliable than most other means.
Whatever form it takes. a crossway provides an unpredictable
fonn of passage. Although a crossway might be known to work,
there's no guarantee that it will work when you need it. .. or that it
will lead where you want to go. Any trip between our worlds runs a
risk: you cannot know for certain where you will go, when you will
get there, and ifyou can return to the place in which you started.
Since the beginning of time, creatures have tried (with
varying success) to create crossways on demand. But though a few
of these experiments pan out, many would-be crossways just don't
work. The missing ingredient seems to be mystery itself; passage to
uncertainty, it seems, must itself remain uncertain.
And so it does...
Che
"Just Couse" Principle
Chances are, you're probably looking for the section that
describes the game rules for crossi ng over into Deliria, faerie
weirdness, and other phenomena.
But there aren't many.
Although a few systems for otherworld Iy travel can be found in Chapter
7. Page 313, most otherworldly crossings and occurrences operate on the "just
cause" princi ple: such things happe n just 'cause it's a faerie tale. There are no
rules, simply story elements. The Gu ide desc ribes w h at's ha ppening, and the
players take it on faith.
You can find more about the "just cause" prin ci ple in Chapter 4,
Page 160, but for the most part, the idea is simple: Creation works in
strange ways. They don't always make rational sense
and t h ey re not really supposed to, either.
'
That's how faerie tales work.
Passin g Chrough
So similar are the realms of man and faerie that in rural areas you
might cross between them without realizing you've made the
passage. The borderlands aren't marked by fireworks but by small
and subtle changes: clouds of mist, quick slumber, a deepening of
shade and hue in your surroundings, or a thickening of woods or
waters. Many a mortal has gone a'walking in the wood only to lose
herself in a strange and wondrous land, and many an aelder has
wandered from familiar fields only to find himself knocking in
confusion upon a mortal's door.
Urban crossings are another matter. If you should step
between a mortal city and one of Deliria'S metropoli, you'll know the
difference immediately! The cities of man are busy things, loud and
dirty and full of life; fey settlements, or dominions, are far smaller,
quieter, and often eerie. In mortal lands, buildings rise like shards
of stone and glass from the asphalt streets below; a Delirian city
grows from its surroundings like a garden, crafted so that dwellings
and the land merge into one. Human cities blaze with electricity and
burning fuel; aelder ones glow with lantern-light and sweet oils -
the power-grids of man's technology are nowhere to be found.
 Faerie Dings
At night, you'll see them dance within
a blaze. Twirling 'round 'til break of day,
the little folk spin rings of glitterfall.
Nearby. the mortal m i nutes cease; time
is measured differently here, and only
dawn's slow rise will lay the faerie folk
to rest.
It's an old tale indeed: wild faeries gather
under moonglow, and their revels set the land
alight. Unearthly songs weave brave enchantments.
and the earth herself responds. like lovers, the fey bewitch a place,
leaving tryst-rings when they go. From time to time, a mortal
wanders in to watch or join the dance. These dancers are rarely seen
again;"the Good Folk have them now," it's said, and prayers are spoken
for their souls.
The faerie ring has a venerable tradition. Most commonly known in
Anglo-Celtic legendry, uncanny dancing circles can be found in Hindu, African,
and Native American folklore, too. Created in one night of revelry, such rings provide
a crossway between our world and Deliria. Spun by song and faerie magics, the ring
shimmers with spellbinding light. Time and distance dilate while the faeries dance; mortal
beasts and humans are lured to the spot...
Victorian nursery-rhymes aside, a ring can be a terrifying sight. It conjures wild energies
and sets them racing, gathering like a tempest until the night fairly burns with power. Tales speak of
animals up on their hind legs, dancing like drunkards to aelder refrains,or of mortal lads and ladies
ravaged by the Folk. Dark legends of ancient Greece depict mad maenads and satyrs howling at the
night. Medieval lore placed witches and their demon consorts in the ring, with Satan at its center.
Manya wild hunt has begun with little fairies capering in a ring ... until the energies unleashed
swell them to a giant's size and send them loping off to kill.
The reality? All the tales are true to some extent: shimmerlings and kindly fey enjoy their
little outings; so do their more vicious cousins. A ring sets earthly forces spinning, and the chaos that
unfolds depends more upon the dancers than on the dance space.
But in the modern world, faerie rings are pretty rare. When the Good Folk gather now, it's
often fa r from the haunts of man. The rings they leave soon fade away, and though hikers and children
sometimes find them, the patterns are often explained away as fungus growths or nonsense.
Often... but not always.
More recently, some faeries have grown bold. Instead of discreet woodland rings, the Folk
now caper through our crops and gardens. Small bright patches or huge Circle-patterns show where
dances between the worlds were done. And while mortals look for aliens or jokers, the true culprits enjoy
a laugh at our expense.
A mortal city's noise would be anathema to Faerie, its chemical
stenches blasphemy; a fey town would seem primitive by modern
standards, wrapped in greenery or living stone, quiet in uncanny
ways. Music of all kinds can be overheard in both, but the raucous
symphonies of traffic and man's media give way in Faerie to
hypnotic trance-tunes and the soft song of the land.
Crossing on Purpose
If you want to pass between realms of your own accord, you've got
several options: portals, rituals, crosskeys, astral projection, song, or
simple chance. Naturally, you have to find a crossway first.
Without a place or time of passage, you're wasting
your time. People have walked into Faerie
without warning, but the odds don't favor
such happenings!
Song and Circle
The best way to find Faerie is not to
walk but to sing. Music provides the
strongest link between the worlds -
perhaps it harmonizes disparate planes
together, calls like to like, or summons
powerful entities who make the passage
easier. It may even boost the singer herself
to another level of awareness, one in which the
roads between realms appear.
In any case, song provides the traditional bridge to
Faerie. Many tales tell of the singing maid who wandered, the
minstrel boy who won an aelvish love, the bards who opened gates
to other realms just by playing, or the nightclub that attracted
strange clientele. Could it be that certain songs pluck the strings of
both worlds? Or that harmonies and dissonance converge, drawing
both together? Everyone's got ideas, but no one has the answers .
Whatever the reason, music lays the bridge of passage. And
dance - especially whirling, circular dance - sets your feet upon
it. Traditions speak of faerie rings, spiral dances, whirling furies
that open the gate of dreams. The circle lays the pattern, music
sets the tempo, passions roused by both create the synergy, and
Faerie responds ...
Or not, as the case may be. Some kinds of music seem to
distance Deliria and our realm. Harsh, sterile, or dissonant sounds
traditionally drive fey influence away. In olden times church bells,
clashing cymbals, sudden screams, and even off-key singing were
used to banish the Good Neighbors from mortal soil. The bland
tones of Muzak and the dissonance of industrial noise seem like
anathema to faeries, who've been known to flee places plagued with
such music. Fey beings are renowned for their love of song, but
there appear to be lines they will not - or cannot - cross.
Melodic music, on the other hand, seems like an invitation.
Intricate harmonies, smooth pitches, flowing resonance, and most
of all, passion - these elements create a sacred space in which a
door to Faerie opens. Combined with a circle dance (often
widdershins, or counterclockwise), deep harmonies strike the tune
that calls the realms to join. There are no certain roads to Faerie, but
a journey that begins with fine song and a circle is off to the best
possible beginning.
Gateways
If you have neither song nor circle nor time to create either one, a
portal provides the most reliable crossing. Deliberately constructed
by spell or device, a Faerie gateway often - but not always! -
leads from one set location to another. Such doorways
are rare, often guarded, and nearly always sealed
by some lock and key.
Finding the portal, its lock, and the key
to open both is often a hero's quest in itself.
Typically, these passages are disguised as
paintings, graffiti, mirrors, hidden doors,
trap doors. bridges . closets, stairways.
pools, and even elevators; unless you've
got the key that opens the gateway, the
passage appears utterly mundane and leads
nowhere special. Should you obtain that key,
however, the passageway opens and you can
step right through.
Keys and Opening nituals
Each key and each gate is different. Some are quick and easy to use,
whereas others demand a ritual that must be performed before the
gate will open. Such rituals often focus on the nature of the gate, the
place it's supposed to lead to, and the being who designed the portal
in the first place. A ritual to open a garden gateway built by
Sabellian monks, for example, might involve chanting hymns while
walking nine times clockwise at dawn. A portal built in a cemetery
by corpse-eating denizens of Nerhallow might demand a bloodfeast.
A gate set in the back room of the Brick might just demand a brass
key and a passage from Shakespeare. Each key and rite is different.
The trick is finding the right key to the right door with the right ritual
at the right time! If this seems complicated... well, there are reasons
passage between worlds is difficult, and there are many people who
want to keep it that way!
Crosskeys
Some travelers, though, depend upon reliable methods of
transposition. Wayfarers, warders, goblin market traders,
otherworldly tourists - such folk need to know when and if they
can pass between the worlds. Thus, the trade in crosskeys - tiny
portals that fit into pockets, drawers, or jewelry. Developed during
the Renaissance (though some say they existed far earlier), these
small treasures focus crossway energies. Engraved with intricate
designs, a crosskey blends a circular shape, elemental motifs, and Mindcasting: Astral Cravel
ores from the mountains of Deliria. Forged with secret spellcraft, The most reliable method of crossing is also the most difficult: astral
this rare and precious disc fetches a very high price... provided you projection, the discipline of projecting your essence and consciousness

can find one at all! (Fakes are common; it's said that no two out of your body and sending them where your body cannot go.

crosskeys look exactly the same, but that might just be because so This art refines a talent we already possess. People astrally

few people have ever examined more than one at a time.) project all the time without knowing it. Remember those times

To use a crosskey, set it on the ground by your feet; stand on when you felt yourself out of body for a moment? Or when you

its perimeter and meditate on its designs until a song or chant could swear you were by your lover's side. even when he was across

begins to echo in your mind. Walking widdershins (counterclockwise) the country? And then there are dreams, during which mind and

around the disc nine times, hum, sing, or chant the music. Close soul go wandering while the body rests. Astral projection is

your eyes on the last three passes; when you open them, you'll instinctive; the trick is turning that instinct into skill.

(hopefully!) be in Deliria. Deliberate mindcasting takes work: meditations, prayer,

Where in Deliria will you be? Ah, there's the rub. A crosskey visualization - these disciplines provide the tools, but using them

might send you anywhere. You won't know your destination until well demands practice. It takes time, too. Very few mortals can

you wind up there... if even then. Passing back over has the same step out of their bodies on a moment's notice. and these folk barely

problem; you could use a crosskey in New York, wind up in qualify as mortal at all. Entering a trance, a would-be traveler

Furnage, and cross back over a few minutes later, only to find visualizes herself rising from her body, often bound to it by a

yourself in London several days past the time you crossed over. It's slender strand of web; projecting her thoughts and senses off to

disconcerting, to say the least. another location, she lets herself wander, anchoring herself by

locking onto impressions she finds along the way. Most people

can wander a short distance only. Skilled mindcasters, though,

 'Chought-Forms
The mind is a powerful thing.
Sometimes, especially during
astral travel, a person's
imagination can craft a thought­
form based on the traveler's
image of himself, not the shape of
his physique. The body itself doesn't
change, but the thought-form takes its
place on the astral journey. Most times, this form
remains invisible or travels off to Faerie; a truly powerful
mindcaster, however, can manifest the form for very short
times on the mortal plane as well.
An intensified aura, this form often looks pretty much like the
living body. A skilled mindcaster, however, can re-shape his astral
body so that it looks the way he wants to look, rather than the way he
normally looks. Traditionally, this helped witches fly. shamans become
animals, and priests send visions to the faithful. More recently, it allows
role players to assume the bodies of their characters, rather than their own bodies.
A thought-form has another benefit, too: illness of the body can be left behind. So
long as he knows what sight is like, a blind m indcaster can see in Faerie. A crippled woman
can walk; an old woman might be young again. Astral travel's based on imagination, not
physical health. $0 long as the body isn't dying, a thought-form can be as healthy as the
traveler desires.
Until recently, this metamorphosis took rare skill; now, with the popularity of (GI,
the ubiquity of mirrors and cameras, and the intense identification of roleplaying,
form-shaping is easy... too easy. The bizarre images of media superheroes turn
roleplaying faders into grotesque parodies of themselves; this, in turn, creeps out the
aelderfolk who see them. (Imagine meeting a Julie Bell painting in the flesh, complete with
impossible muscles and strange Skin-tones...) The mortal imagination has taken some
bizarre twists in recent years, and ourfey cousins don't know what to make of these odd,
synthetic forms.

For more details about thought-forms and astral travel, see Chapter 6,
Pages 271-272.
may send themselves across great distances in the mortal world.
Some can even visit the otherworlds, provided they know where
they're going and how they're getting back.

Diving l n
Most astral visitors to Faerie descend into a liquid trance; shedding
fears, bodies, clothing, and other burdens, they dive deep into the

Silver Sea, the fey reflection of all-consciousness. Eventually, a

traveler emerges, dripping rainbows, from an ocean or tributary in
Deliria. Nude and bare-handed, she walks the Faerie land, solid­
bodied as if she had been born there. So long as her body remains
safe back home, she may live in Deliria for as long as she likes;
whatever happens to that physical body, however, harms the
traveler's astral form as well. Many a visitor to the faerie realm has
fallen ill or died when her home-form suffered misfortune!
There are other problems too, of course. The phrase "it's all in
your head" is painfully appropriate to astral travel. How can you
prove the physical reality of an imaginary journey when your physical
body has been left behind? (Of course, sages argue that the
imagination's reality is truer than the body's reality; that, however, is
a semantic circle best left for another time.) The journey has strange
hazards of its own - astral currents, predatory spirits, and the safety
of the body back home. Most dangerous of ali, a traveler might
enjoy herself so much that she never wants to return to the physical
world... not realizing that if her body dies, she perishes as well.

phantoms and Faders

People phase in and out of Faerie all the time in astral form; most
times, though, these visitors are in a dream state. Semi-solid at
best, they seem to be the ghosts of Deliria and are often treated as
such by its inhabitants. Dream-visitors usually last only a short
time before returning home to awaken from their dreams. A few,
however, remain trapped in Faerie - coma victims, lost astral
travelers, or the restless souls of dead mortals who somehow
become lodged between earth, Deliria, and the realms beyond.
More recently, though, mindcasting has literally entered new
dimensions. Astral innovations - the telephone and Internet -
have opened mindcasting to mortals across the world. Very few
people who enter this no-space understand what they're doing;
fewer still move all the way from voice- or- mind- only
communications to full-blown astral travel.
Ah, but some folks do - often without realizing it. Like the
aforementioned ghosts, these people fade in and out of Delirials
periphery, rarely seeingbut occasionally seen by the natives ofthe realm.
These apparitions - apparently blind and talking nonsense to
invisible partners - have given rise to a new strain of folklore in the

Faerie realm: mad spirits mumbling to themselves, foretelling certain

doom. Fey-folk call these spirits phantasms andfaders, and they concoct
charms to guard themselves against the mad spirit's depredations!
 'Cechnology
and Deliria
Faerie works by old laws - laws
set down in ancient times,
sometimes naturally. other times
by powers that liked things
simple and controllable. And so
most high.tech gadgets refuse to
function once you cross into Deliria.
Generally. technology designed before the High
Middle Ages appears to work, either because it suits the
powers that be or because the sciences of those eras were
half-magical to begin with. Complex devices and materials
based upon modern scientific theory. however, have problems:
batteries go dead, software malfunctions, plastics turn into liquids,
and compounds go inert. Worse, a device might change into
something else or simply disa ppear.
Perhaps it's because Delirill itself defies scientific logic. Those who try to
analyze fey ecology through SCientific methods wind up pulling their hair out in
frustration. Experiments yield different results each time; maps never lead the same way
twice. It's as if Faerie itself refuses to be catalogued. All attempts to do so fail.
There's another reason high technology rarely works in Faerie, too; most modern
tech demands support. Phones need networks; computers require power grids. A
camcorder without electricity is a hunk of plastic; a gun without bullets is a metal club.
Even if your device still works, most machines require maintenance, fuel, or other
supplements - and these are hard to come by. No gas stations. no Wal-Marts. Even if
you could get a gun to work, where will you get bullets when you run out of the ones
you have?
Some mortals try to bring man's scientific savvy to this realm. It rarely works. In
nefiria, the laws of time and physics depend on different principles. Even in technological
dominions. that tech works strangely - and it almost never works the same way back
home. In contrast to mortal laws. Deliria'S principles seem to depend on creativity. not
objectivity. A thing works because it seems like it should, not because the laws of nature
demand that it wiff. Fey science is still magiC for all intents and purposes; therefore, for
now, man's devices have little use in Faerie.
For now.
Some of these charms have even been known to work. So if you're
on the phone some night and suddenly hear a strange voice
chanting in the distance, be polite; apologize for disturbing the
faerie, and shake yourself back to mortal reality before something
unpleasant occurs.
'Che New Barbarians
Accidental border-crossing can be forgiven. A handful of astral
travelers, however, trespass into Deliria through a whole new route:
online roleplaying games. Projecting themselves into imaginary roles,
these mortals clothe themselves in thought-forms - forms often
based on debased faerie-tale figures! And so it is that gaudy
apparitions sometimes fade in, move around stiffly, shout
gobbledygook, and fade out again, much to the puzzlement of the fey.
Most visitations by these odd phantasms are accidental and
temporary. Some players, however, have realized the implications
of their activities. Combining astral meditations with deep-focus
roleplaying and sophisticated interface, these travelers have learned
to sidestep the Silver Sea, manifest as solid versions of their fantasy
selves, and walk around Deliria in substantial forms. Two dominions,
Tinderland and Helltown, have already been established by these
strange newcomers; more settlements seem inevitable.
Many of these new barbarians seem harmless, if occasionally
silly; some, unfortunately, have brought their most violent fantasies
with them. Although the sophisticated weaponry envisioned by
some astral travelers disappears within Deliria (more about that
phenomenon shortly), the traditional weapons of archaic humanity
work just fine. Envisioning - perhaps even believing - that they're
playing in an elaborate imaginary world, some of these astral
travelers have begun to hack-n-slash their way through Faerie.
As you might imagine, this has not made the new
settlers popular.
Native fey and aelderblood mortals have begun to resent,
even attack, these new barbarians; the barbarians, thinking that
they're playing a computer game, attack back. The battles have been
sporadic thus far, but as the online roleplaying phenomenon
spreads, the population of these astral visitors grows. As this
happens, the problems they bring grow far worse.
Virtually 'Chere?
How can the tools of mankind's most rational arts provide access
to the most irrational fields of Faerie? A popular theory among
extropean neomancers (modem wizards who specialize in
metaphysical evolution) asserts that Faerie is the astral there of virtual
reality - a place where your mind and spirit can be present with
others yet exist outside of physical dimensions (biology, physics, etc.).
The evidence (such as it is) supports the idea. Traditionally,
Faerie exists outside time and space yet is no less real for those who
visit there. Its laws and logics seem hopelessly skewed by everyday
standards, yet they undeniably exist. It takes imagination to visit, wits
to survive, and a keen sense of home (and some talisman) if you ever
want to return to the mortal world. I f and when you get back, odd
periods of time have passed, and your body responds differently than
it would have if you'd spent that time with physical activity.
The astral there is where you go when you project your
consciousness (and some would say your soul) to a place you don't
occupy with your body but which is nevertheless real. It's where you
go when you're on the phone or Internet, when you say "my heart is
there with you" and mean it. The people you encounter in that place
are as real to you as the folks you pass on the street (possibly more
so!), even if you've never occupied the same physical space. The
experiences you have there are no less important than the ones in
your living room.
Until recently, it was difficult to visit this state unless you had
mastered astral projection, were lucid dreaming, or had experienced a
moment of transcendence. Now, thanks to technology, billions of
people go there every day without even thinking about it. Relation­
ships of every kind are forged between folks who have never met
face-to·face and who never will. Yet despite the lack of physical
contact, those relationships are no less real.
The emphasis of the idea of the real in the term
"relationships" isn't accidental; that astral there is as real as the floor
beneath your feet. (And in a world filled with cell phones, video
monitors, and home computers, it's inescapable, too!) Although we
mortals continue to define reality in spatial and temporal
dimensions, we constantly step into a reality in which those
dimensions do not exist at all. Without realizing it (that word "real"
again), we've already carried our reality into the fifth dimension.
This dimension - consciousness - is not some crackpot theory.
It's a fact, and we've built our world upon it.
So is the astral there real? And if it is, is Deliria part of that
dimension? If the answer to both questions is yes, does that make
Faerie real, too? And if the answer to that question is also yes, how
have our intrusions into this new dimension changed the Faerie
realm? Confusing though they might seem, these are vital questions.
The survival of the otherworlds might just depend upon the answers.
Crossing by Mi stake
But for all the deliberate paths between Deliria and our realm, many
travelers simply wander by mistake. Faerie has a way of sneaking up
on you. Folklore's filled with tales of mortals who went walking along
a riverside or misty moor only to emerge on unfamiliar ground.
Many a faerie tale begins with a short trip down the road... only to
find that the road in question suddenly leads to somewhere tlst. And
many a tear has been shed for folks who've gone off on a simple
errand and wound up just gone.
 Guides Beyond
Our otherworldly cousins show a bit more savvy, but even they When you're heading down the rabbit hole, it helps to have a white

i:asionally wind up in our realm without warning. Indeed, our rabbit beside you. For many travelers, intentional and accidental

world mingles so many elements so rapidly that Papa Legba, alike, a fey companion eases the transition (or brings it about!) from

ee,,,,, olthe crossroads, would be hard·pressed to keep track of them one realm to the next.

Aelder beings sometimes appear in office buildings or subways, Faerie lore overflows with such companions, from Carroll's

sttliml'hnlg out ofdressing rooms or electronics stores with jangled white rabbit and Barrie's Tinkerbell to the beast-spirits of tribal

Most ofthese lost cousins find their way back home without epics, from the angels of Christian iconography to the goblin-figures

problem, but some end up stranded in the mortal world, terrified of Norse legendry. Such figures may be spirits, animals, insects, and

sometimes mad. (Not all street-people are human, you know...) even - in modem folklore - haze-visions of living CGI. To run

Ironically, this era in which mortals dismiss ideas like Faerie with them is to cross the threshold of the everyday and plunge down

brought our two worlds closer. For though human technology new and wondrous roads.

seem to have shut the door on Faerie, the fact is, technology Fey visitors use them, too; many a Delirian traveler has a

opened it wider than before. As mortals make old boundaries companion by his side. Owls, larks, cats, hounds, wolves. rats, even

iaDD",", new crossways spring up without notice or intention. TV butterflies accompany the aelden guests among us. These

computer monitors, elevators, telephones, subway tunnels, companions watch a traveler's back, find the paths, and make the

movie theatres - these are the mist-banks and crossroads of contacts that a stranger needs when he visits a strange land.

modem world. Such sites and devices provide nexus-points for lbese heralds of the voyage appear of their own accord. You

C{<eation's whims, striking notes of sublime - if puzzling - might summon one, but he'll come when and if he pleases. There's

J!lIlmcmy between our worlds. an element of destiny in such a creature's presence; perhaps the

guide himself provides the key to the gate of dreams ...

Ch e Green Worl d : Faeri e

The Stag breaks throur/J the ul1ilerbrnsb of paths ul1troo for ages OOWl1 the spira[ei) cliffs of Ar�re or the [ifi;t[ess shoals of Kas.
...

His mist-breath shimmers il1 the morning [ight. Hooves His hooves oal1ce past hres of peroitiol1 al10 g[iile 011

the boar-frost il1 a wil1ter g[aile, melt the ice that crackles at salvatiol1's clouils. The:!) rouse the mermaios �om their games, stir

feet. sebil1il ;gou, footpril1ts glitter il1 the rising SUit The song skitter[il1fjS croucbeo il1 CPUs. DY:9a�S wave as the Stag runs pas�

»1orl1ina greets ;gou both as oaWl1-biros f[:!) awa:!). al1il howlers gnash their rivel1 jaws. Young mice come forth to greet

No stagger il1 his ol1waro flight, :!)our host exp[oiles across the the soUl1il, aJ1� ul1icorns 011 Faerie's hi[[s oip horns il1 quick salute.

The Stag bolts through the Bramb[e, where su[[el1 wombs

... past the A[twa[�'s timeless boughs... breeil grumbles of l1ew oawl1. Their �actureil spi[[s of ether[ight

...across the crumb[il1g brioge of E[oerwhere, thel1 the shores of p[a:!) out il1 spiral chaos forms, [ightl1il1g-f[ash through tel1�ri[s of

s[el1iler glass. Their voices, thougb, are lost il1 the Dream-stag's

...a[ol1g the Whisperil1g Banks, where it is saiil that a[[ speech passage. Ignore them - the:!) ilo 110t matter 110W.
Suddenly it hits you: you're no longer where you thought you were.
Everything is different. It doesn't matter whether you dragged your
astral body from a silver stream or followed an owl through the
underbrush. You're no longer on home ground.
Amazing.
That moment never dulls. Each time you enter Faerie is like
the very first. Even the most seasoned wayfarer, who's crossed a
hundred times or more, still draws a deep breath of new-found air
when as the flash of realization dawns.
You're somewhere new and wondrous.
And now...
What the Hell?
It may look like our world. It may feel
like our world. But Deliria is not the If the faerie is the perennial tricksterfigure, then Faerie
earthly plane. Its physics and world·
soul differ from our own. And so, itself is the perennial trickster state. Your preconceptions
to their surprise. many visitors
from the human world find are just fodderfor its jests.
themselves confused.
Cronsformotion
Deliria is a primal land. Its objects come from the soil or its
inhabitants. Not so the land of men, where artificial compounds
become clothing, tools, and weaponry. And so, to the surprise of
modem worldwalkers, those synthetic compounds transform ... or
simply fall apart.
In ages past, travelers seldom noticed this phenomenon. The
crude technologies of forging and wool-work seemed to fit Faerie's
dimensions. Occasionally, a knight would find his armor rusting, its
alloys altered by the change, or a gunner would find his pistols
useless, their powder gone inert. Most times, however, the world­
arts had enough in common that what worked in one still
functioned in the other.
Not any more.
Modem fashions sometimes suffer the same treatment. At
times, it seems that Deliria has a will of its own - and a sense of
aesthetics to match. Occasionally, travelers from the modem era
cross through in T-shirts and jeans only to find themselves dressed
in cotton kilts, leather trousers, wool tunics ... or nothing at all.
Apparently, Faerie has a sense of humor, too.
Similar changes hit travelers' gear: Gore-Tex packs disappear,
spilling their contents on the ground; plastic buckles, hooks, or tools
vanish. Kevlar armor, titanium watches... gone. Sometimes these
items reappear if a traveler returns to his home plane; more often,
they simply fade away. (One legend tells of a storehouse in a distant
vale where all the things that disappear on earth or Faerie eventually
wind up. It's said some goblin market merchants get most of their
that
It's rare. but occasionally the travelers themselves transform ,.i
Men become women; women become little girls; people change
mice, dogs, or fireflies. Even if they remain human, the mortals
might age, grow younger, or suffer radical changes of hair or
When you cross through, there's no assurance you'll be the person
you were when you began. The one constant in Deliria is surprise.
Human technology can work in Deliria, but it's a chancy
thing. This is not the realm of man, after all, and his magic is
unpredictable here. In Faerie, soul-essence is more important than
materials. A visitor to Deliria becomes who she is, not what she
and if possessions dash too deeply with the essence of this place,
those possessions suffer change.
Deliria'S capricious nature sometimes works to visitors'
advantage. A boy may become a wolf, a woman a swan. As astral
travelers know, a mindcaster's body may adopt the image in his mind
rather than the features of his body. The folk ofTinderiand have
figured this out, and though few ofthem seem to know they're in a r al
place, the thought·forms they wear in Deliria attest to their swcces--.
Given this capricious nature, a wise worldwalker prepares
himself. He wears natural fabrics, bears simple tools, and doesn't
count on anything that might break down or bum out. Wayfarers,
who travel the realms often, prefer archaic fashions and tribal
ornaments; most also carry shaman's tools, herbal charms, and
traditional offerings for spirits and the faeries. After all, it's good
to have friends when you go wandering.
Che Sensual World
Close your eyes. Picture your deepest moment of clarity - the
moment when it seemed you could sense each ripple of the wind,
each bird cali, each blade of grass nearby. Dive into that feeling,
beyond words, beyond measure. Now imagine that sensation alJ
around you, eternally. That's what Faerie feels like.
The mortal world is a banquet of sensations - a banquet
so overwhelming that we're forced to push away from it a bit just
to get through the day. But Deliria can't be pushed away. Its primal
sensuousness devours you instead.
Faerie drifts on scented winds. It rustles beneath your feet,
ignites the eye, sings to the ear in music beyond song. Its hues and
textures brim with health. Deliria is the dream oflife too vibrant
 Changing Vis s
Faerie itself. Although that's not exactly true (the food itself There are no maps of Faerie, either. And there's a good reason for that

usually enchanted). that tradition symbolizes captivation. What the terrain changes constantly. Distances and dimensions alter; paths

mortals to this realm isn't the magic of the food but the sweet that used to lead one way now lead another; rooms that should be one

","lddictiv"ne,;s of all Deliria's sensations. Compared to Faerie's size become another once you enter them. Some roads and places

.......IJlerldor, the mortal world seems crude. And in a realm so filled remain more or less intact, but other paths lead to new locations every

vivid tastes, a mortal may be lost. time. Travel is more a matter of instinct than navigation, and no one -

To be fair, the aelderfolk seem to feel the same way about OUf mortal or otherwise - can say how long it'll take to get from one place

. Just as a mortal is besotted with the heady rush of Faerie, so a to another or what might happen in between.

is besotted with the wild mortal world. What enchants us both This constant disorientation helps give Deliria its name. For
strangeness - the thrill of Other. That thrill draws travelers across mortals, who like to know where they're going, it can be maddening.

the realms; it feeds the glitter trade and keeps both worlds alive. Combine the changing vistas with the time shifts and you'll

understand why Faerie has been called the Perilous Realm, the Lost

lmel(:ss Passage Lands, and the Mad Country.

hear the tale of the man who went to Faerie for one night and So how do you fInd your way around? Like I said, instinct:

in the morning - 100 years later? Although that story isn't imagine where you want to be, concentrate on fInding your way

eCE,ssarilv true, there is a major gap between mortal time and fey there, and you probably wilL . eventually.

When you step from one to the other, time passes differently.

An hour in one might be a week in another; a week could pass in Cravel

Tl}inul:es, a season in seconds. The flux works backwards. too; a How do people travel in such an odd land? Slowly. Most residents

""",__.. .. in Tinderland may last two hours in Toronto.

_ of Deliria walk. ride animals, fly, or sail. A few people use carriages,
This time-shift poses one of the greatest threats in Faerie; either drawn by beasts or self-propelled by strange technology. These

you arrive, you have no idea when you'll return home. It vehicles have limitations, though. Because there were no Roman or

be hours, it might be months, it could even be years before Chinese empires to build long-distance roads, few actual roads exist

u come back, and no one knows what'll happen while you're gone. outside dominions. Thus, wheeled travel is often limited to wagons

Neither hour nor season is fIxed between worlds. You could and carts throughout most of the realm.

enter an elevator at noon in New York and step off it a few minutes Given its trackless space, timeless seasons, primitive

later in Fumage at night. Watches, of course. are worthless. I knew a methods, and constant distractions, Faerie defies casual travel.

girl whose chronograph turned into a butterfly upon her wrist; its Although the fey dominions offer some stability, the land outside

looked like a Dali painting. and as it fluttered off, it broke into remains untamed. A trip through its wilderness is more a test of

spirit than a measure of distance. And as you might imagine, most

Most short trips suffer only small time lapses; you might visit journeys involve rough paths, dead reckoning, and plenty of delays.

.brellilon for a day and return home three days later. The longer

l?
trip, the greater the risk. So if you plan on worldwalking, get

affairs in order fIrst. You might be gone a while. Wh ere om

Spread your arms to a Faerie sky. Set your feet to its paths, your

knows no mortal sun. The seasons don't shift by heavenly heart to its sensations. Take in this vast, enchanted land. What do

. Some dominions lie in eternal winter, others suffer endless you see?

Night and day, the seasons - they exist, but not in earthly cycles. Forest. Endless green. Edged by solemn mountains and

Time is not completely random. The four seasons spin in hungry wastes, shot through with bolts of brightness and cool

, r9,ughly the same order as our own, night often follows day, and quicksilver streams. Arched out under skies that have never tasted

breaks through a darkened sky. But the duration of those cycles smog, Deliria swells with forestry. Unconquered, fearsome, it's
that's another thing. The year might be held captive by a curse; the paradise that was never lost and a shadow of a world that might

may flee the sky at what ought to be midday; a plague of never have been.

could shroud the land until some hero rights a wrong. Time Not quite a mirror of our earth. Faerie seems more like its

by what seems appropriate. not by set turnings of the year. dream-reflection. Here, aelders roam, great beasts ramble, and cities

In Deliria, folks judge time by events, not clocks or rise into the clouds. The landscape here is primal, broken here and

<)lenda,,,. There are no calendars in Faerie, and the docks are just there by settlements. Ancient beyond imagination, Deliria holds the
 That dream is treacherous, as existence are bound together in the Altwald; without it, there

forests shelter ghost-trees and gnashing teeth, sprite-rings glow with be no connection between spirit, matter, and consciousness.

witchly hues. bogs trap unwary feet. and spired cliffs crackle with the Altwald manifests divinity -it's god-spirit made material.

eternal storms. This landscape is the soul of Nature in all her The Altwald nurtures all kinds of trees: banyans. palms.

garments, from Mother Ufe to Queen of Sorrows. Against her oaks, and redwoods; from bamboo to rowan, teak to white pine

majesty. the dominions of her children pale. Its variations follow seasons and dominions (you won't find

palms in a winter kingdom). It also spans the ages and the

'Che Altwald: Dream of Wood You can find trees here that have been extinct since earth's earl

The heartbeat of this land pulsates within trees -lots of trees. For days or trees that have yet to sprout; you might shelter beneath

despite its many wonders, the centerpiece of Faerie is the Altwald - white fronds of a Buddhist heaven or blackened branches from

the Old Wood. All·Wood. dream of wilderness. seed of Eden. Dense a seething hell.

beyond imagining, this is the Forest Primeval itself It's the ghost This forest is eternal; its roots draw nourishment from

of all woods that were and the heart of all forests that will be. times and places. No bulldozer or toxic waste can kill it -

Stretching throughout Defiria. the Altwald creeps into our and no axe can dent its timbered heart. Although paths lead

world and other vales as well. Chthonic and trackless, it's the it, woodsmen harvest it, and faerie magic shapes its boughs, the

Platonic essence of woodland. Among its trunks and underbrush, Altwald stands as a monument to Nature. All Deliria rests

threats and miracles abound. It's been said that all elements of its shadow; even the vashard wastes pale in its immensity.
Che world Cree and Gorden of Forevers Shimmerlings and helpful fey
There's a tree, some say, at the heart of all the worlds. Its roots wind gather in a glade, watching over it

down into the ashes of the past and its branches reach into future and keeping peace. Their influence
skies. At the center of a garden at the Altwald's heart, this titanic lends a kind aspect to the splendor of

world tree binds the essences of That-Which-Was, That-Which-Is, the wood. Animals, too, take refuge

and That-Which-Will-Be together. Call it Yggdrasil, the Tree ofLife, here - no killing can take place
or the lotus of Meru. Around it lies a grove called Eden. In this within. The archetypal place of rest, a

Garden of Forevers. legends say, humanity was born and lived for sheltering glade boasts sweet fruits
eons until some distant sin exiled them from the shade of the great and sweet waters. No presence can
world tree. deftle its grace; all harm is banned,

If, as it has been said, all Creation grew outward from this all poisons neutralized.
place. then the Garden is sacred ground of the highest order. If there are shadows in such a
Although few wayfarers ever reach the Garden's borders or feel the place, they come from too much ease.

shade of the World Tree, some quests require a flower or blade of It's fine to take your rest here, but the

grass picked from within the forbidden Garden. stillness of the land breeds lethargy.

Nestled between all the vales, this Garden bears eternal fruit. You could fall asleep for a hundred

No plant or beast dies there except to be reborn with neither pain years while napping in a glade;

nor doubt. Mortal wayfarers weep if they should find the Tree; its nothing would disturb your rest, but
perfection reminds them of the treasures all humanity has lost. everything else might pass you by.
According to some myths, God Himself planted that Tree and
Garden; other tales insist the Tree itself is God incarnate. The Tree, Other
however, is silent. It simply is, and that's enough. Faerie elements
Deliria isn't just a place. It's the
Dark woods dream of Place. an incarnation of the
But there are shadows in the heart of heaven. nightmares in the elements and a reflection of all their

hearts of men. Nature has its terrors, too, and the sum of all of them properties. Everything in this living

becomes the Dark Wood - the dread within each forest's core. world has both a literal form and a
The Dark Wood is not a single place; rather, it's a type of symbolic essence. The wise traveler

place, a primal archetype of all that's fearsome in the wood. Draped tries to understand not only where he
in mists. choked with brambles, a Dark Wood is a test of faith. Its is but what it means to be there. The
reaches shelter wolves and demons; the trees are hungry, the paths answers can be fascinating... and

bizarre. Eerily seductive, it lures you inside, wraps you in cold important to survival.

confidence, and leads your feet astray. Its roots entwine lost
travelers' bones. Its winds cackle with forbidden jests. Crows and Faerie Fauna: Dreams of Being
owls watch from the trees, patently waiting for the next meal's fall. UThere are no such things as unicorns" was obviously said by

Dark faeries make their homes there, and mad wayfarers too. someone who'd never walked the worlds. A traveler to Deliria knows
The Dark Wood emerges before you when there's some­ better. The wilderness plays home to beasts miraculous and mortal

where you must go, some quest you must fulfill. It's impediment alike. You can see deer as well as gryphons, cats as well as

and fear, pain and solitude. Yet in its heart lie treasures, shelters, jackalopes. The fauna of the otherworld are far richer than those of

friends, and fortune. There's a certain beauty to the Dark Wood, a the earthly realm. No extinctions have erased its beasts, and though

grim necessity made all the more appealing for its shadows. If you catastrophes have thinned Faerie's herds as well as ours. something
face it and survive its terrors, a kind of comfort can be found within. always survives.
But Deliria'S wildlife is more than a simple gathering of

Sheltering Glades beasts. Its creatures are life-essences: not bundles of fur, bone. and
More obvious comforts await those who find a sheltering glade - instinct but symbols come to life. They are alive, of course -
a clearing or meadow made for rest. If the Dark Wood reflects wonderfully so - but they're sacred images as well. The animals of

impediment, a glade embodies tranquility, a respite on a hero's our world are certainly sacred, but their status has been somewhat

quest. A faerie glen inside the Altwald, the glade protects its visitors. lessened by familiarity. Faerie's beasts are pure: a cat isn't just a

Its soft grass soothes your weary feet; its flowers exude perfume. mangy pet but the essence of cat in living form. Mortals who
underestimate such beasts suffer for their arrogance.
 "My name is

Look on my works, ye Mighty, and despair!"

Nothing beside remains. Round the decay

OJ that colossal wreck, boundless and bare

The lone and level sands stretch jar away.

Percy Shelley f
from "Ozymandias"
r

Faerie boasts a dazzling, if improbable, array of birds, fish, tongues, and a good number can shape-shift into human form.

beasts, critters. marvels, and monstrosities. Unlike the earthly realm, They're wild, too, oblivious to the notion of man's rulership. Delirials
this mythic ecosystem doesn't always make sense - there appear to beasts won't tolerate human foolishness. A traveler who tries the

be too many predators, too few insects, too diverse a selection, and too great white hunter schtick will be bleached bones soon enough.

great a concentration of certain creatures in a given place. But Faerie

follows a different logic, so a wayfarer might encounter 200-foot vashards: Dreamless Wastes
pythons, white stags. and a dragon within a day's walk of one another. Bleached bones are all you might find populating the vashards -
Great beasts of mythology live here too, of course, though not barren spaces that mark some ancient devastation. Deserts, bare

in the numbers one might expect. Roleplaying games and fantasy mountains, crevices ripped from the living earth where all nearby
novels would have you believe that unicorns run in herds across has perished... for all nelirials abundance, dead regions still exist.
Faerie's plains, when in fact they're still extremely rare. Some In the same way that a Dark Wood embodies malignant

dominions seem to attract the greater beasts, but for the most part, nature, a vashard embodies emptiness. From horizon to horizon it

animals familiar to humans populate these woods. Even in Deliria, stretches, a seemingly endless expanse of dirt, sand, stone, or glass.

some wonders remain scarce. Here and there, ruins of uncertain design crack the sullen surface.

Normal, of course, is relative. Faerie fauna are usually larger You might find insects or monstrosities living in such a place, but as

than earthly beasts, smarter, and more inclined toward mystic a rule even the meaner beasts avoid them.

powers. Many animals can speak, or at least understand, human

 Like the Dark Wood, a vashard seems like a test. Interposing and more fill these Faerie oceans; merfolk and sirens lure travelers
self bet'iv""n a questing hero and his goal, the waste presents an to death. Strong tides and tempests wrack the Sea, whose spans are

overcome only by patience and endurance. To cross it more trackless than the Dark Wood itself. Yet for all its treacheries,

fortitude; to confront it demands reflection. Like Shelley's the Sea provides a bounty: unequalled beauty and fertile sustenance.

"Ozymandias, a vashard presents a grim reminder of

n Water - in symbol and in nature - is life. And the Silver Sea is

oortalitv and loss. The tales of the lands that came before the Water in its purest form.

are often lost - as forgotten as the beings that once

them or the other signs oflife now gone. Che worldwind: Dream of Air
If Water is consciousness, Air is thought. Element of Hermes, home

e Si lver Sea: of the Zephyrs, steed of witches, and chariot of

of Sink into dream birds, wind flies with restless speed. Reaching

to the furthest corners of the world, it sweeps

wisdom within its gusts. And so it is that if

of the Silver Sea run clear and lively. These enchanted depths you listen to the Worldwind, you can hear

I'a,;hirlg around the edges of Deliria, this faint voices carrying from distant vales and

om.nmess ocean and its tributaries run other times.

pwugh.out the realm. Though truly blue, not The realm of muted wisdom These voices are neither loud nor clear; they

it has the sharp consistency of liquid speak in whispers. indistinct. They carry

Fresh, with only a hint of salt, the Sea neither context nor identity. And yet in them

Slowly descend there is wisdom if you know enough to listen.

of water, the ideal that nurtures Faerie This is where the birds learn their secrets,

what the sages meditate upon when they sit

Water symbolizes primal beginnings, Trust ignites the darkness on mountaintops. The Worldwind speaks in

<>"sibility, and deep consciousness. The tongues long gone and calls to ages yet

Sea embodies all those things and unborn. Its tones are Babel, but if you

Unfathomable, ever-changing, teeming �nd bliss is Ihis drowning concentrate you might be able to piece

creatures both unseen and enormous, together enough to understand.

Faerie sea ripples with life. Crashing Most times , these voices are simply lost

the rocks ofTarkaus, creeping mompnt in windsong; we hear them but don't truly

, wrou!!n the hills ofTinderiand, cascading listen to what's being said. But anywhere in

the waterfall near Leneeth, swirling in Faerie, if you listen closely to the wind, you

dark pools near Elrithasbane, the Sea flows I'ailh a llll lhl' VIliSI' can make out faint but ceaseless voices

throughout Deliria, sweet to the taste and speaking in a multitude of tongues. And every

tingling with promises. Pure and chilly, this so often, perhaps, you might even hear some

enchanted water rises into mortal lands words you'll understand - words that may

through sacred springs and whirlpool tides. In prove vital, someday...

its wake it sometimes drags magical wildlife into our realm... or takes

mortal beings into Faerie's depths. Peaks and Caverns:

As we saw earlier, astral travelers dive through the Sea on Dreams of Stone
expeditions to the faerie realm. Like airless swimmers, they plunge As permanent as the wind is fleeting, the peaks and caverns of

down to the currents between worlds, eventually beaching on Deliria tower toward the clouds or shear deep into the living earth.
Faerie's shores. Sages claim these travelers mingle with the Places of initiation, they form the borders between one place and

embodiment of thought, then use that essence to swim into another. The caverns wind down like old wombs, dark with age and

imagination's realm. Metaphysics aside, this theory fits with the pregnant with secrets; the peaks jut upward like dreaming spires,

ancient notion that Faerie lies underwater - "beneath the waves, " shattering the plains and praying to the skies.

a s the song says. To reach it, a mortal must leap into mysterious Faerie caves and mountains seem larger, more elemental

waters. trust Fate, and hold onto something more vital than breath. than those of our world; to scale them is to pit yourself against the

This journey isn't safe; both astral passages and watery spirit of the land. The high peaks crackle with lightning storms,

currents hold many dangers . Krakens, serpents, ship-sized sharks, whip the winds about themselves, or twist into oddly manlike
 ,
.. - '-. . ���
.

shapes. Their steep faces shelter trolls and shine with treasures. In Sea or floats in Sargasso clots upon the waves. Elsewhere, it hangs

the lower depths, Delirian caves boast mines and hives, blind seas thickly from ageless trees or crackles like pine fire in tangles on

and fiery lakes of molten stone. Each trip through cave or mountain ground, shot through with pulsating colors and throbbing at the

range becomes a quest. You won't be the same person at the end slightest touch. Once unknown, the stuff now hangs throughout

that you were in the beginning, and the heights or depths you Deliria, strangling ancient vegetation and blazing the night with

�·
conquer will live forever in your heart. crackling brilliance. If you listen closely to a patch of it, you can hea

voices and modem-signals buzzing like a thousand bees through th

Faelight: Dreams of Fire vine. Most faeries hate the stuff and consider it one more poison ot

Deliria is never truly dark. Even on the deepest nights, this the human age.

realm shimmers with faint iridescence. The land, the water, even They have a point. Crystalvine seethes across old-growth

the air seems to glow - hence, faelight, the innate glow that forests. clinging to the branches and strangling the roots. Some

illuminates Faerieland. areas of forest are overrun with the stuff. and others are showing

Faelight, the dream of Fire. inflames the sun. ignites the signs of wear. In many places, the crystalvine bears thorns or heats

douds, skips as lightning through the skies, or shines from coral in to painful temperatures. The static crackle of its fibers disturbs quiet
the darkest reaches of the Silver Sea. It glitters from gold in the Faerie nights, frightening the beasts with its ghostly agitations.

coffers of miser kings, pulsates in the eyes of goblins, or throbs in What's good about the stuff? Well, for starters, it's novel - a

dragon bellies. Delirian smiths use it to fuel their forges and fill welcome thing if you live hundreds or thousands of years. Ancient
, ... .:.
their lamps. Somehow more real than earthly flame, it throws the faeries find crystalvine compelling; several have written studies on the . .

.,
colors and contours of this world into sharp relief. The vivid hues of plant or tried to transplant it to their gardens. A few specimens have •

Faerie can be attributed to faelight, and the dean burn of its fires actually survived the transplant, and it begs the question: what do the )
puts electric lamps to shame. users oJthose strands ojweb inhabit when they go online? Secondly,
At times, this glow takes stranger forms: in the Storm Fields, crystalvine sometimes blooms with dazzling flowers; named glitterlilly

bolts of lighting tower in the sky, forever frozen at the moment of or clusterflame, these fronds resemble brilliant tropical blossoms cut

their strike; in Gralrendell, the soil itself glows with from glass or spun from fiber optic strands. These flowers seem to

phosphorescence. Minstrel fires blaze musically, throwing off bright sing. The melodies arising from their buds enchant the fey; although '.
,
notes of faerie chimes; conjured by magic, such fires fill many a the flowers are considered poisonous (and die almost immediately

tavern with strange, hypnotic song. after cutting), glitterlillies become centerpieces for aelden pleasure

Faelight lends this realm its splendor; taken from its home, it gardens. If the users only knew...

fades to normal illumination. For the dreams of fire are as fickle as Very, very few faeries comprehend the Internet; even when
flame itself - one moment here, the next, gone. it's been explained, the point of reference is too obscure to translate.

And so the Bramble presents a powerful enigma, dangerous yet

Che Bramble: compelling to the fey. For now, it remains an isolated problem, too

Dream of Man small to affect the Altwald as a whole. But if the bloom has spread

A light deeper than faelight pulsates within the Bramble, a thicket this far, this soon, and with so much destruction in so little time,

of glass-plant fire that threatens to engulf the otherworld. New to who's to say how quickly it might present a threat?
Faerie - indeed, new anywhere - this overgrowth presents both
mystery and dilemma: though clearly natural, it resembles nothing

of the earth. Indeed, it's been called man's weed and thorns of St.

William, and it seems to be nothing less than the embodiment of

the Internet in Faerie.

As we've seen, Deliria has no computers; even so, the mortal

innovation of netspace - essentially a tangle of astral networks -

has achieved a life of its own. So quickly and pervasively has it

become part of earthly reality that it spread to Faerie in record time.

Here, it manifests as glassine kudzu, a humming. pulsating creeper

that spreads across the land.

Like the Dark Wood, the Bramble is more a condition than

a location. The strange plant at its heart - crystalvine - grows

throughout the Altwald. In places, it wends outward from the Silver

A cool breeze blolVs tiJrow!)b the streets of Avrael tiJe Fair, ...Up steep stairs to the Temple of Tell Tholtsan� WinDs, where

throne of eabrellion. Borne on tbat breeze, the Stag gallops into the stol1ework sil1gs al1D voices are silel1t...

Dawn, his coat sbining lVith infant sun. Beneath ;gour feet, ...To the gnarleD woOOS l1ear oakmare, living school

s.nooth cobbles spill alVa;g, tingeD with �awnlight an� morning of witchcrak.. ·

mist. AlreaD;g ;gou hear soun�s of waking in the nearb;g homes, ...Bel1eath the hot shaDows of Furnage, breathil1g �re across

smell the bakil1g of this momil1g's brea�. The night watch the sk;g.

surrenoors to the moming guarD, ;gawnil1g, ;geamil1g for the All these anD more ;gau witl1ess as ;gau rltn. The Dream�re

comfort of a be�. But if the Stag tires, ;gou see 110 sigl1 of it. An� path Cltts througb sal1�S al1� seas al1D mOltntaillS, off cliffs anD

so ;gau run, ever run ... ItnOOr briDges. Besioo him, ;gou riDe the greel1 worlD's pulse,

...Tbrour/J the surf near AllaDore, h0>11e of �sberfolk. The breathing crisp air through the Da;g towarD evel1il1g...

smell of sanD anD sea-winD overrioos the stink of �sh l1earb;g,

but the tangle of the nets 011 boats beaDil1g out to sea attests to

the locals' traoo. At forest'S eDge, their smooth wooo huts warm
Come away oh human child
lVitl; break of Da;g. Out 011 the waves, brave shaoolVs plunge into

the sea, kl1ives grippelJ betweel1 their teeth anD breath lockelJ To the waters and the wild

OOep illSioo their lungs...

With a fairy band in hand
...Past mOl1olithic G�moormanl1's, castle of commerce. Here,

faeligbt lanterns higblir/Jt ti)e enDless run of shops anD stanDs, For the world's more full of weeping

tJackelJ with goobs both 1V0r1DI;g anD el1chanting. This mega-mall

Than you can understand,
arose �om an ancient marketsite, built b;g Dreams of shopping

centers anD their abunDance. SurrounOOb b;g vast parking lots WB. Vpals. from 'Slolpll Child'

(scatterelJ here anD there lVith carriages of 00b be.sign�

GunOOnttann's awaits the morning, resting for a momel1t

between the l1if1;t's traDillg al1D the bustle of the Da;g...

 Houses of the Dawn
Scattered across the wilderness lie settlements of fey design.
Called dominions, these hamlets, towns and cities offer
shelter, food, and dwelling-space to the people of the realm_
Within these settlements, mortal folk, their aelden cousins,
and the occasional true fey make their homes. Like earthly
city-states, they tend their own affairs. Although some
dominions trade with neighbors, the fickle paths of Faerie
keep commerce to a minimum. (Which is one of the
reasons fey merchants travel to our world for business.)
Dominions are small by earthly measure; the largest
metropoli comprise a few thousand inhabitants, and most
have far fewer than that. The population of these lands is
sparse - the aelderfolk don't breed, and earthly settlers are
rare. But despite low populations, dominions can be grand.
Impossible palaces and glittering towns sprout like
mushrooms from the fertile earth; metropoli, the dreams of
cities, rise like crafted mountains from the subdued fields.
Some edifices smoke in Victorian melancholy. others gleam
with blazing light. Crystal spires shimmer from glassine
battlements, whereas floating factories sow storm clouds as
they pass. Deliria is not bound by earthly physics, so its
buildings can take strange forms indeed.
Stone and Dreamstuff
Faerie has its own commandments of gravity and form. and these laws.
combined with magic and imagination, allow entrancing architecture.
Wood can flow like water or be shaped in the same way as stone, yet
it can still grow. Glass can shimmer with intemal luminescence, and
steel can be beaten to tissue thinness. Without earthly concerns of
mass and stress, amazing shapes are possible. Rooms that seem tiny
from outside turn spacious when you step inside.
The dominions within this world draw influence from all
times and places; not material in the earthbound sense, they're built
by combinations of hand labor, magic craftwork, and dreams from
the human world beyond_ For though Deliria'S buildings are made
of stone and steel, wood and glass, their most durable materials are
thought-forms conjured by imagination. It's dreams, not faerie
craftsmen. that lay foundations for a dominion... fey and human
dreams both.
Dominions, you see, often rise of their own accord. From
raw terrain they sprout like saplings, growing sometimes in a single
night. Inspired by nostalgia, fear, comfort, or necessity. these
fantasias weave themselves together, sometimes around existing
frames, sometimes from nothing at all. If such a building serves a
purpose or finds an owner, it takes on substance and stability.
Aelden magic keeps those dreams around - unless protected or
reinforced somehow, the dream-works fade within mere days. Man's
dreams are fragile, you see, and though they might breed castles,
those castles are little more than smoke.
Once reinforced, the dreamscape attains reality. And so it is
that some dominions, built on human dreams and fey magic, have
come to resemble archetypal sites: the palace, the cathedral, the
bridge, the mill. More recently, dream-forms have given rise to
shopping malls. office buildings, carnivals, and jails. One of the
realm's most forbidding places is a prison formed by the thought of
prison - by convicts' dreams, criminals' fears, and the hopes of
those who'd see both locked away for good.
Deliria is a land of dream-stuff; its laws are magic and its
substance thought. Though Faerie's denizens work with stone and
steel, they know imagination is the true coin of the realm.
Whose Homes are Chese?
Most dominions are established by adden, the folk between humans
and true fey. Many of these faeries favor solitude over settlement,
but there's safety in numbers, so dominions arise. Wild aelden -
nymphs , merfolk, hermits, and such - often form tiny dominions,
crafting dens or cottages far removed from larger towns; townerfolk,
on the other hand, prefer company and forge dominions with
shared resources and community.
To earthly travelers, these townerfolk seem familiar - with
good reason. Many settlers are aelderbloods, descendants of mortals
who long ago left the human lands behind. Over time, these
refugees assumed the gifts of Faerie, the arcane talents and insights
that mark their aelder kin. Now somewhere between fey and
human, aelderbloods live for centuries in realms most mortals only
dream of. True faeries walk among these folk, govern them.
sometimes even love (or feed upon) them, but the Ageless Ones
themselves make lousy city-dwellers. After all. what use do
immortals have for rules or protocols? Those who enjoy such things
have a place for them; those who do not simply live by their whims.
Games of Governance
Human legendry echoes with tales of faerie courts and politics -
of winter courts and Queens of Elfland, of skirmishes between night
and day. But though there's some truth behind those impressions,
it's a passing truth at best.
Courts and guilds are mortal things, spawned by human
innovation and spurred by human interactions. True immortals
have little use for them other than amusement. The Kindly Folk,
remember, are also the Changing Folk; immortal and capricious,
they base forms and pastimes on human inspirations, then
exaggerate those models to fantastic proportions. Hence, there are
giant kings and Hre queens - faerie guises for bored immortals,
roles played i n an ageless game. When such a role becomes stifling,
however, a true faerie abandons it, choosing a new guise and
embarking upon a fresh path. The aelderfolk have no use for kings
or queens, servants or savants; they embody primal energies,
cloaked in minds and bodies fickle as a summer sky.
Unbound by age, they rarely seek bondage in society. Games of

governance are just that: games.

The true contenders in dominion politics are the long-lived

aelderbloods. Mortal enough to crave power, ageless enough to

attain it, these minor faeries form the foundation of most earthly

tales. Although these fey can change certain things about

themselves, they possess a sense ofidentity that true immortals lack.

Human traits like dominance, submission, and fellowship crop up

among these folk, even in the sparse dominions. Many others refuse

to play that game, however; out of boredom, rebellion, or whim, they

adopt more modern forms of society - communes, councils, even

democracies - or simply ignore them altogether.

Despite their courts and diques, the aelderfolk remain

unknowable. seemingly familiar yet ultimately Other. They share a

love of policy with their human kin and present a more familiar face

to earthly visitors. Even then, however, magic beings have less use

for games of governance than earthbound mortals do... and

dominions have less use for them as well. Given the capricious

nature of Faerie, any real attempt at governance is doomed, undone

by the vast wilderness and the shifting laws of time and space.

And so, like the guises of the faerie folk, aelder politics are

ephemeral as the wind. They seem deadly earnest to the mortals

who encounter them (and can be quite deadly to people who can

die!), but remain more ceremonial than practical. Hence, the faerie

kingdoms oflore are little better than mirages; the image seems

solid enough, but the thing shown remains forever beyond a

traveler's reach.

llegency
Though politics are little more than games in Faerie, there is regency,

the claiming-rite that establishes a certain authority over a dominion.

Under regency, a group or individual creates a structure (an altar,

temple, stone circle, lodge, cave, or other place of power); invokes

the elements of fire, air, earth, wood, metal, water, and spirit; then

binds the aspiring regent to the elements through prayers, tears,

blood, talismans, and finally laughter. The ceremony doesn't grant

much power over the land, but it does create a lasting bond that both

spirits and the fey respect.

The rituals of regency. like everything else in Deliria. depend

more upon improvisation than recipe. Some regents host elaborate

gatherings, whereas others tend a simple rite alone. The

components of the seven elements and the binding tools, however,

are essential. Each element is important: fire offers energy, air keeps

the place alive, earth gives it substance, wood helps it grow, metal

melds the strength of all, water nourishes the dominion, and spirit

brings it all together and holds it fast. Each binding tool is

significant as well: prayer makes it sacred, tears bind it to the heart,

blood links life-force and commitment. and laughter breaks

solemnity and welcomes joy into the space. As for the talismans,

they could be anything that binds and consecrates - knots in rope,

designs whittled into wood, runes inscribed upon stone, ribbons
woven between wheel-spokes. Common talismans include forged
blades, carved statues, clay vessels, and gardens laid in ornate designs .
A regent may not be master o f his land, but h e bears a
rightful home-claim to it. Like the Mad Hatter in his tea room, he
gets to set the rules of conduct within his dominion. People are free
to dispute them, of course, but things tend to happen in his favor if
he shares a bond with the land: the winds quite literally blow his
way, and flora and fauna become his allies.
But regency demands dedication - loyalty to the land and its
creatures. The regent who forgets or neglects his pledge sees his
authority diminish. In time, his promise might be superceded by
another regent who holds more trust than the previous one. And so
it is that, even in capricious Faerie, this ritual is sacred. Regency is
no mere whim but a promise to the land. To make such an oath is
an affair of honor; to violate it is to renounce your heart.
Legendary Dominions
Deliria is vast, with thousands, if not millions, of dominions, some
as tiny as a clearing, others towering to the clouds. Some stand for
centuries, others perish with a regent's passing. The tales of such
dominions range from rumors about a cottage to the epics of
Cabrellion. Some stories find their way to our realm... and some
stories from our realm are used to found dominions.
Among the many kingdoms, towns, barrows, and lairs
spoken of in neliria, a few notables include:
Ardshere
Carved from sand-toned stone, the curved battlements of Ardshere
rise like fingers from the rocky steppes. Built to defY an ancient
siege, these walls are kept in fine repair by the Crafters' Guild,
proud stonemasons who rule the Ard Republic.
Long ago, the founders of this town fled from mortal lands.
Drawn by the prospect of gold and freedom, they dug shelters in the
hills of Ard and then raised a castle to defY oppressors. Fearing
attack, the neighboring dominions united to try to crush the
Ardshere settlers. But human wiles, human crafts, and some help
from the stormcaller Gallamont drove the attackers back to the
edges of the Altwald. After an exhausting siege, a bargain was
struck. Ardshere became a haven for mortal travelers; in exchange,
its stonemasons taught their arts to aelden crafters. The truce has
held ever since.
Even so, the Crafters' Guild maintains the wall. Though
centuries have passed since the siege of Ardshere, its people
remember those dark days. . . and they keep their weapons sharp
in case these days return.
Kos
The midnight kingdom by the sea, Kos rests quietly on the banks
of Obsidian Bay. Wrapped in moon·grown havermusk and fed by
fields of momingcloud, this dominion is peopled with ash·skinned
folk. Their huge, staring eyes see best by moonglow but cannot bear
strong light. Spires rise from cobbled streets, where gray carriages
clatter past, drawn by huge, pale moths that shine with dim green
luminescence. Always quiet, save for the piping of blind dremnerans,
Kos lingers in eternal night. No morning ever lights its shores; if it
did, tales say, the land would turn to ash.
The Pale Prince and his consort, Lady Night, rule the land
as royalty. Their reign began before recorded time, and they appear
to be two of the handful of immortals who enjoy governance.
Despite the darkness of the land, Kos is a peaceful dominion.
Within the polished walls of its alabaster palace lies one of Faerie's
most extensive archives. The Pale Prince is supposedly a voracious
reader, sworn to devour each tidbit of information ever written.
His Lady tends the mystic arts that give this land its fame; her ivy
temple hosts convocations of witchcraft and high wizardry. Though
renowned for its hospitality, Kos sees few visitors. The ink and
pallor of the land depresses outsiders, and even the aelderbloods
born and raised therein display a languid temperament and
distracted air.
Gundermann Square
A vast monument to modern shopping, Gundermann's sprawls
across several paved acres of Deliria, surrounded by buggy·filled
parking lots, Palenoch watchhouses, and a handful of homes for
those who maintain or frequent the mall.
Long ago, Gundermann Square was a faerie marketplace,
rustically reminiscent of a Germanic town square. A center of
commerce since day one, it acquired both a reputation and an ever­
growing clientele. Over time, small shops evolved into large shops,
large shops into stores, and stores into a covered spread. With the
mortal innovation of the shopping mall (and the attendant dreams,
good and otherwise, that went with it), the Square metamorphosed
into a single looming edifice - a veritable dream-mall where
anything from food to clothing to games to sleep-space could
be bought.
"If you build it, they will come" - and so they did; aelden
with wares and desires, wayfarers looking for a break, aelderfolk
drawn by the novelty of the place, and the inevitable trade guilds,
who soon established headquarters in this monument to sales.
Lit by faelight lamps and boasting several thousand
storefronts, the six-tiered mall became a kingdom unto itself, ruled by
the Merchants' Circle and presided over by the Palenoch trade guild.
Not everyone appreciates the place. It's been called an
eyesore, a cancer, an asphalt rot in the heart of Faerie. And yet the
customers keep coming from all corners of the Delirian realm and
our own. Full·bodied merchants and shoppers mingle with the astral
ghosts of mortal dreamers; the shops overflow with goods and
foodstuffs , inns and playrooms. The mall holds '3 theatres, some of
which show live productions, others of which show one-time films
or special screenings of lost classics. The lower levels of the mall run
deep below the top six layers; the stores there feature sinister wares
and perverse pleasures. Behind the walls run miles of service
corridors, used mostly by shimmerlings and maintenance folk. Many
of these poor creatures are working off the debts acquired by their
almost-human hunger for more stuff. Of course, surrounded as they
are by even more stuff, these wretches seldom escape their bondage; as
soon as they work off one debt, they've built up several more.
Gundermann Square stands, for better and worse, as a
symbol of modern commerce. Beset on several occasions by agents
of the Tendragon Shear (a group dedicated to preserving the old
ways of Faerie), the mall has proved too large to harm, too popular
to shun, and too well-guarded to destroy. Each year, it grows a little
larger, a little more hectic. Two generations have come of age in or
around the Square, and it seems to be here to stay... perhaps.
'Che 'Cemple of 'Cen 'Chousand Winds
Perched on mountaintops, the Temple and its grounds spin out
across the granite cliffs of Lu'ti Huo, holy mountain in the woods.
Built by monks of Asian stock, these stone pagodas stand like
supplicants on dizzying heights of stone. Steep steps lead up from
the lush valley far below, but no bridges hang between the cliffs. To
travel. the monks need only fly.
True to its name, the Temple entertains the winds. Open on
most sides to the rush of air, its buildings act like instruments,
inspiring the winds to eternal song. Chimes and thunderdrums add
their voices to the music, but it is the melody of the wind·chapels
that is heard down in the valley. Six-armed monkey-children tend to
the chores while the Lutti monks spend their days carving new
channels in the stone. Intricate designs scroll across the
mountainside, and statues of uncanny beauty meld with the wind­
temples to provide new accents to the song.
The residents of Lu'ti speak no human language; in fad, they
hardly speak at all. Instead, they improvise soul·songs to
communicate, putting their feelings into tones, not words. Governed
(if it can be called governance) by a musical flame, the monks dwell
in harmony with one another. Trespassers are invited to join the
song; if they will not harmonize with the temple's rich music,
intruders are fed to the monkeys, who craft new noisemakers with
their bones.

Furnoge
The floating city of the forge drifts above Deliria'S hills, a mountain
that has learned to fly. Honeycombed with mines and smithies,
Fumage provides valued alloys and metalcrafts to the residents of
Faerie. One of the very few dominions that has embraced
technology beyond the Industrial Revolution era, Furnage trains
blacksmiths, miners, and mechanics ... or at least offers an
opportunity to learn those skills to the hopefuls who can endure its
severe apprenticeships.
Dotted here and there with roads and buildings in a rather
Victorian style, Furnage hosts most of its population underground.
The twisting passageways and sweltering furnaces keep the
dominion warm, even when it crosses winter skies. Tales claim that
Furnage is kept aloft by the fires in its belly; should those forges go
cold, they say, the kingdom would fall to earth and shatter.
Ruled by a council of guild-regents, Furnage
keeps its population working. There's no room for
slackers. here - the sick and aged are left behind in
other lands, and lazybones are either forced to work
or flung off the dominion's edge. AltllOugh rumors
in other lands say that Furnage runs on slave labor,
there always seems to be plenty of folks who'll dare
the forge in order to learn its secrets.
Nerhollow
The necropolis of the deepest places, Nerhallow
winds through torturous caverns, burrows, and
catacombs; it spins out beneath leprous trees and
thorny briars, scales jagged mountains and whiplash
valleys, and plays home to the most vicious array of
ghents, ogres, trolls, villsprites, and assorted fiends
imaginable. Cyclopean temples to atrocity rise like
broken bones from the blasted earth; insects
wrapped like hedgehogs in spines and covered in
venom scuttle among the ragged scrub that passes
for vegetation. If Faerie has a hell, it's this ruined
place. The tales of its foundation are as lost as the
wayfarers whose ghosts still scream upon its winds.
Who rules Nerhallow? No one - it's the nadir
of anarchy. Small cannibal tribes fight one another
for supremacy, but because the twisted ecology of
the domain defies normal hungers, all cooperation
is short-lived. Occasionally, some overlord tries to
take control of Nerhallow's hordes. Most would-be
regents, however, wind up as picked bones on
the bitter landscape. This vale remains too savage
to command.
Cobrellion
Designed to honor all that was good about the
Middle Ages, the horse-realm of Cabreliion rises like a dream from
the lush plains at forest's edge. Crafted from bright stone and
polished wood, Cabrellion's buildings arch toward the sky, rearing
stallions of fine design. Steepled roofs and slender towers give this
dominion a joyous air. Bright colors and grand carvings decorate
each surface, and each citizen dresses well. Unlike a true medieval
city, Cabrellion has sewage and sanitation, clean water and ample
crops. A true faerie kingdom, it sparkles like a gem.
Governed by a tough yet fair council, Queen Pelidlard, and
her regent Elkwill, this dominion's known for lawful behavior,
animal husbandry, and fine food. It's also known for its strict laws,
elaborate manners, and ruthless conservatism. Cabrellion's penal
code is simple: minor infractions result in beatings, serious ones in
exile, and major crimes in death. The rulers have no taste for
cruelty, but they're pragmatic enough to have torturers nestled deep
below the palace. A primary member of the Tendragon Shear, taste) but grows more disconcerting each season. Strangely enough,

Queen Pelichard wants no truck with the modern mortal world. Her no one within the realm seems to notice; visitors. however, are

regency is peaceful, her subjects happy, her rule unchallenged. Why driven to fits by Wehir's dishannony. Something must be done.

ask for trouble? The Queen neither wants nor tolerates it. Given

Cabrellion's prosperity, she appears to have a point. Travelers are esko

welcome, but only if they behave. Beneath the Silver Sea, in a realm that drifts between our world and

Deliria, lies the coral-city of Eska. Grown by merfolk eons ago, its

'Cinderland curling hives play host to elementals, strange fish, sea creatures both

A new legacy of the modern age, this astral playground spreads benign and hazardous, and mortal humans who have learned to

between the Altwald, sea shores, and a brace of mountains filled breathe the sea. Rich beyond dry-land measure, Eska swirls with
with caves. Within its bounds, small settlements of Middle Age small communities. No single regent could lay claim to such a

design vie for space among the towering woods. A single city fonns flowing kingdom, and so all associations are by will alone. Vast

the center of these villages, but that city boasts not one but twenty enough to shelter everyone, this coral labyrinth stretches for miles

castles, each fLlled with an array of deathtraps, huge walls, and eerie in each direction ... including up. Lit by luminescent algae, fire-coral,

dungeons. More castles dot the landscape, most empty but for and the filtered rays of sunshine far above, Eska remains warm

shimmerlings and occasional adventurers. enough for naked flesh, even at its deepest reaches. Idyllic as it may

What gives? A game back in the mortal realm - one that seem, though, Eska can be treacherous. No regent means no

(perhaps deliberately) boots mortals into Faerie for a little R&R. authority, no help outside your chosen group. Like schools of fish,

Sadly, that R&R often involves killing things - shimmerlings, the denizens of Eska find safety in numbers. yet still they fall to

magic beasts, weird phantasmal constructs, and quite often one predators. Life is beautiful but short in Eska; perched on the edge

other. It's enough to drive a good faerie mad ... and quite a few of of a lightless cliff, the dominion is surrounded by implacable depths

them have been. and deadly currents. Astral dreamwalkers can escape easily enough.

Mortal settlements in Faerie aren't new, but Tinderland ­ but those who dwell here in the flesh know they live only at the

in which the residents wear thought-forms of their personas - is ocean's whim.

very new. Here, mortal wizards, not aelden or aelderfolk, call the
shots. Faeries who stray here are outnumbered, often massacred by 'Che Oakmare School of Wizardry
these new barbarians. Such violence has already made Tinderland Shaped from a single massive oak, the Oakmare School grows in

a symbol for everything certain fey despise; for now, however, it the deep recesses ofthe Altwald. Its chambers run from the root­

stands unconquered. each assault against it beaten back by folk who cellars underground to aviaries perched hundreds of feet above the

seem to thrive on war. tallest of the other trees. Stairs and ramps wind their way through

the host tree's mammoth trunk, and rope ladders dangle high above

wehi r the dense foliage below. Despite the tunnels bored through its living

Possibly spelled Where and flanked by Elsewehir, Netherwehir, wood, the tree not only survives but prospers.

Nowehir, and other semantic baffiers, Wehir stretches for what Established long ago, the Oakmare School preserves the

seems like forever across vast fields and rolling hills. Sparsely wisdom of the hearth. Witches without number have climbed its

inhabited, the dominion is peopled with folks who have no taste: rugged branches, brewed within its sweet-scented depths, sacrificed

garish buildings house shrill people whose fashion sense is - to be blood-droplets to the elder roots. and flown giant hawks on errands

generous - tacky. A demi-feudal kingdom filled with eccentricities, across the sky. Tended by a fellowship called the Keepers of the

Wehir looks a bit like Disneyworld gone wrong. Heart, the school-tree takes only 13 students at a time. Any more

It wasn't always like this, though; two courts, the Sun and than that might endanger its titanic host.

Moon, used to govern the dominion. A single queen chose two Three witches govern Oakmare. One has one eye. one has

consorts, one from each court. For half the year, the Sun Consort three, and the third has no eyes at all . Bark-skinned, these regents

reigned beside her; for the other half, the Moon Consort took his - two women, one man - seem to shift the eyes between them.

place. Each court had wizards, advisors, heirs, and rituals; between One day, the man might have three eyes, then none at all, then one;

them both. Wehir prospered. the same goes for the ladies. All three regents seem as old as time,
But not long past, the consort of the Moon Court murdered ancient as the roots of the tree they call their home.

his queen and took the throne for himself Tales say he went mad,

banishing the Sun Court and his own folk as well. Under the reign

of a single king, the land has lost is balance... and apparently its

harmony. This dissonance appears in small ways (like total lack of

 chere and Back Again
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 Li ttl e/Bi g
"He who would enter the Kingdom of Faerie: said Andrew Lmg,
"should have the heart of a little child." Gruesome images aside,
Lang's words grant Faerie's prime distinction: it makes us feel like
kids again, no matter how old we might be.
As children, we accept mysteries as part of daily life; we
know so little but feel so much that even the most impossible claims
mightjust be true. The stream nearby mightjust have gold nuggets in
And so the faerie essence melds little into big. Its rules are
uncertain, its treasures great; its perils hang overhead like sabers;
its rewards glitter at rainbow's end. Faerie's denizens live by
principles not even they quite understand, and they seem childlike
one moment and incredibly old the next. Big diminishes to little,
and little expands to become big.
In many tales, Faerie realms are impossibly vast yet

its channels; there mightjust be a world under the stairs. Adults can
deny these ideas all they like, but the possibilities linger. If growing
up meant we had to shove all that aside, well, wouldn't it be
wonderful if there were a time or place or creature that could make
it true again? Wouldn't it be great to return to childhood?
Perhaps not. Some of those possibilities are appalling, too ­
snakes beneath your bed, a van that takes bad children away... scary
stuff. To be a child is also to be small, powerless, dwarfed by the
giants that are your elders. A child can feel insignificant in such a big
world; everything's an option until some huge voice slams down with
"NO!" At that point, a child can't argue - The Voice has spoken and
the rules are set.
Yet even then, a child holds talismans: youth, innocence, and
raw imagination. With them, she can make demands and expect
them to be met. For a short and magical time, most children have
the power to make the giants obey. The giants (adults) hold
dominion, but they follow the child's whims; sometimes they seem
more fragile and childlike than the children themselves! Hence,
youth is a realm of magic, Hlled with odd laws and odder
possibilities.
Adults, for their part, have power. Unlike children, they can
effect real change. The cost, however, is a loss of wonder. The child
yearns to control her world; the adult yearns to enjoy it once again.
unthinkably miniscule. Their residents might be titans, pixies,
or somewhere in between. These beings can
be archetypes of ancient concepts, reflections ofourselves, or
something Other yet intimately familiar. Whichever way, Faerie
stands outside our sense of proportion, mirroring the paradox of
child·as-adult. It's little/big, as John Crowley put it: little enough
to hold in your hand, big enough to embrace your world.
Faerie isn't irrational - it's arationat, a state beyond mere
reason. This state brings out the power of a child and renders
grown-up logic powerles s. Through this reversal. a mortal who
retains her childlike spirit has a great advantage over one who's
steadfast in his reality. A queen who remembers how to laugh might
save her realm; a clumsy giant might be tripped by his own shoe­
laces and fall down the beanstall< to oblivion.
And so this sister realm of ours provides doorways from
reason into sense, from what must be to what might be. Its madness
has a method, its trickster's heart a grand design. If we bear that in
mind when crossing to Deliria, the trip transforms from funhouse
mirror to fond reflection. And with Lang's "heart of a little child,"
we can believe in the impossible, surrender to that state in which
little and big become one.
In that melding, Faerie reigns - young in imagination,
ancient in understanding.

And . . . ?

The Stag's J'Ul1l1il1g past �our �oor. His hoofbeats fa�e il1to the mist. 111 the DreamHre's f1lake, �our e;<)CS are opel1.

StraJ1ge miracles have beel1 revealeD.

AI1� the DreamHre Stag is rUl1l1il1g still.

Now that �O].l've seel1 what he'S revealeD, what will �ou Do?

Our times i)emal1� al1 al1swer.

 CHAPTER 2: FIRE IN THE HEllD
So she 's a little weird, I thought.
That's cool - I like weird. So I took the bait, wa(ke3 off with
ber awaiJ from the deariHg wbere Rosetta aHb the gUiJs were
ta(kiHg shit about Peter JacksoH's The Two Towers aH3 wbether
or not be change� too much. personaUiJ, I cou(�n't care (ess about
the argument. This new gir(, Cassan�ra, gave me better thil1gs
to think about.
"SO.. " I pitcheb il1to miJ best sel1sitive-guiJ voice al1b offereb
. Tbe dearil1g was (ost, somewhere far behil1� us. I COU(�I1't
miJ bal1b to this new frien�. cassan3ra took it with a coo(, �rm
dasp. Nice. "Whel1 iJou saiJ 'uHicoYl1s/" I cOHtil1ueb, "are iJou
ta(kiHg those New-AgeiJ poster tiJpes, or white h0Yl1e3 horses
(ike iH Legend?"
"Neither/, she rep(ie�, anb thel1 saib 110thil1g efse.
Good going, idiot. I sbou(� have just staiJe� quiet.
But she stiU be(� miJ hal1b, so I ba�l1't screwe� up too
baMiJ. Yet.
Her feet were bare al1� l1ear(iJ si(el1t. Tbe trai( crack(eb
lVith ul1�ergrolVth al1� autuml1 (eaves, but cassan�ra wa(ke�
cat(ike, bar�(iJ there. I trie� to imitate ber grace al1� maHage� to
SOUl1� a bit (ess (ike a buffa(o ber�. Bebil1b us, the bol1�re (ight
al1� voices fa�e�. The Hight smeUe� smokii aH� iHvitiHg.
Neither of us saib al1iJthil1g for a whi(e.
wbeH Cassal1�ra spoke agail1, her wor3s came out (ike (ittfe
SOl1gs, musica( without being SUl1g: "Rea( UHicoYl1s arel1't as rare
as iJou might thil1� Rick. An� theiJ're 110t (ike pets, either. If
iJou're (uckii eHougb to see them in their tme form, wbich felV
peop(e bo for obvious reasol1s, ul1icoms seem wi(�... (ike storms
set into skin.1I
"StonHS/' I repeate3. "How so?"
she stare� off iHto the forest as we !Va(ke�. You'� tbiHk it
was 3aiJ(igbt, the lVaiJ she move�. Col1fiool1t al1b quic� as thougb
she cou(� see just fil1e in the �ark. I cou(� barefiJ see the fire 110W.
camp !Vas ul1comfortab(iJ far bebil1�, but Cassal13ra's eiJes stiU
seeme3 to f(icker. "Wi(b," she aHSwereb. "Like these forests."
O-kay...
"Do iJou bave to be a virgiH to see tbem?" I �are3.
I hear� her (augh a (ittfe. "Fortunate(iJ HOt."
Sou113eb promisil1g to me, but a�er miJ iHitia( fumb(e I
resofve3 to keep miJ mouth shut.
More si(el1ce, brokel1 011(iJ biJ miJ heaviJ feet.
hear tbe gUiJS ta(kil1g at aU aHiJ more. I begal1 bopil1g Cassal1�ra
kHew wbere the beU we were. I 3i3n't, a113 it was startil1g to
scare me a (ittfe.
Thel1 more than a (ittfe...
"sbbbb." cassal1�ra stoppe� suMel1(iJ, p(ace3 ber ban�
agail1st miJ chest. The fire was gOl1e al1� the tree-cover was
thic� so I was just this si3e of b(iI13. MiJ feet crack(e� to a
stan�stiU, anb the snapping (eaves were muteb. "wbat...?" I
began, but cassan3ra cut me off. "sbbbb..." sbe repeate� so�(iJ.
I quietoo.
"Can iJou see them?"
It took a minute.
Then I cou(b.
"Gooo/, she aMe�. "Most peop(e can't."
The ril1g bUYl1e� green (ike a g(olVstick il1 a smokii room.
Tbe dearil1g ba3 al1 ancient fee(, aU tang(es an� thick timber.
deal1, too - 110 broken grass or beer cans. Nothing but that
ring... anb the bal1cil1g shapes il1si3e it... HO(iJ sbit...
I maoo a soun� that wasH't quite worbs.
"No/, sbe sai�, "iJou're 110t craziJ. TbeiJ tire reaL"
I maoo some more soun�s.
she tumoo to me, thel1, her eiJes sbil1il1g briUial1t greel1.
"An� iJou cal1 see them, whicb meal1S I wasl1't wrol1g."
Anb thel1 she kisseb me, �eep an� green...
Tbank iJou, cassal1bra, for fucking with miJ wor(�.
'Cause ever sil1ce that l1igbt, rea(itiJ has l1ever seemoo
quite... reaL. agail1.
 'Che H ero
Ch e G l ass Pal ace in the Mirror
$0 what makes a hero
We live on the threshold between Dark Woods and ruins, clutched these days? Big guns and

in glass towers Hlled with magical toys. The modern·day palace from kicking ass? Well... not

which those towers rise is both wonderland and prison. Within its always. For though popular

confines, we perform great feats of techno-magic. But for all our entertainment suggests

crystal ball TVs and Internets, we often remain aloof. .. and alone. that a hero is an insanely

Like Rapunzel, we look out over an endless landscape, seeing much competent purveyor of

but touching little. To actually experience OUf world, we must leave devastation, real heroes -
our glass palace and set out into the borderlands. of life and faerie tales.

And that's what twilight people do. both - are ordinary

Some climb down from their towers for amusement, some people in extraordinary

get dragged down by circumstance, and others never really live in circumstances.

the palace to begin with. A few folks creep out the back doors for day A hero can be

trips. and a sad few are flung out the windows and land heavily, not anyone who's had to

altogether sane. make a hard choice,

In any case, these people change. Once they've seen the world risking future happiness

outside, the mundane realm won't do. Or perhaps we're the ones for greater goals. Faced

who've been changed by life inside our glass palace. Maybe the folks with a crisis, such men

who go outside just remember who we all are, deep inside. and women rise up, tap

$0 who are we, really? something they didn't

Heroes. know they had, and meet

Heroes in search of a legend. the obstacle head-on.

Strangers on the edge of the Wood. They might not live to

Let's leave the palace walls and go walking, shall we? see the end of the story­

In dark woods and twilight, we'll grow wise. many do not - but \)1l1t,t i ll1('S 1 '1111.
through their bravery

they transform their world.

That's what a hero really is

today: not a demigod but a

mortal who faces fear and wins.

A hero doesn't have to be a goody·goody, either; indeed,

many faerie-tale protagonists are liars, cheats, thieves, and

sometimes worse. The greatest trait a hero can possess, in tales and

i n life, is courage. Bravery excuses many sins.

Anyone could be a hero, but not everyone will become one.

The hero's legacy belongs to those insightful enough to see it, bold

enough to grasp it, and fortunate enough to make it happen. To be a

hero, one must view the world through hero's eyes, see the challenges

that must be met, and find the courage to do what must be done.

And that's the real test of heroism: not body counts but

significance. In the long run, the hero's deeds must mean something.

for without a change for the better, such a legacy is worthless.

Any idiot can blow shit up. A hero moves the world forward.

On the edge of wood and twilight is where faerie tales begin.

What's a Faerie 'Cole?
At first glance, this world of ours doesn't seem like a faerie tale
setting. I mean, we have S UVs and genetic engineering and home
computers and... well, you get the picture. But faerie tales can take
place anywhere. In a park. in an office building, on a ranch in North
Dakota - you don't need to be standing in front of Sleeping
Beauty's castle to experience the otherworld. Faerie is just two steps
in any direction from our world. You just need to know how to
recognize it when you find it... or when it finds you.
We associate faerie tales with archaic settings, but that's just
because we've been brought up with those impressions. Faerie is
timeless and spaceless, a funhouse mirror ofour mortal world. The
classic faerie tales deal in kings and courts because that's the world
those storytellers knew. Our modem impression of a faerie tale
comes from stories set down hundreds ofyears ago. But our world
has changed, and so has Faerie. It's still rooted in the old world,
true, but it's not frozen in time.
A faerie tale, at its core, is a story that takes place elsewhere,
in a magical realm where the rules of reality differ from our own.
J .R.R. Tolkien, in a famous essay on faerie tales, said as much:
"Such stories ... open a door to Other Time, and if we pass through,
though only for a moment, we stand outside our own time. outside
Time itself. maybe." By passing through that door. we confront
things that throw our own world into sharp relief. We see shadows
of our lives magnified, people and situations painted in bright
colors. Physical laws rum inside out, but still they possess poetic
darity. Deliria, the Faerie realm, seems like illusion, but it's not. It's
an epic poem about the world we know.
Essentially, a faerie tale is a tale that runs between, a story that
diverts the everyday flow in new and surprising directions. It might
take place in Faerie proper or in the periphery we call the Mysteriurn.
Always, it occurs outside of normal human life. In such a setting.
you can discover things about yourself that get hidden by the every·
day blur. You can see the hero in the mirror, a man or woman you've
never seen before but always felt within your heart.
What Do Heroes Do?
The faerie tale is a journey of self and soul. You, as its hero, are the
traveler. Whether you think of this journey as a walk in the wood or
a trip down the rabbit hole, the tale features three archetypal layers.
Innocence. challenge. and transformation are, respectively. the
realization of a greater world, the threats that come with the
territory, and the changes you undergo in order to survive them...
assuming that you can. Each layer has common elements -
companionship, trials, recognition, and so forth. And these
elements, like the symbols of a faerie tale, represent things greater
than the events or characters themselves. Your walk in the woods, in
many ways, is the walk oflife itself. From small beginnings it leads
into awareness, peril, and change.
Traditionally, faerie tale heroes face certain challenges and
perform certain feats in the course of the story. Though such
obstacles may or may not be part of your own story, they're worth
noting just in case.
A traditional faerie·tale protagonist:
� Ventures far from home.
§- Tricks the dull and wicked.
§- Reaches his limits, then goes far beyond them.
� Adopts new identities.
� Finds the between - the state of mind or place that no
one else can reach.
§- Endures tricks, traps, and trials.
� Performs acts of mercy and kindness.
§- Impresses rich and powerful folk.
� Makes proud boasts, then makes them come true.
Through such deeds, a true hero proves his or her worth in
Faerie's realm.
 who Am 1? who Are You?
Anyone can be a faerie-tale hero. A banker or baseball player is no less
welcome than a Wiccan priestess. Even so, in such tales certain professions
are more common than others:
� Artists: Inspiration and insight lead painters, dancers, musicians, writers,
sculptors, deejays, promoters, photographers, students, and other art­
types toward the Mystery almost by default. Conversely, aelden and the
faerie-folk are drawn to art - and to those who create it.
� Drifters: Depending on wits and the kindness of strangers, these people
hover on the edge of a Mysterium everywhere they go. Hobos, hikers,
fugitives, gypsies, and other rootless folks find that the otherworld is
too dose to ignore when you make your home on the open road.
� Eccentrics: Weird aunts and mad millionaires are notoriously drawn
toward the gossip, intrigue, secrets, and other strangeness that fill any
Mysterium. Common eccentrics on this fringe include misers, conspiracy
theorists, survivalists, hermits, doomsday prophets, batty relatives, aging
hippies, and grasping old tycoons. Often madder than the fey they
covet, such people keep things unpredictable on both sides of our world.
� Journalists: When weird shit goes down, people talk - and reporters
listen. Following a lead for the Next Big Scoop can lead reporters,
anchors, photographers, videographers, editors, and ambitious interns
to the outskirts of the twilight. Of course, getting back to the mundane
realm with skin, story, and sanity intact can be an adventure in itself,
and once a journalist has seen something beyond belief, the hardest
challenge lies in deciding what not to publish...
� Kids: Before age and cynicism have had a chance to close their eyes,
children are open to pretty much anything. Even as teenagers. kids
enjoy a broader perspective on their world than most grown-ups do.
Thus, little children and adolescents share an open door to Faerie and its
outskirts ... a door that swings both ways. The fey are drawn to children,
too, and often have their own ideas about parenting...
� law Enforcement Officers: When the gutter is your office, you've got a
front-row seat at the Mysterium. Every beat cop, detective, SWAT officer,
or forensics expert knows there are things you didn't see, questions you
don't ask, notes that shouldn't go in the report, and parties you never
rouse unless it's absolutely necessary!
� Mystics and Religious Folk: God has some pretty weird faces, and people
who go searching for Him/Her/ltlThem tend to wind up in strange
places. Clergy, do-gooders, scholars, and seekers of enlightenment­
you can find them all in the candlestreets; their churches,
prayercenters, dojos, and bookstores epitomize the
-
sacred space that strengthens the bond with the otherworld. Such
folks believe, and that belief lights the way down the otherworldly
� Scenesters: Hey, it's cool to hang out on the fringe... isn't it? Some
people, often called tinks and kibbles, even go out looking for their own
personal Grimm's storybooks. Others encounter the Mystery by default
in their clubs, Renfaires, hangouts, and cribs. Punks and ravers, playas
and garners - you'll find all kinds in the Mysterium.
� Scholars: When tempting riddles get too tempting, academics often
plumb the Mystery for answers. Professors, antiquarians, students of
folklore, and teachers of metaphysics all know that when learning is
your vocation, you inevitably find answers in some very strange places...
� Service People: You see a lot of strange shit when you work with the
public. Cab drivers, truckers, maids, mechanics, bartenders, maintenance
techs, security guards, counselors, social workers, teachers, trash
collectors, and late-night reta il clerks can be drawn into the Mystery
quite easily, even when they'd rather be left alone.
� Thri ll-seekers : And then you've got people who like to play with weird
toys. Cultists, witches, power trippers, hackers, extreme-sport junkies,
and other gadflies wind up drawn to the Mysterium's puzzles. If it's
hidden, they figure, there must be some fun to be had!
� Vagabonds: Nothing will send you into the netherworld quite like
desperation. People with no choice but to take the plunge include
runaways, addicts, street people, lost souls, a mnesiacs, foreigners,
victims of disaster, or other folks who've lost a loved one, livelihood, or
identity a nd will do anything to get it back.
� Visionaries: What conventional wisdom cannot accept, the Mystery can
offer. Extropeans, New Agers, practitioners of alternative disciplines
(reiki, tantra, etc.), adherents ofpara sciences, and other folks who
refuse to be bound by what is or isn't possible find reassurance
among the Folk. After all, when you reject old, broken concepts,
who knows what new insights you might find?
 Ou tsi d e th e Wal l s of Comfort

Open your eyes. That's the first step of this journey - the realization So here we are:

that there's something more outside the palace. All too often, we On the edge of the
grow comfortable with OUf surroundings and then delude ourselves woods, our palace
into thinking that what we know is all that matters. We might not left behind. In the
like what we see, necessarily, but we're familiar with it. distance, you hear
To leave that familiarity behind is scary, uncertain, unknown. celebrations, see

It's the shadow of the wolf that may or may not be just outside the vague shapes
door ofyaur settled little world. So to open your eyes, open the door, capering in rings
and step outside that world becomes a trial in itself... a trial very few of green-gold fire.
people, of any age, ever dare to face. Those flames burn
That risk, however, holds great rewards. Without it, heroism behind your eyes as

is a promise, never a reality. The more you risk, the more you see. well, the fire in your
The more you see, the more you understand. The more you head that marks
understand, the more expansive your world becomes. That's the initiation. You can
reward for a hero's trials - a greater vision of a greater world. hear Grandma's
advice: Don't stray

Seeing and Being from the path! But

Be warned: this greater world has a way of taking over your life. you know you will.
What once seemed like fantasy assumes staggering proportions The twilight people
when it becomes reality. Once you've jumped down the rabbit hole, are calling. You
it's pretty hard to climb back out. .. and if you do, the Mad Hatter answer, and you
and all his crew might just follow you back home, set up shop in join them...
your dining room, and throw an all new tea party!
Outside the mundane palace, the world grows wild. l nto the
Preconceptions of real and impossible smash like crockery. You Wood (Secrets U nveiled)
might find yourself talking to a crow who answers back with riddles, Kick offyour shoes and feel the earth beneath your feet. Set your
weeping up a rainstorm, or singing to an empty room that suddenly toes upon the path, savor ripe earth against your soles. That crackle
fills with the spirits of the dead. After the initial shock wears off, of freedom, mixed with the prickle of vulnerability, sharpens your
you'll probably get used to this weirdness. And the weirdness, in senses. As you walk into the woods, your world seems fresh and

tum, will get used to you". and seek you out.
This weirdness has a name: the Mystery. And as we've already
seen, that Mystery shelters an underworld of odd doings and
uncanny folk. Think of it as a huge party thrown in little clusters
throughout the woods, nestled in clearings, or lurking in brambles,
waiting for new guests and fresh entertainments.
So how does one secure an invitation to this mad party?
Simply by being in the right (or wrong) place at the right (or wrong)
time. You might wind up in the elevator that runs to the lost sub­
basement, see your neighbor turn to stone, or open the door to a
runaway who has unpleasant enemies. The shadow-world has a
way of slipping up on you when you least expect it, and many a
so-called rationalist has seen his preconceptions shattered by a
single weird occurrence':'
new... and more than a little bit disturbing.
Those sensations provide the first level of initiation into the
Mysteries - the first ring of awareness that spreads beyond your
old world and welcomes you into the new one. And just as a traveler
in the wood moves through underbrush, clearings, pitfalls, and
old timber, your twilight journey will feature reorientations, new
associations, and transformations galore.
Awareness: Curiouser and Curiouser
You know the glare that greets you when you open your eyes in
bright light? The dizziness that hits when you stand up too quickly'
The Mystery plays similar tricks on you. Your world turns upside
down; perceptions flare, confusion descends.
 The first steps out of that safe palace are disorienting. Before
your feet catch the rhythm of these woods, you're bound to stumble
around a bit.
That strange confusion is a terrifying joy - terrifying
because everything you once trusted in has fled, joyful because
suddenly there's so much more to see! Exhilarated, the average
person becomes childlike, exploring and reveling in each new
sensation. Like childhood, this marks a strange and hazardous time.
Everything becomes distraction. Wisdom gives way to novelty.
The Faerie realm is literally enchanting. You don't even have
to cross into the otherworld to feel its power. To a mortal, this spell
replaces sanity with sensory overload. Reality gets kicked to the curb,
and certainty disappears. This state, like the Faerie realm itself, is
often called Deliria - a mix of excitement, sensitivity, anxiousness
and an acceptance of things way outside mainstream reality. A
knife's edge between sanity and madness, Deliria is the twilight
shimmering behind Faerie sight.
Some people never recover from their initial shock;
desperate, they wander around insane. Most folk, however, manage
to adjust to pixie sight quickly enough. Some even grow intoxicated
on it, favoring the Mystery over its mundane cousin. Even after you
get used to it, however, there's always something different about
the Mystery. To those born in this world, the Other exerts a
fascinating draw.
For more details about the state of Deliria and its
effects, see Chapter 6, Pages 252-255.
Companionship: Che White nabbit
At times like this, it's good to have friends. With any luck, you'll find
someone who can help you cope with this brave new world - either
a mortal who already knows the
score or a faerie being who takes '" said the Cat: "We're all mad here. I'm mad. You're mad."
you under his wing. Think of
him as your Jiminy Cricket, the ''How do you know I'm mad?" said Alice,
White Rabbit to your Alice. He
understands the wood in ways ''You must be," said the Cat, "or you wouldn't have come here."
you do not. And perhaps he'll
keep you out of trouble... or at
least guide you away from the
nastiest thorns... until you learn
your way around.
This new guide might be sincerely concerned with your
welfare, like a friend, playmate, or lover; then again, he might just
be using you. In either case, he'll have needs and agendas of his
own. He'll probably help you for a while, but eventually you'll need
to stand and walk alone.
Not all White Rabbits are benevolent. You might meet a siren
who desires your company at the bottom of her lake, a modern
Bluebeard who wants you for his newest wife. a cranky merchant
who insists that you owe him seven years service, or a home-troll
whose affection for your family cat doesn't extend to the family
itself! As Alice herself discovered, the White Rabbit may be a
perilous guide. Although your benefactor may have your best
interest at heart, it's still a good idea to watch where you're going.
Trust is nice, but it's sometimes fatal, even if you've got the
nicest White Rabbit imaginable. After all, he knows the rules and
you don't. He's used to the unusual, and you aren't. In perfect
innocence, he might lead you into a thicket, forgetting that you don't
know the way out. Or he might attract the attention of hungry
wolves, enemies of his who decide to take you down as well.
Enemies or no, your White Rabbit's associates may not be
the easiest folk to understand. If. for example, you fall in love with a
dryad, don't expect dinner with the folks to take its usual course. The
Faerie world has storybook princes, hungry beasts, helpful gnomes,
and clumsy giants - none of whom leads a normal human life!
Eventually, the strangeness of your companion's existence will spill
over into your own... and the strangeness of yours, by comparison,
will transform your friend's life the same way.
The White Rabbit bond has an archetypal quality. It's almost
a required part of your initiation, a partnership that symbolizes the
kinship between worlds. It may be loving, contentious, comical, or
hostile; in any event, that partnership - and partner - becomes
something you'll never forget.
necognition: We're All Mad Here
It's been said that when you kiss the Mystery, the wind whispers
your name to the corners of all worlds. Be that as it may, other
twilight people will start to recognize you soon after your arrival
among them. Word spreads, for better and worse. You may not
know everyone, but it'll soon seem like everyone else knows you.
Lewis Carroll
[rom Alice in WOllderland
The Mysterium has a way of marking those who enter; you
might seem mundane to the naked eye, but those who know what
to look for often recognize you just the same. Some call it reading
skin - a supernatural awareness of another person's history. But
although some Faerie beings possess such gifts, many twilight folks
can simply pick up cues from your aura, clothing, demeanor, or
other traits. Despite the poseurs on the fringe of every scene, folks
who seem like they belong to the twilight often do.
 'Chree "Rings
of Awareness
According to many sages, the twilight path
features three rings of awareness. These rings are symbolic, not
literal, but they measure the degree of respect a person receives
within the Mysterium. Each ring expands an initiate's vision of the
world and marks her effect upon it. Most mortals remain within the
first ring all their lives, most twilight folk remain within the second,
and only the greatest heroes rise to the third ... or go beyond such petty
considerations.
S- The Ring of Stone: Mortal blindness; surrounded by comforts, fear, and
preconceptions, the initiate sees only what's before her and affects only what's dose
at hand. She might hold great influence in the human world, but she garners little respect
among the Mystery Folk.
� The Ring of Fire: The sphere of trials; aware of the greater picture, the initiate learns to see
beyond the obvious, affect her world in greater ways, and bear some weight of destiny. Most twilight
people recognize her as one of their own, and she might achieve some degree offame or infamy.
� The Ring of Dreams: The sphere of legends; the initiate's perceptions and concerns expand to the
world around her. She can hear secrets on the wind and command respect among the Folk. She's also
responsible for the world around her - if something is amiss, this hero is expected to do whatever
she can to put things right.
Beyond the Ring of Dreams, a spirit merges with the world. She might wander in the
flesh occasionally, but like Merlin or Coyote she's more a force of nature than an individual.

See Chapter 6, Pages 218.283, for details about character growth and
transformation within your saga.
 Fey·touched folk have a certain look about them; it's not like are. Potential enemies will decide you're not worth their trouble,

they have a sign around their necks, but if you know Faerie, you can and potential mentors will offer their services ("We'll discuss the price
recognize her kiss. New acquaintances who know nothing about one later... "). Like a child, you're granted a certain amount of slack at

another can size one another up and know they've shared the this stage. Later, more will be expected, but for now you're a fly on

twilight. For, you see, people who move between worlds have a the wall and not much more.

disconnected air about them; such

folk seem spacey, a little odd. Faerie Danger: Don 't Stray From the Path
lore calls this Even so, this is the most treacherous part of your journey. Blinded

demeanor the by new perceptions and unfamiliar with your surroundings, you're

pixie-kiss, witch's going to make mistakes . Faerie etiquette can be bizarre, and its rules

sunshine, or the lark's are easy to break Fey ecology is strange, and things that should be
bounty. (This last phrase one way often work the other way instead.

is like a password among Angry faeries present the most obvious challenge. Cries of

wayfarers, who recognize "Offwith her head!n often follow a wrong word or missed bow, and

one another through subtle though capricious aelden may be easily distracted from their rage,

signs they learn along the their displeasure can easily become your problem. Most civilized

road.) And by any name, Good Folk will give you some leeway if you're new in town, but that

this restlessness marks you. kind of charity depends on the personality of the faerie, the apology

Ta feel its touch is to gather you offer, and the insult that set him off in the first place. You can

twilight into your soul. probably play the New Kid card if you've skipped a bow or

mispronounced a name; if you just tried to off the local regent,

Fee Fi Fo Fum . . . however, your ugly duckling may soon become a dead duck.

(Che Journey)
Recognition has its ups and downs. As Enemies: 1 '1 1 Huff and ] '11 Puff
you reach the second ring of initiation - Not everyone needs a reason for hostility. Some Faerie folk are just

sometimes called the Ring of Fire - your plain vicious... or just plain hungry. The distinction won't mean

journey unfolds. Threats and powers multiply. much if you're on the menu. The Big Bad Wolf might be a good guy

Like a child who hits her teenage years, you at heart, but if you're a piglet or lost little girL well, lunch is lunch.

win a sense of control... and pay for it with The Mysterium seethes with predators - cravers, ravagers,

greater challenges. Once other twilight folk get howlers, manipulators, courtiers, false friends, and fashion victims.

your measure, you'll be forced to prove it again Although the upper echelons of faerie society are closed to you, the

and again and again... lower denizens love to snack on innocent newcomers. We'll explore

the denizens of Faerie soon enough, but for now, just keep an eye

Scorn: 'Che U gly Duckling on the path, watch who you speak to, and be careful about who

No one respects a newbie. As you enter Faerie's fringe, your entry you trust.

into that hidden world generates indifference, then notice, then

both affection and scorn ... more of the latter, unfortunately, then Friends: 'Che Fairy Godmother
the former. But Faerie can be kind as well. When injustice or sadism victimizes

Like any freshman, you'll be tested; those challenges can the innocent, certain Good Folk may arrive to set things aright.

range from taunts to threats to riddles to violence. People will be These fairy godmother figures represent parental love and the

watching you, noting how you handle yourself and spreading the essence of hope. With their blessings, they reflect the core of light

word accordingly. If you meet your challengers with grace and wit, amidst predatory darkness.

your fame will grow; if you seem stupid, weak or brutal, your Fairy godparent figures appear when and if they choose. Their

reputation will suffer for it. aid must be freely given, not asked, and had better be appreciated!

Your ugly duckling phase has its benefits. Kind folk will pity A fey friend could be anyone familiar with the otherworld's ways: she

you and may offer their assistance; no one will expect much from might be a mortal wayfarer, an aelderblood noble, or a shape·changing

you at this point, and they may underestimate how worthy you truly cat. She could be a collection of helpers, like the birds and mice that
 Virtues and Sins
of the Mystery
Faerie morality is not human
morality. It bows to neither church

nor throne and depends more on

personal action than social acclaim.
Even so, certain things are favored
among the twilight folk, whereas others
are condemned:
Virtues
... Beauty Ii- Bravery

� Cleverness � Creativity

� Generosity r;.. Kindness

� Trustworthiness

Essentially, these virtues all boil down to imagination and

respect (for self, others, oaths, and the living world). like most
things, these virtues are in the eye of the beholder; Fair folk, however,
often see the true nature of things better than humans do, and they deserve a
bit of credit for their judgment.
Sins
� Disrespect ... Dullness/Stupidity
� Greed ... Lying
... Oathbreaking � Slovenliness

� Waste

Modem-day mortals are infamous for most of these sins, and they are often
considered guilty by default unless they prove otherwise. Also, sins, like virtues, are
pretty subjective. One man's lying is another man's cleverness. The distinction often
depends on what you do to whom, why you do it, and how creative you are about getting
it done.

Details about the Good Folk and their manners can be found on Pages 104-108.
aided Cinderella, an heirloom like a magic mirror, a spirit-guide, or
even a phenomenon, like the fruit-tree blooming on a mother's grave.
Either way, you might receive aid from an unexpected source. If so, be
grateful and repay the favor when you can.
Cemptotion: He Led Her Over the Mountain
FaerieIand is full of treasures: aeIvish gold, lovely maidens,
charming strangers, wondrous spells... Is it any wonder, then, that
many voyagers are led astray, tempted by wealth or promises? The
goblin markets are filled with such lures, and Faerie courts glitter
with untold riches.
But nothing in Faerie is free. Each potential bounty has a
potential trap as well. Entities that promise bliss often feed on fools,
and treasures that seem unprotected have curses, spells, and mighty
guardians. Touch the wrong thing and... well, those bones around
the pedestal tell a pretty vivid story.
Faerie tales are often tests of character. Clever folk prosper,
and fools perish_ When you're the character in question, though, it's
not always easy to see which choice is best... or to recognize when
you're making a mistake. Everyone has weaknesses, and Deliria has
something to offer each one. Temptation is eternal in and around
the otherworld. So watch what you eat, be careful what you wish for,
and look for cloven hooves before taking that lovely maid to bed.
etiquette: Do You T)efuse to Dance With Me?
It's never wise to piss off a faerie. As prickly and temperamental as
the Good Folk are, however, it's difficult to avoid doing so. Manners
take odd turns in aelden courts, and what seems overly polite to one
person might be mortally rude to another.
Twilight people tend to lose track of human standards of
behavior and reason. An aelden noble might leap from passive
hesitancy to screaming anger in seconds, then shake it all off just
as quickly. Near·immortality gives fey folk an odd perspective
on justice, and they often bestow generous gifts or horrific
punishments without any concept of proportion. A happy Cabrellian
noble might offer your weight in gold for a trifle; he might also
order that selfsame gold to be poured molten down your throat if he
gets angry!
To avoid such fates, watch what others do, keep a low profile
when possible, and offer great respect when approached. Modem
casual attitudes are not generally a good idea in faerie courts, and
outright disrespect can be fatal. When in doubt, think of yourself as a
romantic courtier - possibly stuck in a Monty Python-inspired court!
The capriciousness of Faerie is one of its hallmarks. Its
rules make little mortal sense, and its denizens make even less.
Still, you ought to at least try to learn some etiquette if you expect
to spend time among the dominions - there's a great divide
between guest's quarters and the dungeon, and you'd probably
prefer the first to the second.
"Respect: M y Cousin You Must Be!
True, it's easy to annoy the twilight people. It's often just as easy to
win them over. People talk in the Mysterium, and word of good
deeds travels as well as word of bad. Assuming you're polite, dever,
honorable, and brave, your reputation may quickly soar.
As you move out of the ugly duckling phase, the deeds you
do follow in your wake. Twilight people favor courage, responsibility,
hard work, and imagination far more than raw strength, power or
attitude. A smart young girl will win more favor than a cocky badass;
she might soon become a princess, whereas he quickly becomes
troll·food.
With no real rurrency or government, the Mystery depends
upon trust. Your word is your bond, and your reputation is your
worth. In this setting, respect is more valuable than gold; strangers
might aid you, patrons will trust you, and enemies may forgive you
if you've cultivated some esteem. A bad name, on the other hand,
will cost you dearly. "OathbreakerR is one of the deadliest curses in
the Faerie realm, and it can turn friends into enemies in no time.
The company you keep is vital, too. "Honest friends breed
honest faces,n as the saying goes. Ill·mannered associates will hurt
your reputation the same way. A pig," it's said, "'has no throne but a
U
sty.· So be careful which friends you choose when dealing with the
Folk. Their deeds become your deeds, their honor your own.
Respect pays off handsomely; a trusted traveler can expect
shelter, aid, comfort, and affection from strangers, even many
who might otherwise do her harm. A shady reputation, on the
other hand, will bar you from good company. No one trusts an
oathbreaker, and many folks will try to punish her on general
principle! You can fIx a bad rep, but it's not easy. Quests, favors.
brave deeds, patrons, and plenty of begging may do the trick, but
twilight folk have long memories...
Power: Che Sword in the Stone
Be it a golden ring, great strength, or immortality, Faerie promises
power to those who pass its tests. That promise is two·edged­
both lure and reward - and often grows larger in the telling. But
although the old tales exaggerate from time to time, mortals who
frequent the othelWorld certainly come away with powers unknown
to mundane folk.
In Faerie's surroundings, all things seem possible. If you
desire, you might learn magical or hypertechnological arts. Although
a far cry from the earthshaking magics of high fantasy, these Accords
help you work your will upon the world. You might learn witchery or
yoga, cyberscience or spirit-work; the disciplines themselves help you
focus your inner power, but that power ultimately flows from you.
 Going deeper into the Mystery, you might discover a
Legacy - a talent or treasure that sets you apart. Each Legacy is
different, often based upon the person who receives it; a young
girl might assume a charming gaze. whereas a ragged cop might
discover a talent for healing. Some Legacies are inborn, others are
gifts, and still others emerge after trials or triumphs.
Shapechanging, good luck, immunity to age ... such are Deliria's
bounties. Just remember: nothing in a faerie tale is free. Even
Legacies have their costs.
Not all powers are helpful, either. Wyrds - liabilities and
curses - haunt those who dare the twilight. Like Legacies, these
gifts may be innate, bestowed, or earned through experience; unlike
Legacies, these powers, marvelous as they may be, aren't exactly
pleasant. Bad luck. psychic vampirism, an oath you cannot break...
such is the cost of doing business with the Mystery. No one truly
escapes such pitfalls for long. There is a silver lining. though: Wyrds,
like Legacies, have a cost, but sometimes they prove helpful, too.
For more details about Accords, Legacies and Wyrds,
see Chapters 6 and 7.
Cronsformation: Changing Skins
Regardless of its nature, power changes you. After a time among the
twilight folk, you're no longer just a mortal. Like the wayfarers who
leave humanity behind, you eventually merge with the otherworld.
You might decide to stick around the earthly realm, but eventually
your gifts and curses, associations and experiences transform you.
To mundane eyes, you might still seem normal; inside, you know
differently. The Mystery has become a part of you... and you, in turn,
become one with Mystery.
Sometimes those transformations take physical form. You
might become a dove or stag, develop green eyes or regress to
childhood. like Alice, you could grow smaller, larger, or both. The
old rules of space, time, mass, and identity don't apply in Faerie,
and the closer you get to its strange influence, the more you're
bound to change.
Motifs: Chosen One Syndrome
Other transformations are less obvious but just as profound. There's
something archetypal about the Mystery, a symbolic level that cuts
way below surface realities. That symbolic element is often personified
in the people you meet within the Mystery - the people whom,
occasionally, you bewmt. The Knight. The Princess. The Lost Child.
The Demon Lover. These figures, and many others. abound in the
Faerie realms.
J(1 a
•
Let's call such figures ""'Iif;. It's as good a name as any. The
word refers to a reoccurring subject, theme, or character within a
story. pattern, or song. Consider that idea a riff or archetype ... the
names don't matter. What matters are the figures themselves -
figures so tied to Faerie that they blossom like flowers in its realm.
When you dwell in twilight, motifs have a way of showing
up in, and occasionally even taking over, your life. You may find
yourself becoming someone else - a figure out of a dream or
legend. People might start to call you by other names (Beauty, Wolf,
etc.) or titles (Good Lady, Sir Knight) ; they could act as though
you've met before, even if you haven't, or entrust you with tasks
you didn't know you could perform. ("Urn, I'm supposed to slay a
what?") And soon, despite your best intentions, you may find
yourself assuming that role.
Some folks call this the Chosen One Syndrome: you begin
to assume a legendary mantle whether you want to or not. A motif
begins to seem familiar, like a destiny you've only just begun to
realize. Before you know it, you start to become that motif... or it
starts to become you... or both. Are you turning into a faerie tale?
Is the tale taking you over, transforming you into some archetype?
Or does Faerie bring out the character you were all along? No one
knows. Like so many other fey things. the truth remains a mystery.
Roles are funny things in faerie tales; you're never quite sure
where the line between free will and destiny is drawn. For some
twilight people, motifs call to an inner truth, bringing out their best
and worst aspects. Others resist the Chosen One Syndrome, forging
their own paths in Faerie's forests. What about you? Will you
become a Jack or a Beauty? Or will the role you play in neliria's
realm be of your own design? Only time will tell.
For more about motifs. see Pages 67-8,.
Ever A.fter (Heroism)
The glass palace and its comforts are far behind you now. Faerie
woods and kingdoms are your domain. The paths have grown
dearer, your footing more certain. You've achieved the Ring of
Dreams and become a faerie tale in your own right. Like Morganna
or True Thomas, you stand somewhere between humanity and
aelderfolk. Gifts and curses surround you, and rooms fall silent at
the sound of your name.
So now what?
Adventures: Che Jock Coles
Whether you wanted to or not, you've become a legend. Perhaps
you're loved for saving Cahrellion from a plague of spiders, revered
A
/a
; �,", :" � '�;�- . ;r;
�
tricking Lord Smoke into leaving the earthly realm for seven years. Disaster: He Was Never Seen Again
Whichever, you've done things that make a difference. Your fame Not all endings are happy ones. Indeed, many heroes meet grim

has grown. fates. Arthur was betrayed, Xena killed; Merlin was sealed away for

So what's a legend to do? The obvious answer: make centuries, and countless other heroes just disappeared one day, never
more legends! to return. Your walk outside the glass palace may be a one-way trip.

Robin Hood didn't stop after a single ambush, Sinbad never That's the risk you run when you leave mundanity behind.

settled down, Silver John still Disaster wears many faces: perhaps it's the Great Devourer

walks the hills, and BullY's Ravanados, the charming demon lover, the leap that's just a bit too

out there slaying. Most far, or the pact that held too high a cost. Heroes don't often die in

heroes have restless their sleep. you know - they go down fighting. fall to treachery. or

souls; comfort give in to temptation. In the end, you might be spirited away to

burdens them, distant realms, imprisoned in a Faerie hell, hacked to pieces by a

and trouble jealous lover, or simply hit by a car. Disaster's not inevitable, but the

tends to chances of it are pretty high. Your end may be ignominious or

seek them glorious, but death waits for no one, not even heroes.

out. An old

saying Glory: And Chey Lived Happily ever After

goes, "The For some folk. however, time and fate seem to stand still. The world

gold coin itself appears to wish them well, and Faerie's fields stretch out

spins the forever. Occasionally, there really is a happily ever after. Even heroes

longest." and sometimes catch a break.

heroes are the If you're fortunate, you might settle down in a peaceful

gold coins of dominion with a loving family and friends close by. You might

make a little sanctuary in the mortal world, away from the

If your path has candlestreet chaos, or wander into realms so distant that even

reached this far, you're aelders consider them exotic. You might become one with the land

probably in it for the long haul. you adore, melding into its essence until you and the land share a

Adventures breed adventures. and "happily ever after" tells only part single form and spirit. Whatever happens, your fame will survive,

ofthe story. whispered in tavern-tales or serialized in fantasy novels. Like Snow

White or Clever Jack, your adventures become legends and your

J)esponsibility: Lady of the wood journey ends in glory.

When adventures come a-callin', you might not have a choice. Once

you've won a hero's mantle, people will start to look to you for

guidance whether you want them to or not. Strangers appear, begging

for your help, enemies come back for more, and old friends need

your assistance. But there's more to this stage than obligation: by

now you've achieved a greater vision and can see what must be done.

The Ring of Dreams reaches out into the world at large.

By this point, your perceptions are sharp enough to sense the

proverbial disturbances in the Force. When something's amiss, you

can feel it in your bones. And although you might not want to get

involved, destiny and justice compel you.

Retirement is not the hero's lot. Responsibility for and

accountability to some greater purpose come with the territory. Just

as others guided you in your youth, so you must guide the next

would-be heroes. You could take on apprentices, lead quests, walk

the land. or claim dominion over some protectorate; whichever, the

saga continues. A legend knows no rest.

 Motifs Within the Game
Every character in Deliria is an individual. There are no
character ctasses or races that define who or what you are.
Still, motifs offer springboards for your ideas, either for player
characters or for supporting roles in your stories.
Some of the following concepts are drawn from
subcultures or professions particular to Deliria's world; most
are archetypal characters out of faerie tales from across the
world. None of them is a prison -you can have three Witches
who share nothing except a penchant for magic. The motif
lends a legendary air to each character, but it does not define or
limit what a n individual can or cannot do, become, study, or
enjoy. The motif is like a set of clothes. How you wear them is
up to you.
Motifs have meta-layers: they're recognized by certain
people within the setting, but they play a part in your game
as well. As a player, you could choose a motif to inspire
character details and story elements; as a Guide, you might
use them to help plot your stories, establish your supporting
cast, and give a bit of mythic fiavor to a modern-day saga.
When magical elements arise within the saga,you can use a
character's motif to inspire behavioral changes, dreams,
quests, legacies and Wyrds, props, stories, and the attitudes
of supporting cast characters.
<lliS
Becoming the Motif
Some folks are born motifs, some seek out motifs, and some
have motifs thrust upon them. As we've already seen, people
are transformed when they step into Delirian realms. In many
cases, those changes follow archetypal lines, turning mundane
people into modern faerie tale characters. Why? Is it choice,
inspiration, or destiny? Perhaps a little bit of each.
Occasionally - not always! - a character might begin
to take on aspects of a given motif. That figure begins to call
out to the character, who responds by assuming behaviors and
goals drawn from that archetype. (like Reverte.) Motifs can
change in time, as well; a Waif might become a Witch, as
Willow did in Buffy the Vampire Slayer. Motifs are not set roles;
they can manifest, change, and disappear as the tale goes on.
Each of the following motifs has a gamespeak section
that suggests traits and famous examples for that particular
type. You can use these suggestions as inspiration for your own
characters or ignore them if they don't fit your vision.
For character crafting rules and traits, see
Chapter 6.
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You 're Never Alone
Whether you're seeking out the Mystery amidst the shores of Ibiza,
the hills of Vermont, or the shopping districts ofTokyo. you're never
quite alone. The mortal side of the Mysterium bristles with
interesting parties, and the Faerie side, though less populous, is
alive with possibilities. The Folk have many faces, many natures,
many sects and vocations and quests of their own.
So who are the hosts here? Who are the guests? Who's got
engraved invitations, and who's the next party favor? Ah, those
questions could take lifetimes to answer. Simply put, there are no
easy answers - if there were, it wouldn't be a Mystery! Even so,
twilight people tend to fall into three general categories:
Chose Who enter
Under most circumstances, this would be you; mortal folks who
leave that glass palace we just spoke of fall into this category. Raised
amidst the mundane world, such people walk or stumble into Faerie's
reaches. There are folks who go looking for strangeness, either for
kicks or out of a sense of otherness. Still others enter this realm
through study and experience. Artists, mystics. magic-dabblers, or
scientific geniuses ... sooner or later, such folk encounter ripples of
the Mystery and often follow those currents further in.
What such people do from that point on - whether they
choose to dive deeper or just paddle along the surface - depends on
the circumstances of the moment and the personality of the traveler.
Intentionally or otherwise, such folk transform their own lives and
often take others with them for good measure.
Chose Who Belong
Some people live outside the lines from Day One. Although other
children grew up in the palace, these kids ran around in the forest.
Like the Addams Family, they have a different take on normal; -
to them, the mundane realm is the weird one, and it often proves as
fascinating to them as the shadow-realm is to us.
And then you've got people whose perceptions reach outside the
norm: the psychics, visionaries, madmen. and seers. Through accident
or inheritance, talent or training, these people sharpen their perceptions
to uncanny levels. They see auras, read vibes, hear or see beyond the
normal spectrum, or possess deep intuitions about what is or what will
come to pass. Such folk belong to the Mystery by right. It's an innate
part ofthem. The otherworld sings deeply in the bones of such a mortal,
and though she might try to escape her Legacy, it can't be denied for long.
Chose Who Have Always Been
In this forest offaces, some shine more brightly than others. These would
be the faeries, our otherworldly cousins who seem so like yet unlike
ourselves. Vibrating at a different timbre of the cosmic Song, these
entities range from all-but-human beings to ageless tricksters. To them,
the Faerie realm is home. Ourworld is the unusual one... and this world
draws them. fascinated, in the same way that Faerie attracts mortal folk.
Many of these Fair Folk are essentially mortal, though not
quite human. Often called aelden, these wise beasts, elementals,
spirit-hosts, aelf-blooded humans, and other hybrids stand in the
misty crossroads between earthly mortals and true aelderfolk.
Blessed with uncanny talents (shape-changing, psychic powers, and
affinities for primal elements), these strange cousins resemble
human beings or animals; only when they exert their powers or
perceptions do they appear as what they truly are: mermaids, dryads,
djinni. soul-eaters, animal-spirits. demi-feys, shimmerlings,
throwbacks to ancient eras, and forebears of the world to come.
The true immortals are rare and terrible beings, wearers of
masks and masters of secrets. Although we know them under many
names - angels, devils, faeries, spirits, even gods - these
personifications of Nature transcend our understanding. Although
many of them assume familiar guises, such entities are bound only
by the essence of what they are, not how they appear, They change
faces like we change clothes and function by principles unlike any
laws we know. We might meet these aelders, but we cannot know
them. Aelderfolk are the Mystery incarnate - ageless, forbidding,
and oh so attractive...
Faerie-cole Folk: Motifs
Regardless of their birthright, some folks appear in faerie tale
situations so often you'd swear they were part of the scenery.
Perhaps they are; princes and princesses, tricksters and beasts,
huntsmen and knights, witches and godmothers seem to come with
the territory when you live i n or around Deliria. There are beauties
and rogues, wizards and strangers, wanderers and hermits ... the list
goes on and on. These characters are their stories. The events unfold
from the characters themselves.
As we saw earlier, such motifs are intrinsic parts of the
Faerie realm. But although the term "faerie tale" has an archaic,
Eurocentric ring, motifs are universal. They belong to no time or
culture and may not even be human at all. A shapechanging bear
can be a Beast or a Prince. whereas a siren lives out the Lover or the
Rogue, A Knight need not be European, male, or dressed in shining
annor. Nor are motifs exclusive; they can meld together and form
new archetypes (think Xena, Warrior Princess). The motif is a
legendary role, not an image frozen at a certain time or place. In
Faerie's realm, you'll meet them everywhere - and may even
become one yourselfl

Detective Caroline neverte
Motif: Knight
A good Catholic girl with a mouth like a Marine (in English and
Spanish!), Detective Reverte came from Colombia some ,8 years
ago, when her visions
of Papa's impending death drove the family to new horizons. Now,
like Papa, she's a cop. But though Papa stilt works on Vice, Caroline
works the beat that cops don't talk about: the Special Case
Division, where crimes that don't seem possible wind up.
Caroline has a gift of sorts, an instinct for truth and lies.
She can see the colors of someone's soul, and gets flashes of things
that may or may not happen.These talents, plus her own stubborn
personality, make her 10 mujer perfecta for SCaD work. Sadly, it
doesn't make for a happy home life. Caroline's marriage is falling
apart, her husband calls her a freak, her son's been kidnapped
twice by faeries, and she drinks way too much. Not that you could
tell any of that by meeting her; Detective Reverte comes across
friendly, smart, and sharp-witted. Only her family (Papa included)
knows about the demons chasing her soul... figuratively and
otherwise.
Despite her problems, Reverte has una almafuerte and a
love for justice. People on both sides of the mortal world have
noticed. Her nickname on the street, la Dama Caballerosa ("the
lady Knight") irritates her, but it fits. lately, she's begun to think of
herself in those terms as well. Detective Reverte has great things in
her future... assuming she makes it through her present
circumstances without cracking first!
A Modern Knight
A motif exists on several different levels. Each one can be an
occupation, a situation, a familiar character, and a symbol all at
once. Take, for example, Special Detective Caroline Revertt�:.
Now, Caroline probably doesn't view herself as a symbol or
faerie tale character - she's just a cop! But in the Mystery's grand
drama, she takes on an archetypal aspect anyway. She's a Knight,
whether or not she ever lays hands on a sword, and many fey-folk
will consider her such. Some will refer to her as "the Lady Knight"
(a name she detests), hold her to a Knight's standards and
obligations, and even defer to her - or challenge her - as if she
were a follower of el Cid. These days, Caroline even dreams of
herself as a knight; she's beginning to like horses (she never had
before) and occasionally catches herself slipping into formal
language. The Knight within her is emerging... or she's turning into
that motif.. or people in this weird subculture have made her start
thinking about it... or... well, nobody really knows, to tell you the
truth. A motif simply is. In Faerie's realm, that makes it real.
Some folks you might encounter (or become) in this mythic
world include...
Che Bard
The oldest magic flows through stories and song. The Bard is
master of both. Tapping into something beyond mere
entertainment, he draws inspiration into the mortal
realm and ignites his audience with it. The Bard
sings true, and that truth may inform,
enchant, transform, seduce, or even
horrify those who hear his tune. A
beacon of integrity in an often-banal
world, this motif embodies the
heartsong within us all.
The Bard faces a difficult
road. His gifts can charm, but they
often enrage. Many folks don't want to
hear the truth, and they may even
damn the messenger for his message.
Others fall too deeply under the bardic spell,
looking to him for salvation when they ought to
look to themselves instead. Truth's song is a heady gift,
and the Bard must be careful with it. Egotism, excess, fame, and
infamy dog the Bard's steps. Bards often burn out from the fires of
their own inspiration or kindle infernos not even they can quench.
If this motif calls to you, you've got a deep musical talent.
When you speak, sing, or play, people listen. Form isn't important ­
you could be Bob Dylan, Tupac Shakur, or Nusrat Fateh Ali Khan;
you might use instruments alone like James Galway; electronics,
like Trent Reznor; voice, like Lisa Gerrard; or stories, like
Shakespeare. Your true instrument is your soul Truth speaks
through it, and it cannot be stilled.
 Brimstone Green
Motif: Beast
Master of both Golgotha (a nightclub) and Oashwood's (a retreat for decadent rich folks),
Brimstone Green commands a small but loyal pack of modern sorcerers and thieves. lots of
people owe him favors they'd rather not discuss, and even aelden speak his name with
respect. Voracious i n his appetites, Brimstone has a charismatic mien. He's got a way of
making you do what he wants you to do, all the while making it seem like your idea.
An unrepentant hedonist, Brimstone is far from subtle. His soft voice and dominating
personality help him get away with affectations that would seem silly on lesser men. In person,
Brimstone's presence is damned near overwhelming. Some detractors speculate that he's made
dark pacts to fuel his force of personality, and Brimstone himself would probably agree. He
enjoys the demonic impression he presents and loves to "bring out the lonely sinner"
inside everyone he meets.

Despite the Celtic heritage of bards, this character may

have any ethnicity. Obviously, the Art Vocation is vital for 'Che Faerie Godmother
a Bard. Influence and Languages help as well, and a bit of When hopes dim and pain seems overwhelming, mercy may appear.

Martial helps when a song brings out the worst in someone. Famous A blessing incarnate, the Faerie Godmother brings much-needed

examples include Taliesin, Orpheus, Mozart, or Mother Goose. power to a person in despair. Her gifts may be magical. mundane,

or simple moral support. In any case, however, she's a welcome

'Che Beast sight for tear-stained eyes.

"Nature red in tooth and claw" incarnate, the Beast crouches at the The Godmother embodies protection and love. An agent of

corners of sanctity. His eyes bum in the dark night of the soul; his assurance, she offers comfort for virtuous folk. The Godmother

appetites crave innocence. He's the Big Bad Wolf, the Monster, the might be male or a multitude (like helpful ants or birds), but in

Fiend. Primal terror just around the comer, the Beast represents all most cases she's a kindly woman, a mother figure or best friend

we fear but cannot escape. drawn to ease a child's suffering.

Our Beast isn't necessarily evil. He might just be hungry. A Faerie Godmother is ephemeral. She's probably invisible

That doesn't make him any less dangerous, however. Although to all but her chosen ward, and her deeds appear and disappear

he seems alien to our sensibilities, this motif lies just below suddenly. Like a force of nature, she can make miracles occur. Her

the surface of every soul. He's our animal nature, the passions aid, though, has prices: virtue, solitude, suffering, and gratitude.

we suppress. But unlike civilized folk, this Beast refuses to hide The Godmother is neither a cure-all nor a constant presence. She

his hungers. He'll huff and he'll puff, and sooner or later you'll appears when she's needed, sets things right for a while, then goes

probably be blown away... off to God-knows-where when her beloved child has been dusted

If this motif appears underneath your skin, you're a fearsome off, set back on her own two feet, and sent off on her way.

sort - possibly attractive, perhaps repulsive, maybe both. Whatever If you've got a charitable heart, you could assume this mantle.

civilized refinements you affect. people can still see the animal The world is full of needy folk, and your aid might be required. A

bristling behind your eyes, waiting to feed. The challenges in your full heart and generous temperament suit the Godmother well. For
life involve balance, weighing kindness and reflection with the rage those with love to spare, she's a rewarding archetype to embrace.

that never truly fades.

Traditionally, Faerie Godmothers have magical powers,

The Body Grace combines with Athletic and Martial strong Spirit Graces, and mystic Legacies. (As well as

Vocations to make a fonnidable Beast character. He formidable Domestic skills.) Famous examples usually

might possess good looks and sublime charm (Influence go by the name of Grandma or Fairy Godmother, although some

and Spirit traits), but despite such refinements, the Beast remains tales boast Godfather figures like Santa Claus or the Arab poet

a dangerous creature. The Beast could be male or female, a true Hatim Tai.

animal or a monstrous human being. Examples include Bluebeard,

the Wolf, King Kong, and (of course) Beauty's Beast.


,(\utumn
Motif: Good ParentI Witch
An urban artist more mature than her years would
suggest,Autumn is virtually a tribe unto herself. Mother,
seductress, commentator, muse, witch, and more, she
occupies a spacious ground-floor loft with a hidden
garden in the courtyard.
Despite her remote facade, Autumn has a hungry
air about her. Temperamental, she can go from laughter
to rage to silence in no time. As her name suggests, she's
melancholy. though hints of humor flash in her eyes.
Artist by trade, witch by vocation, she crafts straga for
rich sophisticati. Her designs are regarded highly among
the twilight folk - t h ey seem to capture t h e true essence
of the wearer without giving too much away.
Once, she had a daughter named 8ree. But a
nasty custody fight and a hard-nosed judge took Bree
from her and hid the girl away in foster care. To this day,
Autumn searches for her daughter but cannot find her.
Although she rarely says so, the artist has begun to
suspect that fey folk have taken her child outside the
earthly realm. Occasional cryptic hints suggest that this
may be true...
'Che Faerie Singer
Faeries speak a language of song; few mortals can comprehend it,
but this character provides an exception. Possessed of an inhuman
musical gift, she can charm the birds from the sky - literally! Such
blessings please the fey, who can commune with the Singer on an
almost instinctive level.
A Faerie Singer may be a vocals-only prodigy, a master
instrumentalist, or both. Either way, she shares the mantle of that
oh-so-misused icon, the Bard. Chances are, she's got a gift for
improvisation, too; she may extemporize whole songs without a
moment's rehearsal, yet that song will sound no less rehearsed for
the lack of composition. She's probably eccentric (prodigies often
are) and may whistle constantly or sing to herself in a language no
human understands. Her music is a magic force, flowing from
primal springs inside.
If this motif calls to you, you're both blessed and cursed:
blessed by an insight few mortals share, cursed to remain forever
strange. No matter how charming you might be, most folks find you
bizarre. To achieve peace, you'll need to look beyond the mortal
realm, perhaps forsaking it completely to pursue your song in
Faerie's infinite domain.
Spirit is usually a Singer's highest Grace and Art her
primary Vocation. Metaphysics, Influence, Languages
(especially Aspects like Earthtongue, Musica, and Animal
Speech) , and occasionally Domestic skills round out her accomplish­
ments. Familiar inspirations include Tori Amos, Thomas the Rhymer,
Mercedes Lackey's Eric Banyon, and Alan Dean Foster's Jon Tom.
'Che Good Parent
A child is a form of magic; having one transforms you. The person you
become as a parent is not the person you once were. And in faerie tales,
the love a Good Parent bears for his offspring is as potent as any spell.
We often think of the Parent as a lost or fallen archetype in
faerie lore - the evil stepmother, absent father, or beloved but perished
sire. In world folklore, however, many tales revolve around a mother
or father (or even a surrogate parent) whose child has been threatened
or abducted. In love and fury, this hero summons up reserves he
didn't even know he possessed, traveling to distant lands and having
adventures that he would never have considered if he were childless.
Times change, but not parental love: your Good Parent could
be a young mother struggling to protect her offspring, a noble
patriarch trying to leave his child an inheritance, a pregnant woman
trying to assure a safe future for her unborn baby, a desperate
parent searching for a lost child, and so on. Whichever way, your
character will have a sense of purpose that goes above and beyond
his own needs. A child may be a mixed blessing, but not all the gold
in Faerie can buy that kind oflove.
 Strong of Spirit, the traditional Good Parent has few
powers but lots of heart. Good Parents from common
lore include Sarah Conner in T2, Tindira in Gordon
Dervanchuk's "Zroya's Trizub," and all the parental figures in Orson
__ . . t
Scott Card's Enchantment.

Che Inamorato
Cherished by an otherworldly lover, the inamorata ("beloved")
possesses beauty or talent enough to charm an immortal. Although
she has little magical ability (if any at all), something about this
person captivates her patron. She might be an artist of rare
inspiration, a beloved goddaughter or cousin, a child whose plight
evokes sympathy from the fey, a brave or beauteous soul, a guardian
of some mystical place, or anything else a fey heart might desire.

Naturally, the Inamorata might be male as well as female;

her relationship to the otherworldly one might be platonic, familial,
romantic, or downright carnal. She could be any age, from child·
hood to elder years, and the love she shares with her paramour
could be tender, savage, comically brief, or tragically eternal. -

Passive though she might appear, the Inamorata holds

hidden powers: innocence, imagination, a sense of wonder, and
untapped potential that, when nurtured, will grow to great
proportion. If this is your archetype. you provide comfort and
inspiration for your beloved while tending some future greatness
within yourself

Traditionally known for beauty inside and out, the

Inamorata boasts charm, Influence Vocations, and
possibly sharp insight. Chances are, she'll have fine
Legacies, either at low levels or just ready to emerge. For examples
of this motif, think Cinderella, Belle (from Beauty and .he Beas.),
Wendy (from Peter Pan), jilly Coppercorn (from Charles de Lint's
Newford tales), or Bottom (from A Midsummer Night's Dream).

Che Innocent
He didn't mean to get involved - he really didn't! Perhaps he never
should have gone near that grove/nightdub/pond/whatever. Now it's
too late; he's entered a world in which expectations go wild, and
nothing will ever be the same again! The Innocent might be pleased A core icon in faerie tales, the Innocent rarely stays that way

with his lot, enchanted by his new world, or terrified out of his wits ... for long. If this motif speaks to you, you've probably got a bit of

possibly all three at once! In time, perhaps, he'll gain some mystic growing up to do. As you meet challenges, you'll change into
prowess and carve his own niche in the Mysterium. For now, something wiser ... assuming you survive. Innocence is prized in

though, he's a stranger in a very strange land, an everyman caught Faerie, after all - by Godmothers and Beasts alike!

in a waking dream.
Like the other types, this character could be either sex and High Spirit Graces and physical beauty set this

any age. His defining traits include confusion, curiosity, a feeling of Innocent apart from common kids. He's probably got a
being way out of his depth, and a sense of destiny that makes him Legacy or three just waiting to appear. Popular examples
somehow belong. include Lewis Carroll's Alice, Neil Gaiman's Richard Mayhew, Hansel
and Gretel, or Little Red Riding Hood.
Che Knight
Someone has to kill the wolves. Someone has to slay the dragons.
When predation rears its head and howls, a Knight may he all that
stands between innocence and death. This character has a long and
honorable tradition in faerie tales; without his axe or sword or
words, happily ever after might never come.
Despite his martial stereotype. this character doesn't have to
he a soldier. (Or male, for that matter.) The dwarves who raised
Snow White or attorney Daniel Webster, who sued the Devil and
won, all qualify as Knights, although none raised a blade. In Deliria'S
world, this character might be a SCaD officer with silver bullets, a
mercenary whose daughter has been kidnapped by aeives, a reporter
who will not be frightened off her story, a mother who journeys into
Faerie to save her son, or any number of other possibilities. Three
things define the Knight: someone to defend, the skill to do so, and
a determination that will not fail.
A common motif for adventurers, the Knight symbolizes
guardianship and honor. Sometimes aggressive, even cruel, he's
dedicated to his cause. If this icon seems familiar, you're probably
the gallant type. Your road won't be an easy one, but it certainly
won't be boring!
Strength of body and spirit fuels this figure's deeds.
Whatever his specialty, you can bet he'll be damned
good at it! Classic examples include St. George, Janet
from "Tam Lin," Buffy the Vampire Slayer, or the ubiquitous
woodsmen of the Brothers Grimm.
Che Miracle Merchant
Hey! You wanna buy something special? From Diagon Alley to the
bizarre bazaars of the Arabian Nights, faerie tales are filled with
goblin markets, Old Curiosity Shoppes, and sinister connoisseurs
ofunique merchandise. In the byways ofthe Mysterium, such
merchants do a brisk trade. Commerce, after all, is the lifeblood of
society, and these shopkeepers keep it flowing smoothly.
Miracle Merchants don't always set up shops; some run
carnivals, websites, cart-stalls, bars, or games of chance. Some are
helpful, others cruel. One Merchant might seem demonic, whereas
another holds your last, best hope. All of them offer the same choice,
though: you can get what you want, but it is going to cost you ..
Faerie-tale shopkeepers are an eccentric lot. Aside from their
passions for buying and selling, these odd folks share behavioral tics
(coughing, hand-rubbing, grumbling in some half-heard mysterious
language, etc.), a love of the deal, a propensity to haggle, and a
selection of strange and wonderful things. Miracle Merchants often
boast exotic features, too - catlike eyes, sharp ears or noses,
frightening bulk, or spindly limbs. Although most of them are
human in ancestry, one might say such shopkeepers have a bit of
the fey about them.
A symbol oftrade and temptation, the Merchant opens doors
to new lives. Appearing at a vital moment, he makes all things
possible. But be careful - his services usually cost more than one
might expect! If this is your archetype, you're a dreamweaver and
facilitator, helping others find their destiny while carving your own
in the process.
Well-versed in Academic, Influence, Craftsmanship
and Languages, a Merchant boasts high Mind Graces
and fair resources. He's probably got Legacies to help
him keep his inventory full, and employees or allies to maintain it.
Miracle Merchants can be found in King's Needfol Things, Rowling's
Harry Potter tales, Bradbury's Something Wicked This Way Comes,
and Ellison's "Djinn, No Chaser."
Che Prince
Vital and beautiful, the Prince is manhood at its peak. Although naive,
he melds power, grace, virility, and force of arms. Even in the modem
age, women still look to him for security. His feet of day may be
obvious (or not), but that doesn't make him any less attractive!
Traditionally, the Prince is youth untempered by wisdom.
His trials - and he has many! - bridle his raw potential, teaching
wisdom and bringing him at last to maturity. Sadly, many Princes
never reach that stage; they perish on grand errands or remain
locked in self-indulgence, too glamorous to grow up yet too
undisciplined to be of much use to anyone. As an archetype, he's
lovely but unreliable. As Jack Zipes said, "Don't count on the
Prince."
Drawn to this archetype, you might feel brash, masculine,
full of fight. You're probably charming - all the best Princes are!
But at some point you'll have to settle down and grow up; otherwise,
you're like a broken promise, lovely but unfulfilled.
Studly of Body, fair of Spirit, Princes aren't known for
their Minds (though that might just be sour grapes).
Influence and Martial skills are this character's forte,
although he might have other gifts that aren't nearly as obvious. One
of the most common faerie-tale icons, the Prince appears under that
name in countless stories; other examples include Luke Skywaiker,
Prince Hal (from Henry V), and romance novels without number.
Che Princess
No tower, spell, or transformation can stop the Princess, that vital
icon perched between girlishness and womanhood. Like her dashing
counterpart, the Princess represents youth's potential. But whereas
the Prince is fiery temperament, the Princess is composure. She's
clever, often innocent, but quick to catch on. Her virtues draw both
protectors and predators, but she usually comes out ahead.
 --- II
making small minds grow. The kids adore her, even if their parents often
puzzle at the gaudy (and occasionally disturbing) puppet shows she
holds. These tiny dramas hold more magical significance than Kelly herself
realizes. Some twilight folk, however, have begun to notice Kelly. . and they begun to include her,
secretly, in their plans ...
A Princess has a hard life. She's forever being locked in
dungeons, menaced by beasts, cursed by witches, and chased by
handsome boys. Perhaps that's why she's so self-absorbed, breaking
promises to frogs if doing so keeps her lips clean. Yet despite her
shallow guise, there's a keen mind working in this archetype. Our
Princess puzzles her way through riddles, traps, and hopeless tasks,
then summons her protectors if wits are not enough.
Many young women feel the Princess inside, either as an
inspiration or a cruel joke. Like most motifs, she's ultimately
unattainable, yet she is presented as what a woman should be even
so. Is it any wonder she's so ambiguous - smart but powerless, too
cute to be much more than an ornament? If this icon speaks to you,
take care. Her beauty can become a snare too tight for even keen
wits to cut away.
Beauty and brains set this character apart. She's
probably got potent Spirit traits and Domestic skills,
but she also has surprising abilities in Influence,
Craftsmanship, and perhaps Technology and Martial arts. Famous
Princess figures include Fiona (from Shrek), Snow White, Juliet,
Trinity, and Leia Organa.
Che Rogue
For every rule, there is someone who cannot abide it. Like Hermes
or Coyote, he must subvert the old order to craft new possibilities.
An outlaw to many, this Rogue still possesses rebel charm and the
romance of the damned. He (or she) will not be caged, will not be
Kelly Shockett
Motif; Princess/Bard
She liked to tell stories. She liked to make people laugh. She loved
to shape little people out of wood and clay. And so, despite the
objections of nearly everyone she knew, young Kelly Li Shockett
became a puppeteer, entertaining kids at school and parks while
making ends meet as a waitress.
Dextrous of mind and fingers, Kelly lives in an artist's collective
called the Bottle. Although troubled by poverty, parental
disapproval, and frequent headaches, she maintains an upbeat
view. At the moment, she feels like she's in search of something, an
elusive destiny that hasn't yet appeared. Guidance, she believes, lies
in her puppeteering gig; there, she makes small worlds live while
ruled, will not follow any dictate outside his own conscience. Lords
despise him, ladies desire him, and nearly everyone wishes they
could be more like him... if only they dared.
This trickster lives in between realities, bound by his own
code of ethics but indifferent to outside laws. He riddles, tricks, slips
through cracks. His schemes may blow up in his face, but at least
he's had the courage to try new things. Few people can say the
same, so even when the Rogue loses in the shortterm, he wins in
the end.
In our world, this character wears many stripes: he might be
a neomancer with forbidden arts, a hacker with a heart of... well,
virtual gold; perhaps he's a runaway or rock star, a renegade cop or
a fugitive. Tattered yet tempting, the Rogue might be an exiled
princess from a Faerie dominion or a mad vagabond who lives on
the street. Disreputable, to be sure; romantic, naturally. What
separates this trickster from rougher company is a code of honor,
a sense of class, and perhaps an injury that must be avenged.
Are you a Rogue? If so, welcome to the hard road. You'll
spend lots of time on the run. Still, the glamorous freedom of your
life will make most folks envious. The wind at your back may blow
cold at times, but better that storm than comfort's cage.
A master of survival, the Rogue has a sharp Mind and
supple Body. Artistic, Athletic, Influence and Martial,
skills help him keep that freedom. The classic Rogue,
of course, is Robin Hood; many faerie tales revolve around his
adventures, his company, and the occult overtones of his saga.
 Other examples include Han Solo, Jack the Giant-Killer, the

characters in The Matrix, or Lord Byron and his company of

Romantic-era rogues. (See the book The Stress of Her Regard or the

film Gothic for faerie tales involving these real-life renegades.)

Che Waif
Young and awkward, this poor soul gets sympathy even if she

doesn't truly need it. She wears her youth like an ill-fitting sweater,

too big for comfort but cute nonetheless. Is she really as naive as she

seems? Or is her innocence a disguise for some deeper purpose?

The Waif hovers on the edge of peril, inviting someone

stronger to come take care of her. She could be an actual child or a

young person who just hasn't come into her own just yet.

Symbolically, she stands for possibility as yet undiscovered. She's

probably got limited means, a tragic past, and the potential to really

be someone once she gets herself together. Many faerie tale heroes

begin this way, although most grow past this clumsy stage by the

end of their adventures.

Winsome yet pitiable. Is this you? If so, you're probably good

at getting people to take care of you. But beware: the cute routine gets
old quickly. Unless you can shed your hapless demeanor, your

companions may tire of you and your destiny will falter from neglect.

The Waif tends to be a fountain of potential, with

hidden skills and secret Legacies. These days, she's

probably good with Technology, Academics, and

Malachi Fortune Metaphysical Vocations. Mind tends to be her strong suit, although

Motif: Wayfarer she might have a powerful Spirit, too. Examples include Willow from

How long has he been wandering? You might as well ask the Buffy, young Aladdin, Tom Thumb, and most children in faerie tales.

clouds how long it takes to rain. Malachi Fortune seems ageless,

the shape of laughing thunder in a weather-beaten cloak. In Che Wayfarer
taverns from Cabrellion to Paris, he's called Black Wind Dancing. For some restless souls, one world is not enough. These hardy folk

He comes and goes as he pleases, asking leave of few and cross between Faerie, our realm, and as many other worlds as they

charity of none. His bulk and dark clothes speak of Power. long can find. Often mortal by birth, such Wayfarers - also called rovers,

ago, the Folk tested his resolve and found it best to leave well striders, walkabouts, larks, and journeymen, among other names -

enough alone. leave home to follow enchanted trails wherever their wandering feet

A stylish dresser, Malachi is a tall, imposing black man might lead.

of mature but indeterminate years. Wrapped in a huge black What inspires such a person's travels? Each Wayfarer

cloak (which seems to ripple in the wind, even indoors), his has a different answer: she might want to renew the bond between

massive frame sports a white shirt, black vest and black slacks. her modem soul and the ancient earth, or perhaps she's seeking

with polished shoes, a white scarf, and a white lotus flower in wisdom on a lifetime walkabout. She could be on some quest or

his lapel. He doesn't wear a tie, and he never seems looking for a soul mate; then again, she might just prefer her own

uncomfortable, even in deep forest. Malachi's fingers are large company. Regardless, she'll never settle down for long. No lure ­

and nimble, ringed with gold bands; his head is bald, and his neither love nor magic, wealth nor obligation - can keep her from

face is angular, with high cheekbones and the perpetual ghost the path for long. Whatever promises she makes will be gone like

of a smile. Fortune wears dark glasses that reflect the face of morning mist upon her endless trail.

whomever he's speaking to. They seem to contain eternity if If solitude seems like bliss to you, the Wayfarer might be

he's looking at nothing i n particular. Fortune speaks in graceful your archetype. Like the Beast and the Stranger, you're not com­

enigmas and seems more like a flUid shadow than a m a n. fortable among civilized trappings. A higher cause compels you to
help out when you can; as soon as possible, though, you'll be back
on the road, looking for whatever it is that draws you on.

Blessed with a strong Body and sharp senses (Mind), a

Wayfarer makes her way alone. Despite this solitary
streak, however, she probably boasts some people skills
(Influence). Along the way, she's also picked up faerie lore, odd
secrets, and helpful talents. (Athletic, Artistic, Domestic, and
Metaphysical Vocations.) Noted Wayfarers include Tolkien's Strider,
de Lint's Staley Cross, Tom o'Bedlam, and the Phantom Stranger.

Che Witch
Are you a go-o-od witch, or a ba-a-d witch? Like most faerie tales,
Deliria has plenty of both. The good variety cast charms and blessings
to set things right, whereas the bad ones spew malice to the four
winds. Both types possess uncanny powers and arcane secrets. In
many ways, this figure embodies feminine wisdom in all its aspects:
seductress, mother, sage, avenger, healer, and destroyer. In no way,

though, is she tame. The Witch lives and dies outside the norm.
I n our Mystery, you can find witches of all types: the young

dabbler and her college coven, the screaming crone mad in Faerie's
wilderness, the healer who soothes wounds of body and soul, the
rebel draped in fetish finery, the fam-trad mystic, the neighborhood
wise woman, the noble sorceress, activist agitator, earth mother,
sacred intimate ... she's all those things and more.
I s there a Witch within your heart? If so, you're in good
company. Though real-life witches can be of any gender, the
traditional Witch motif is undeniably feminine. You could, however,

break that mold. This is the new millennium, after all, and fresh
tales demand fresh traditions.

A powerful Spirit is essential for a Witch, although

Body and Mind Graces come in handy, too. Legacies
and Accords of many different kinds fit this motif well,
as do Art, Domestic, and Metaphysical Vocations. Classic witches
run the gamut from faerie godmother to cannibal crone. Examples
from pop culture include Kiki (gD-D-Dd), the Wicked Witch of the
West (ba-a-d), and college student Willow (both).
and tested, and by all the gods he'd better be lucky! Assuming
Che Young Colent he can keep his heart and mind intact, however, there are great
Destiny harbors inside the young. This motif is perfect proof. things in his future. Note, of course, that great doesn't always
Although unskilled, this youth boasts incredible potential. Rightly mean pleasant...

directed, he might accomplish great things; misled, he could cause

great terror. His road is hard, but then, good things don't come Potent Spirit traits and Legacies are this character's
easily in faerie tales. forte; his skills tend to be low, but he makes up for that

As the new era rises in Deliria, Young Talents bubble to the with destiny, ailies, and potential. Although the obvious
surface, too. Your character might be a technological genius, a mystic Young Talents are Harry Potter and his Hogwarts peers, this motif
prodigy, a psychic kid, a savant. He will not see things as his elders has a long and glorious history: young 'Wart" Arthur, Timothy
do; he will make mistakes that shake his world; he will be tempted Hunter, Fuon Mulan, and Anakin Skywalker.
 Modern Moti fs
Faerie tales are products of their time, and our age is unlike any

other. Mass media, easy travel, high-tech luxuries - plus the self­

awareness and rootless anxiety that come with them - have given

us new archetypes for our tales. Such figures have already begun to

work their way into the mythic essence of Deliria as well, siring

motifs that speak to this millennium. Faerie has new faces in its

midst. A few of them include:

FV€: 'Che Lark's Bounty

Like the birds for which t hey're often 'Che Agent of Order
named, the wayfarers of Deliria - often He'll set things straight, yes he will. Charged by the Highest

called larks by the fey - range between Authorities, he comes bearing official ID, dark glasses, intimidation,

worlds, driven by vagabond hearts and eternal and a mantra: Nothing to see here. Move along.

curiosity. Renunciates of the human realm, these He's the Man in Black. The Homeland Security Dude. Mr.

twilight folk drift in and out of other people's lives. TIPS. The Hush-Hush Man. He'll get to all the witnesses, scrutinize

Unlike most mortal folk, a wayfarer has little fear of the the records, assure you that you're mistaken, then get back in his car

unknown. Mystery is like a drug to her, and little else truly matters. and return to base, secure that nothing unusual happened here at all.
A longtime rover knows more about the otherworlds than But he knows more than he's telling, doesn't he? Or is he

many aelden folks.Whether she chooses to share that lore depends on truly that obtuse? Or perhaps he's covering up for THEM - you
whim and circumstance, but she always knows more than she lets on. know, the folks who really run the show. Whatever: you won't get

Traditionally. a Delirian wayfarer goes barefooted in order to feel and any answers from this dude. The Agent of Order doesn't share his

pay homage to the realms she traverses. Although each wayfarer thoughts with common folks. He's just here to keep everything

wears and carries whatever gear seems most appropriate, a wise one under control. That's all you need to know.
avoids modern materials and gadgets - in many realms, such items The Black Knight of conspiracy theorists everywhere, the

either transform into simpler versions of themselves, or they cease to Agent has an almost supernatural ability to remain calm while

exist entirely! Most likely, she carries very few possessions; like a long­ unnerving everyone he meets. Symbolically, he represents Authority

term hiker, a rover totes her gear alone. with a capital A, the imposing obstacle of normalcy. In the flesh, he

Some tools, however, are essential: a pouch of naturally-cured seems too cold to be alive. Is he human? Perhaps a clone? Can he be

tobacco (as offering for the spirits), a wrought-iron dagger (for all a faerie creature spawned by modern paranoia? Mmmm . . . could be,

sorts of utility and protection), a tinderbox (for fire), a walking-staff Rabbit. Could be...

of either oak or rowan (woods renowned for their enchanted If the Agent seems like your, man (or, rarely, woman), you're

properties), a crosskey or some other method of crossing worlds cool to a fault, dedicated to the status quo. You might be a SCaD

at will, and a charm made of lark's feet, feathers, or a bit of both detective, an intel operative, an aelder being. or just a very efficient

(the traditional rover's badge). cop. As far as you know, there isn't really an organized conspiracy of

Because time passes differently in the otherworlds, a rover people like you. You're just doing a tough job, making life a little

ages slowly, if at all. Folk tales tell of people who set out o n the Faerie easier for those who can't handle the truth.

track, then decades or even centuries later return to their old haunts
virtually unchanged by the passing of the years. Wild weather and High Body and Mind traits compensate for a low Spirit

a hardy life, however, bring changes of a different kind. As a breed, Grace. (You probably don't believe in that sort of thing

rovers are thin and rangy, travel-worn but incredibly fit. No-nonsense anyway.) Influence and Martial skills round out a lot of

types, these striders share wry humor, earthy manners, and self-reliant Athletic and Academic abilities, and you've got legal authority in the

st rength They make great guides, fond friends, and very

. mortal world. Famous examples include Agents J and K, the Roswell

bad enemies. investigation team, and most folks on The X-Files.

'Che Chipper
Hi, neighbor! BeautifUl day, isn't it? Gosh, I'm so happy to be alive! We
just bought a new S UV and a widescreen Plasma TV. Wanna come over
tonight and watch the game? Martha has a new recipe she'sjust dying to
try out on company!
Do people like this really exist? They do in modern faerie
tales! Nestled in McMansions with perfect lawns and happy kids, the
Chipper embodies suburban happiness, the American Dream that
never died.
Or did it? If you meet him, you might discover dark
undercurrents: drugs, abuse, dysfunction of a million different
kinds. There's something seething under the Chipper's skin. Maybe
he's struggling to pay for those three Caravans and the house;
perhaps he's sold his soul to demons. Is he molesting kids, fucking
co-workers? Or is he just hollow, not bad, exactly, but desperate for
something to give his life some meaning?
The personification of mundane, the Chipper is Joe or Jane
Average ... or tries to be, at least. This, after all, is what TV and
advertisements tell us we should become. Could this be you? If so,
you'll soon realize that media-induced happiness is not true
happiness at all. This picture-perfect world could be ready to
collapse, pitching you into a modem faerie tale. Or it could be rotten
on the inside, with darkness waiting to swallow you whole.
Most likely, the Chipper's just a normal person - no
Legacies, Wyrds, or magic powers. Then again, he might
have some odd secrets you haven't noticed yet. Mind
Graces tend to be high, supplemented by unglamorous professional
skills. Chippers appear everywhere in commercials and TV shows;
they also show up (with darker overtones) in faerie-taleish fIlms like
American Beauty, Blue Velvet, Donnie Darko, and Edward Scissorhands.
'Che Chrysalis
We live in an age of Indigo Children, kids who possess gifts their
parents can't understand. By older standards, they're easily
distracted, but in reality they function on a different plane. ADD,
delusions, psychosis, and depression seem to be their curse, but
deep inside they understand existence on levels that older folks can't
comprehend... or are afraid to see.
In past days, such children would be called changelings, faerie
kids left in place of stolen mortals. But now we know better (don't
we?): the far·off gaze and strange allergies of this child are simply
the fault of too much TV and PIaystation, too many hormone·
saturated meals, an excess of imagination. If we just dope him up,
sit him down, raise him with love or a good belt in the backside,
he'll grow up to be like us...
But the Chrysalis is different - human, but possessed of
unusual gifts: heightened perceptions, non-linear thinking, an off­
kilter metabolism that never seems to bum off energy. He can't sit
still unless he's on the Internet. He can't remember what you said
FYE: Special Case
Divisions (SCaDs)
Mortal humans aren't completely blind to
the strange forces in their midst. It's not
exactly common knowledge, but many state
and national authorities have covert divisions
to handle events and people that fall outside
their usual jurisdictions. Most major nations (and
quite a few small ones) possess depa rtment s of paranormal affairs.
China has the Smoking Jade Bureau; Germany, the Wolf Guild; Great
Britain has Division 44 (a.k.a., the Wax Museum); the United States
has Special Case Divisions (SCaDs) on both federal and local levels.
Discern. (ontain. Remove. Deny. This is the unofficial motto of
American SCaD officers. Figure out what's going on, keep it from
spreading, dispose of the threat, and cover it up as much as possible.
Joe America might have some odd notions about the world in
general, but the Powers That Be would rather not have proof of such
things up for display. SCaD officers work a beat that does not
offiCia lly exist. Technically a division of vice or an anti-gang task force
(go figure!), a local SCaD fields a handful of plainclothes detectives
for most cases and a specially equipped SWAT team for emergencies.
These officers are drawn from the ranks of officers who see or
experience something that should not be, but is. Most have ESp,
strong religious convictions, or alternative spiritual beliefs. In most
cases, they undergo serious t herapy on a regular basis.
A shadow elite, SCaD officers are the White Knights oftheir
communities. Most Divisions are coolly efficient and open-minded,
though a few fall into the witch-hunter category. like most faerie tale
heroes, these brave men and women work between the cracks of
their legal and social system. They must be as subtle, discreet,
observant, and disciplined as deep-cover plainclothes cops, with
strong links to both the Mysterium and the local media. Not
surprisingly, many SCaDs have emotional and physical crises beyond
the usual policework stress. Working the shadow beat is a tough job,
but someone's gotta do it.
 10 minutes ago, but he can recall with perfect clarity the day that he

was born. He matures quickly in his body, but his mind seems light­

years off from what his folks call common sense. A cross between

the Rogue and the Waif, this motif represents new rules outside the

co old, rules that aren't quite clear yet. Is he the next stage of human

evolution or just a troublemaker? Will he grow out of his odd

distinctions ... or into them? And what, if anything, is gathered in his

butterfly soul, waiting to emerge and spread its wings?

If this kid sounds familiar, he might be you. Strange

sensations, images from far away, hypersensitivity to certain foods

or situations, an ability to concentrate on virtual phenomena while

remaining completely clueless about what's right in front of you -

these could be symptoms of childhood gone wild, or you could be

the Chrysalis of a new, enchanted day. Your dreams lead you to

lnkboy believe the latter; your world seems too intense to be the place your

parents knew. There appears to be some great destiny writhing just

Glowing at the center of a under your skin. Maybe when you wake up into the real world,

crowd, Inkboy strips his you'll understand what you've become.

chest and urges others to

paint their dreams on High Spirit traits define the Chrysalis, although

him. With beatific smiles Mind and Body might be secondary. A true keeper

and a skirt of fluorescent of the butterfly soul will have Legacies, Wyrds, and

pens, he dares others to probably high Heart scores as well. For examples, see the kids from

express themselves on his skin, Roswell and The Sixth Sense or the heroines of the Fearless and
then dances till the ink runs in Replica book series.
sweaty rivulets, mingling into garish
Rosetta Stone designs. lnkboy's club 'Che Cylebrity
persona fits him nicely: i n many ways a blank, Mass media has given mankind a new church, a dream-cathedral

he's spent his life waiting for other folks to tell where mortals become saints or even gods. Transcending mere

him who he is. humanity, these icons depend on reoccurring images. Without their

The answers haven't been pretty; diagnosed fame, Cylebrities are nothing. But with fame... ah, that's another story.
with everything from autism to ADHD to schizo­ The Cylebrity is an illusion walking, a force of personality.

phrenia, young Douglas Takamura rarely spoke in compl ete sentences. She doesn't even have to exist in the flesh, so long as her image is

His eyes remained focused on faraway places and his limbs writhed memorable. It's perception, not physicality, that makes the Cylebrity

with odd significance. Evaluations, drugs, harsh discipline - nothing reaL People who've never met her feel as though they know her;

shook him from his trance. In his mind, he danced among the folks may live and die to impress her; fortune may rise and fall

thoughts and passions of those nearest him, and those dances could through her activities. But Cylebrity has its costs: overindulgence,

get very sad indeed... until he discovered nightclubs and neospirit loss of privacy, anxiousness, unreal expectations, and a perpetual

raves. There, Douglas became Inkboy, the bare-chested billboard for sense that people are entitled to share the icon's life... perhaps even

other people's ecstasy. take it away.

A powerful empath driven to dance what he feels, Inkboy Larger than life and twice as obnoxious, the Cylebritic image

has become a savant saint. People see their own pains and pleasures is a tough act to live up to. In most cases, a Cylebrity has to die

acted out through him, and they've begun to worship him. A strange before she truly ascends to this pantheon. Occasionally, though,

young woman, lady Raven, now acts as his protector; rumor claims someone with the balls, savvy, charisma, and determination can

she can turn herself into a flock of crows, so nobody fucks around manifest Cylebrity, becoming more than the sum of mind, body,

with him. What does Inkboy make of all this? No one's really sure. He and soul. If this sounds like you, the road is open. Warhol's 15-

still speaks rarely, if at all. Silently he dances, his limbs and glowing minute maxim is alive and well in the age of reality TV, and the

chest a testament to sacrifice. Mystery holds many paths to stardom. If you want fame badly

enough, you can have it. Just don't complain about the cost...
 Most Cylebrities are unusually good-looking; Body traits
tend to be high. Mind and Spirit aren't nearly as
important, though a memorable Cylebrity will have it all.

Influence Vocations and the Fame Legacy are essential. Other skills
will depend on what you're famous for. Our world is filled with
Cylebrities; iconic ones include Elvis, Marilyn Monroe, Madonna,
and Lara Croft. lOVE: Goosetellers
Journalists on the fringes of popular culture
Che Drone occasionally follow the people and events
He works with you, but you don't know him. Occasionally he'll around the Mystery. Very few mortals actually
glance up from his desk and you'll see forever in his eyes. He's the believe these goosetelJers (a.k.a. town criers, fairy
guy in the next cubicle with bad hair, pressed clothes, and bland
pictures of his family. You pass by the Drone every day, but he never

seems quite real.

The unreality of the Drone is that he seems so real. Solid
and mechanical, he's the Employee of the Month who never seems
to have a life. You make jokes about the company growing people
like him in a vat under the office. But when you think about it, that
might be true. How else could someone be so dull? Symbolically,
he's the living death of the mundane world, too blind for wonder,
too dull for joy.
In the Mystery, such people sometimes arm't human.
Whisperlings occasionally manifest as shades of mundane people,
living out half-lives rather than passing on into eternity, some
aelderfolk assume Dronish masks to learn about the modern world,
shimmerlings and house-spirits may take on the guise of Joe
Employee, and plastic elementals sometimes become plastic people,
acting the only way they know how.
If there's a Drone in your heart, you need a life
Perhaps a jolt from Faerie can knock you out of Dronedom. The
- fast!
mundane world has seeped into your soul so thoroughly that you're
forgetting how to live. Unless such aid comes soon, you might wind up
among these lost souls, wandering in a blank haze as the years just
tick away.
freaks, and tabloid weirdoes), but they're often amused by the
magaZines, websites, TV shows, and tabloid rags dedicated to the
occult fringe.
(
Goosetellers are a sorry lot, despised by most twilight folk
and mocked by their journalistic peers. Possessing zero credibility,
these reporters, photogs, and pundits sometimes make very good
money - but at a high cost. There are plenty of folks i n the
Mysterium who don't like trespassers, and, unlike Hollywood
celebrities, these folks rarely stop at smashing a reporter's camera.
Despite fierce competition, goosetellers share battlefield
camaraderie. Everyone else seems to hate them, but they know that
they're (occasionally) telling the Truth. The world is a very weird place,
they understand. If no one else wants to recognize that, it's not the
fault of these reporters.
The biggest name in this field is PNTV (ParaNormal Television),
a cable network dedicated to occult and paranormal history and
phenomena. Other noted gooseteller sites and periodicals include
parajJash.com (a Mysterium website); Iron (ire/e, OutView and Scrape
(magazines); and the Week-tv Merlin, Goddess Crove, Vast Secrets, and
The Eye (tabloid newspapers).

Totally average in every way, the Drone has no exceptional

skills or Graces. As a player-character type, he makes a
good starting point but a lousy hero. For examples, see
the fIlms Joe vs. the Volcano, Being John Malkovtch, and Fight Club, or
see the Dilbert comic strip.

Che Negotist
That's not happening! That's not possible! There has to be a rational
explanation, and this icon will find it, no matter how far she has to
stretch. The Negatist is materialistic atheism incarnate, solidly dosed
to any concept of the supernatural. Funny thing is, she seems to have
a point. Her blinding skepticism appears to drive weirdness away.
To this archetype, odd phenomena are hoaxes, tricks,
delusions, or freak events. Faeries, aliens, other worlds, psychic gifts
- all bullshit. Ironically, this disbelief is itself a kind of psychic
armor. In many cases, it actually shields the Negatist from the
effects of glamour, magic, and Deliria. With seemingly perfect logic,
she can explain anything in sensible tenns. Her companions might
disagree, but that's okay; she's got withering witticisms to bring
them back to the Real World.
This psychic armor isn't perfect, though. Confronted with
something she cannot refute, the Negatist might crack completely.
Obsessed with the shock, she could do a 360 and believe that
everything she sees has supernatural foundations. Religious fanaticism,
paranoia, or mental paralysis might follow such extreme conversion...
at least until her rational mind can sort out the experience (if it can).
Is your mind a steel trap from which no mystery escapes?
If so, this might be your motif Everything, you understand, has
scientific basis, and you can cite chapter-and-verse sources that tell
you so. Don't let your friends' delusions shake your safe little world
- you know that, in the end, hard logic will prevail.
Although Mind is often the Negatist's strong suit, she's
probably got a strong Spirit, too - not that she'd
recognize it as such! Academic and Technology Vocations
provide plenty of rational discourse, and her Deliria score is very low
indeed. Famous Negatists include the Amazing Randi, Carl Sagan,
and pre-conversion Agent Scully.
Che Neomoncer
Fuck that eye of newt sturn As technology blurs the lines between
physics and metaphysics , some brave and crazy souls stake out the
middle ground. Whipping up spells from modem trinkets, these
neomancers ply the slippery slopes of infotech strangeness. In place
of wands, they employ laptops; for incantations, sampled beats and
dialogue; binary code is their Enochian and biotech their herbcraft.
More McCluhan than Merlin, the many strands of neomancy
involve postmodernist theory, quantum physics, pop culture, altered
consciousness, mass media, miniaturization, plastics, silicates, and
alloys. These disciplines would be impossible without the ideas and
machines of the last century... and for that reason, these odd magics
both fascinate and terrify the denizens of Faerie. After millennia of
being the only enchanters, the aelderkin have themselves become
enchanted by the very mortals they once disdained. Hence,
neomancers lead the vanguard of the neomythic age. Now, if only
you could get one away from his X-Box...
Symbolically linking old and new worlds, the archetypal
Neomancer works alone. He might be a mad genius with dangerous
toys, a wired Tokyo cutie or neotribal street shaman, an extropean
cyberneticist or SF geek with working gadgets, a kitchen witch with
electronic tastes, or a CGI artist whose works become crossways.
Crowley-esque dystopic with a hard drive full of hate? Or psychic
roleplayer who's taken MUSHes to the next level? Either way, he's a
surfer on the seas of change.
At the moment. the Neomancer's arts remain low-key.
Mecha, blast rifles, functional dones, and working cybernetics are
still more theory than practice, and even the most powerful
neomancers are still working within the bounds of so-called realistic
science. That balance is shifting, though; some metaphysical laws
(and interested parties) seem far less certain than they once
appeared. Humanity has advanced in dazzling ways these last few
decades, and success has ways of spreading...
Are you obsessed with wild ideas and strange devices? Perhaps
this icon calls to you. Driven by a need to know and do, you're restless,
yet insightful. You see connections that others miss, make your own
rules with the toys other folks discard. "Neomancy" means "to see
through the new;" with such vision, the future comes alive.
Mind and Spirit hold the keys to this archetype; the
Body is a nuisance. Obviously, the Neomancer excels at
Art, Technology, and Metaphysics. Some very different
examples of the Neomancer include Morpheus (from The Matrix),
Captain Nemo (from 20,000 Leagues Under the Sea), Ti-Jeanne (from
Brown Girl in the Ring), and Bill Gates (from real life).
Che Prim i tivist
The modem world is a shithole of plastic people and fake ideals. To
be real again, you have to escape back to the good earth. Grow your
own food. Make your own clothing. Live by your own rules. Only
then can you feel human.
Perched on the edge of a forward-moving age, the Primitivist
moves in the opposite direction. She might join a survivalist militia,
hippie commune, Amish town, or stoner paradise. Perhaps she lives
alone, in a shack at the end of a long dirt road to nowhere, or
wanders the Appalachian Trail with nothing that won't fit on her
back. Maybe she's too poor to afford better; then again, she might be
happier this way. She could be a street person, Renfaire gypsy, or
third world emigre. In any case, she wants nothing to do with the
new millennium. In bare necessities she finds comfort.
Aren't you sick of all this shit? Why not just run away? The
old life looks simpler if this archetype lives inside you; granted, it's
not the safest way of life or the easiest. By getting back to the earth,
however, you might find your soul... and possibly another, stranger
world as well.
Hardy Body and Spirit Graces are essential when living
off the land, as are Domestic and Athletic skills and
Language Aspects like Earthtongue and Animal
Speech. Traditionally, people living wild inherit Legacies
from ancestors and friends. For examples, see films like The Fisher
King and The Caveman's Valentine, books like Hoffman's Green
Angel, and stories like Block's "Beauty" and de Lint's "Seven Wild
Sisters."
 Lucian
Motif: Neomancer

\ (.U���� 17yearsold.
Imagine. Imagine you're a computer prodigy with a ta lent for design. I magine you've got a t ight system,job offers.
,
(C \ and a CGI concept that'll knock t he world on its ass. Now im agine that you suddenly go blind. And you're only
I
\
\J
l; - ----�
� \\
That's lucian - a would-be graphics god knocked out ofthe box by a biological quirk. Now 20 and
living on his own, he's been bitter as hell. His Braille keyboard and voice-activated system are nice
enough, but he couldn't do a thing with the pictures in his head.
\
U nt il rece nt ly.
Not long ago, lucian found a back door out of his head and into Deliria. Projecting himself
t h rough a digital persona, he can see, so long as he stays in the faerie realm. Not surprisingly.
he does this as much as possi ble; also not surprisingly. folks have begun to worry about him.
He seems to spend a l l his time on the Internet now, never working. rarely bathing. His
money s running out, his health is fading, yet he still plays those damned games. What's to be
'

done about that boy?

In person, lucian is thin and sickly. He used to be in pretty good shape, but that's not the
case now. His voice betrays a sarcast ic edge even when he's being polite, and he rarely bothers to do
that anymore. In Deliria, he's a strapping version of himself, muscular and sharp-witted. He goes by
lucian in both worlds, even though his given name is Charles Wilson Grover. At home, he has a
library of Braille books o n fantasy the occult, and computer systems. In the otherworld,
.

he's a sorcerer living in an obsidian tower. Though not actively malicious, both lucians
are "me first" kinda guys. There's goodness in both, but you need patience to find it.

Che U rban Cribalist

Our cities and suburbs are new jungles. To survive them (or simply
to fit in). many people join urban tribes - subcultures where rules
of dress, conduct, and entertainment become archetypes in their
own right. How many are there? Hundreds: jocks. gangstas, hippies.
yuppies. goths, geeks, metalheads, born-agains, ravers, redneck.s,
punks .. , not to mention subsects of all of the above, and plenty more
beginning. The crisis you hit when things get weird might drive you
from your Tribe or push you further into that role. Either way, that
crew is a vital part of your identity. Whatever happens to you,
happens to them ... and vice versa.
An Urban Tribalist's Graces and skills depend on the

besides. Tribes are fluid yet demanding. Sometimes they breed group, what they do, and what they respect. Any teen
gangs and violence, physical (see Fight Club), social (Cruel movie or TV show includes urban tribes. but the
Intentions). or both (any gangsta rap video). phenomenon isn't limited to kids, as American Psycho, The Firm, or
Our Urban Tribalist is a proud member of his set. He flies any gangster fUm will prove.
whatever colors his group demands, listens to their music, and
becomes part of the crowd to define his own identity. Deep inside,
this icon remains an individual; when he's with his crew, though. he

joins the Tribe. Other people see him as "another one of those [HII
in the blank]s: and he might see himself that way, too. The Tribe is
his kingdom, his band of knights. He'll live and die to protect it­
and he himself might perish ifhe tries to leave.
Few urban tribes are deadly, but faerie tales push people into
corners, and most folks come out swinging. If you belong to a Tribe
with a capital T, this archetype might define you, at least at the
 FYE: Kibbles and Bits
SCaD cops and fringe journalists aren't the only mundanes who recognize
the occult underground. Not surprisingly, a number of subcu ltures have
arisen on the edges of the Mystery. Many twilight people refer to these
mortal scenesters as kibbles - i.e., wolf chow. The name has worked its
way into mortal lingo, but there aren't many scenesters who get the joke.
Some of the more notorious subcultures include:
� Ghost Gangs: Street gangs with occult trappings or connections.
ghost gangs haunt the deepest recesses of most large cities. Some follow a
particular (often sinister) practice, like voodoo or Satanism; others dedicate
themselves to occult patrons, doing the patrons' dirty work in the mortal
world. Tagging their turf with occult graffiti, these gangs often boast
members with magical skills or legacies. A handful of ghost gangs work for
the lighter end of the supernatural spectrum, but on the whole these folks
aren't people you'd want to meet in a dark a lley... or anywhere else.
Notorious ghost gangs include the Ravens, the Bone Raga Tribe, the Golden
Ghosts, Ah Nu Dae, the Dark Queen's Guard, Chango'S Flame, and the
Screaming Demons.
� Sophisticati {AKA gents, maskers, and spooks, among other
names}: It started as a joke: some rich dilettantes discovered their local
Mysterium. To fit in, they started dressing up in elaborate costumes to go
slumming among the twilight people, as if they were attending some
modern masked ball. Maybe it was in London, Paris, New York, or some
other posh burg. Anyway, the gimmick caught on. The sophisticati (so
dubbed by a snide journalist) made quite an impression at their occulted
haunts, and soon other people picked up on the idea. What started as a lark
became a trend. That trend became an international subculture. It's not for
everyone, but the balanCing act between danger, fashion, and foolishness is
what gives this scene its cachet.
Sophisticati draw inspiration from the masquerades of European
nobility and the high fashion glamour scene, then add a new twist: folks
who're truly in the know commission their strange haute couture - often
called straga - from magicians. These odd yet stylish garments are tailored
to fit not only the owner's body but his or her personality as well. The end
result is not just eye-catching - it's mystically significant as well. Most
mundanes simply see a garish but appealing costume; truly aware people,
though, notice a subtle aura of power worked into the garb. A really good
straga both looks good and wins the wearer a certain amount of respect in
the underworld. This is what really separates true sophisticati from mere
poseurs: the deference of the twilight folk. Very few sophisticati actually
understand magiC, but they love to give the impression that they do. And to
sophisticati, impression is everything. Noted sophisticates include Orlean,
Lady Mist, Banachi, Tempest, and Mr. Z.
� Tinks: Faeries are beautiful. Faeries are strange. Faeries are so
glamorous that many mortals want to be faeries, too. And so, the
subculture of tinkerbelles, or tinks, was born. Bright kids with more
imagination than social skill, these glitter children brought their love of the
faerie world into the mundane world ... and met others like them .. and
inspired still others to be like them... and so on.
Far more aware than run-of-the-mill mortals, tinks can sense the
reality behind fairy tales, and they try desperately to be part of it. By doing
so, though, they often become punchlines to faerie jokes. Despite the scorn
tinks earn from their more experienced twilight peers, tinks often blossom
into talented wayfarers and gifted mystiCS... if they don't trip too badly over
their own preconceptions! London, Los Angeles, San Francisco, Berlin, Ibiza,
and Tokyo boast vibrant tink subcultures, though many cities have small
enclaves of glitter children in their suburbs or deep cities.
For other Mysterium subcultures. see the Appendix.
 You Are th e Cole

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L\. Journey Chrough the Fields of Self

The stories we tell are rooted in ourselves. The adventures we
experience flow from the wellsprings of identity. Whether you're a
knight or neomancer or a blank slate with your name across it, you
are the tale. All the rest is set dressing.
Traditional tales - and new ones, too - share certain
common features: innocent beginnings, challenging trials, and
transformation ofthe self That selfis the most vital element,
however. It defines the tale far more than mere events. That story
flows from the identities of its protagonists: Cinderella's tale could
not happen to Coyote or Aladdin - her tale is set by who she is.
A faerie tale is a journey, but the path follows the traveler's
designs. Those designs include motifs and choices both. As the Three
Rings of Awareness spread outward, you, as hero, move from self.
interest to greater understanding. You become an active force in your
world, even if that world fits in a magic lantern or Grandma's cottage.
Now you've left the glass tower behind and entered the
Faerie wood. Eyes surround you. The Folk are watching.
They'd like to get to know you.
Their ring is waiting.
Care to dance?

I f
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And like rainbows, our cousins tantalize us from afar. From their Every human culture has recognized the fey. In Hindu lore,

realm between the everyday and the infinite, they pout and tease their they're devas, raksashas, nagas, and apsara. Polynesians know them

way behind cold reason. Though slowed by the cold iron bars of as menehunes: Native Americans speak ofkachinas, great animal

human industry, the Folk remain close at hand, blending into spirits, and grotesque monsters of a thousand different kinds. Thai

Nature's boughs and mankind's fashions with equal dexterity. Eros to folklore warns of nang-faa, phi-suk, and nhakkhini: Burmese

our Psyche, the faeries reveal just enough of themselves to keep us legends whisper of nats and keinnayi. Chinese have their mei, the

searching, drawn by love yet challenged by our own mortality. Japanese their kami, the Germanic folk their kobalds, and the

Like the spring/ rot scent of our little stick friend, faeries English have their jacks-in-the-green. From cave-folk to modern

embody all things, malignant as well as benevolent. Their morality is citizens, people have recognized the Others in their shadows. For

elemental, not often malicious but certainly indifferent simplicity's sake, just think of such entities as faeries, Good

to human concerns. Despite their simple Neighbors, the Changing Ones, or the Folk. Best of

veneer, the Good Neighbors are all, consider each one an individual being

maddeningly complex and with powers and a personality of its

deceptively enchanting. The own. All other names are human

image of the "good fairy" is labels and therefore limited.

as flawed as the concept Che Sacred Marriage Where did

that there are no Perhaps the oldest expression of love between faeries and human they come from? Better to

faeries at all... and it beings. the sacred marriage unites the essences of both worlds i n a ask the origin of stars.

can lead you to a single embrace. Symbolically joining immortal spirit with mortal flesh. this Certainly easier.

terrible end. Like ceremony features singing, dancing. vows, and lovemaking of the most beautiful Thousands of legends

Nature herself, sort. and identities have

the aelden and Performed only at certain times of the moon (full or new) and season (spring been ascribed to

aelderfolk are and fa ll), the sacred marriage may wed a mortal male to a fa erie female, a faerie woman faeries: they're old

tender one to a mortal man, or occasionally even men to men or women to women. Tragically, the divinities, nature

moment, cruel bond is short-lived. Within seven days, one partner must be sacrificed to ensure the spirits, earth-bound

the next. Their bleSSings of harvest, fe rtil ity, or goodwill that come with the ritual. The surviving angels, or repented

games can be partner then carries a new child to term. This offspring is mortal but reta ins a vital demons. They've been

sadistic, their faerie essence. Christened "child of the two suns" (or two moons), the baby is called the offspring of

pranks deadly. raised with love by people of both worlds. As for the surviving partner. he or gods, dreams ofman, or

their loves as brutal she carries a mingled joy and grief forever afterward - grieffor the love incarnations of nature.

as a pack of wolves . so soon lost, joy for a heart-bond not even death can undo. Some legends say they're

The Folk transcend bound to serve humanity, and

human morality, guilt, and others claim they pre-date

suffering. Prettifying them is mankind by eons. The truth of

dangerous. Underestimating them faerie origin - if such a thing exists -

is suicide. is as ephemeral as the fey themselves.

Popular misconception says that faeries Certainly, they're not us; just as certainly. they share
are mythical, or worse yet, extinct. Nonsense. True, they're a kinship with us that neither side truly understands.

more secretive than they used to be. Their guises have changed and
their ways have altered. But dead? Never. You can't kill what is so
vibrantly alive.
And mythical? Well, most myths are true i n ways that mere
physical reality can never match.
Voices on the edge
If Creation is a song. the Folk sing harmony to humankind's

melody. Both resonate in similar tones but at different pitch and

frequency. Perhaps they swirled up from nothingness when the

Grand Piper called the elements together. Or they were bound by

the gods into the spirit-essence of our earth. They may have been

born in the night-visions of a cave-shaman or evolved as

hybrids of human, beast, and spirit back when such

things were possible. They could have chosen to

stand aside during a war in heaven or been

displaced when humans began to war on earth.

They might be walking archetypes, elements

incarnate, or indeed, they might be giants. In any

case, the faeries aren't talking... and when they

do talk, they're not likely to tell the truth... least

of all to mortals.

Giants I n the earth

According to many legends, there was a time

before humanity when elder races reigned.

Literal or metaphysical giants, these beings

supposedly built great cities, crafted grand

magics, and walked easily between our world and

the other vales. Man-like in some tales, alien in

others, the Old Ones eventually fell to war,

hubris, or both. In some mythologies, the faeries

are survivors or descendants of these elder

beings. In others, humans were once slaves of

the Old Ones and may have forged alliances with

the Folk to overthrow their hated masters, or

they may have fought the Folk over the

inheritance of this world.

The Old Race idea echoes in tales of

Atlantis, Mu, Hyperboria, and other lost

civilizations. In distant vales or Faerie's

dominions, traces of these bygone realms still

remain. But are they truly holdovers from a

prehistoric era, or are they wish-dreams given

substance? Like most fey riddles, these questions

are unanswered and will probably stay that way.

Whatever truth such tales may hold, the

Old Ones eventually crumbled. After cataclysms

of ice, sea, and fire, hardy mortals - our

ancestors - held loose dominion over this

world. Over ages, they bred, traveled, invented

arts of magic and technology, and became

powers in their own right.

And in the shadow of these

accomplishments, the Folk waited and watched

from afar.

0111 U'"
 I namorato:
'Che Beloved Ones
love knows no world or flesh. It
blooms between friends and enemies,
between newborn children and their
struggling parents. It bonds animals and
human beings. And occasionally it bridges
the realms between mortals and the fey folk.
When it does, the stories that arise can be comical, tragic, or
often both.
Faerie lore is filled with doomed romances and deep
affections. Tam lin, Cinderella, the lady of Shalott, A Midsummer
Night's Dream, the little Mermaid, Buffy and Angel. even King Kong ­
faerie love has many aspects, from the familial to the damned. Because
love itself is such an otherworldly thing, it's only natural that love appears
sometimes between mystical kin. When it does, its passions defy the proper
order of existence, flooding the lives of everyone involved.
Poets call a faerie-loved mortal (or a mortal-loved faerie) an inamorata - roughly,
"one inflamed with love."Technically a feminine term (the masculine version, rarely used, is
inamorato), this endearment captures the intoxicating - often dangerous - quality of such love.
Literally reaching across worlds, it's an epic passion. Two beloved ones will do anything for one
another: break laws, take vows, walk on knives, even die forever if that's what it takes to share, even
for a moment, that heady desire.
The inamorata bond isn't only sexual. Fairy godmothers and other parental figures
possess a deep love for their mortal kin, dear friends will defy both worlds to protect their
beloved ones, and mortals who adopt or protect faeries violate their world's notion of sanity
just to accept that an ina morata exists.
Foolish as such love may seem, the inamorata bond is favored well in Faerie. other Folk
will criticize one smitten by a mortal, but they'll often understand. Chances are, these beings have
known such love in their lives as well. Mortals, being more cynical, tend to dismiss the power of a
faerie bond ... at least at first. Deep inside, however, many people long for a dream of fairy-tale
romance, and they may themselves move heaven and earth to see such lovers happy.
Inamorata do not have easy lives. Their romances are chaotic, tempestuous, forbidden, and often
disastrous. The rules and expectations of such relationships can be strange, even fataL. just ask the
real little Mermaidl Even so, the love that crosses worlds remains a hallmark of the interaction
between faeries and humans. Despite its bans and tragedies, the affection shared by both parties
can burn as brightly and as truly as the sun.
Faces in the Smoke
Our ancestors were a grubby lot. Short by modern standards and
doomed to early deaths, these scrabbling mortals still carried a gift
of incredible proportions: the art of name and order. Whether this
legacy came from divine favor, bygone races, disobedience to the
gods, or even hallucinogenic plants, it gave incredible power to those
who understood its potential. Whereas many creatures simply
existed in the world, human beings learned to command it. They
crafted languages, money systems, laws, and machines; in time,
such innovations allowed them to leave the caves and forests where
they lived. then expand ever outward and establish civilizations.
Was this the end of ancient innocence? Many legends
contend that it was. By seizing their own destinies, humans are said
to have divorced themselves from Eden. To this day, wise beasts and
other faeries claim that human innovation will be this world's down­
fall. It certainly changed the landscape of the past: from a world
existing in eternal now, we moved into a realm of time and task.
And in the process, we mortals taught faeries how to dream.
Aspiration is the doorway to dreaming. Beings who aspire to
nothing may have visions of what has been or might be, but those
who can envision more than what already exists can imagine a world
of far greater wonder. With their visions of a grander world, our
ancestors brought ambition and novelty to the immortals. And with
their changeable natures and miraculous powers, the aelders
brought inspiration to their mortal kin.
And so, as they rose from cave to village, our ancestors saw
the faces in the smoke, listened to the noises just outside their
watchfires, and noted the footprints and strange bargains made
when the sun went down. They recognized the Other in their midst,
just out of sight yet indisputably there. Some feared this Other,
some broke with human civilization to find it, and some made peace
with that Other, inviting its Folk to share the gifts of both worlds.
Like the animals and elements, these Folk made their own
wars and treaties with the upstarts. Gods to some humans, demons
to others, the faeries danced often with their kin. Many forged pacts
of goodwill with humankind, just as many seduced mortals away or
hunted them down. Quite a few did both or remained aloof, taking
to the wild lands and holding them by art or force. Legends arose of
monsters, gods, elementals, and Good Neighbors, and the dance
took many forms, from the lovely to the obscene.
Blades and Ae1f-Shot
In some lands, mortals and faeries battled. Shadow-hordes burst
from the forests; huntsmen cut strange entities to pieces. Human
warriors and aelf-knights chopped down sacred groves or snatched
one another's kin. Both sides suffered, and the land suffered even
more. Wounds that could never be healed festered on both sides.
Pacts that could never be remade shattered.
In many places, fey and mortals warred by proxy. Faerie­
allied humans clashed with the enemies of the fey; wild animals and
the living land rose up to crush the humans living near. Tempests
screamed; bonfire flared. People learned new reasons to fear the
night, whereas fey-folk recoiled at the power of cold iron or the
temple. Occasionally, these wars burned themselves out and led to
peace. A few still smolder to this day, pitting men against their
otherworldly cousins in a subtle yet relentless hate.
Faerie Courts and Human Homes
More often, though, the realms of man and faerie balanced. The
wilderness remained sacred to the Others, whereas the villages,
towns, and cities that followed the human ascent were granted by
right to their makers. From time to time. mortals wandered into
Faerie, and occasional faeries set up shop in or near human
habitations. Art, music, and sensuality provided bridges between the
realms - bridges crossed eagerly by both families.
In time, certain Folk built tributes (or mockeries) of human
settlements in Faerie. Amused by mortal imagination, these faeries
began to congregate in courts that mimicked human institutions.
Some ofthese divisions, like the Seelie and Unseelie courts of Scottish
lore, cut along lines of temperament; others, like the Fox-Courts
described by Japanese storytellers, followed a sort of species identity
(inasmuch as faeries have species, anyway). Many of these faerie
courts were little more than games. A handful, though. became
dominions forged in the human pattern. Aelderbloods - mortal fey
melding human and aelder pedigrees - established faerie kingdoms
like Cabrellion or Kos. Still, most faeries preserved the old ways, living
in and protecting wilderness dominions of solitude or pack law.
In most aspects, faerie courts mirrored their human
counterparts: Greek faeries adopted the customs of Athens or
Sparta, whereas northern ones retained the wild spirit of the Norse.
Some dominions had no courts whatsoever, but others cultivated
politics of Byzantine complexity. Over time, the cousins shaped one
another, each drawing inspiration from the mysteries of the other.
Humans aped faeries, faeries aped humans, and both sides drew
power from the living world.
Occasionally. visitors from one realm adopted a new home in
the other. Human wayfarers wandered deep into Deliria; house·
faeries set up shop in human dwellings. Some dominions nestled at
crossways, singing to both worlds while remaining tethered to each
and neither. In such places, folk and Folk passed freely between
their realms, and the dominions themselves - like Avalon or
Jerusalem - passed into legendry.
Familiar Strangers
Men and faeries are creatures of purpose, often defined by the paths
they choose in life. As cultures grew more sophisticated, new
human trades emerged. Firemakers became artisans, philosophers.
and kings; shamans bred witches, priests, and magicians.
Among the Folk, similar changes shaped the guises that the
Good Neighbors adopt when dealing with humanity.
Helpful shimmerlings became house-faeries, and malicious ones

became villsprites; primal stag-men merged into the Lord of the

Hunt, adopting a hundred different names but embodying a single

purpose. Over time. these guises and names became more elaborate:

this, in turn, seemed to define immortal breeds where no such

concept had existed before.

For all the powers the fey possess, they lack one human

talent: the gift of naming -the power to define. This

birthright helps mortals understand and communicate their

experiences, yet it also seems to mold those experiences

into set forms. One tree becomes a willow, another a birch,

a third an oak. Each new name adds little ripples to

Creation's song. And so, as mortals began to define

their world more clearly, that world's song

became ever more distinct from its

Faerie counterpart.

Perhaps the human gift for naming shaped

new breeds among the fey; more likely, the Folk adopted guises that

humans would expect. In either case, people began to recognize

different types of faerie, and, as humans will, they began to categorize

their kin. Meanwhile, Good Neighbors forged their own relation­

ships with mortals. Some decided to aid us, others to hate

us, and most to ignore us except when it pleased them to

follow a whim. These relationships, in turn, created more

distinctions in the minds of mortals ... distinctions that led

our cousins to treat us accordingly. This cycle spins throughout

the millennia, making familiar strangers of us all.

Ages of Iron, 'Cemple, Song,

and Flame
War has been called the trade of kings. As human kingdoms

rose, wars between them became more frequent and more

deadly. The rise of man's technology in both war and peace

left greater marks upon the land and the souls of those living

on it. Tribes became cities, cities grew to states, states rose

to form empires, and all the while, wilderness gave way to

human settlements.

This did not go unnoticed by the fey.

In some kingdoms, the people

lived easily upon the land; there, many

faeries forged pacts of peace... or at

least co-existence! In other, harsher

lands, mortals were tormented by ogres and

villsprites. To mollify their Good Neighbors. people

..
left offerings of food. drink. and treasure out for

the faeries_ Some Folk accepted these tributes with

good grace, whereas others ignored the gifts and made trouble if

they pleased.
 Some mortals made trouble for the faeries, too. Greedy, and there, in different lands at different times. The hunters were
desperate folks sought out love and treasure from the otherworld. Taoist knights protecting the countryside, Franciscan monks driving
Rites were made and weapons crafted that would (hopefully) disable down threats to Mother Church, or Persian imams carrying on the
faerie magics. As great religions arose, the temple-men devised blessed work of Allah. Whichever way. innocent and guilty alike

prayers to ward their faithful from otherworldly hann. "From were consumed by well-meaning crusades.
boggles and fairies and long-legged beasties, Good Lord, preserve The hunters weren't always wrong: malignant faeries did
us. The chant ran from temples of each human faith, weaving new
It blight crops, seduce girls, waylay travelers, and curse lords. The

and troubling barriers between our Neighbors and us. perils of the Dark Wood could reach into the human realm... and
But not everyone spoke such prayers. Adventuresome often did. Regardless, the tensions between mortal stonehearts and
mortals danced with the Cousins beneath bright-mooned skies. faerie beasties increased - and with that tension came conflict.

Storytellers enchanted their audiences with tales of brave and It's tempting to lay the blame at the feet of a single religion,
wondrous Folk. Faerie-singers raised their voices. witches drew but those fires were lit by ancient impulses: people fear what they do

magic circles, children sought out secret wells, and young lovers not understand and hate what they cannot control. faeries, existing

pined for otherworldly suitors. Affection, fear, and fascination outside both understanding and control. made perfect targets
illuminated this age of kings, and passion ran thick for those passions as the human world grew more

on all sides. and more complex.

" Come Buy! Paper and Steel

Come Buy ! " Hazita's Decree At the heart of both complexity and
Passion wasn't all that flowed. The disturbing practice of binding faerie books in human skin control sat two other human

There was gold, too. And goods, may come from the decree of the aelden Princess Hazita, ruler of innovations: written language

And favors, And magical Kashir Daamarca. lnfuriated by mortal missionaries who tried to and paper. One set thoughts

secrets. And intrigue. Mortals subjugate people near her dominion (and more so by the popularity of their and names into concrete

and immortals alike crave
certain things, and for each
demand there's someone
with the means to service it.
book within her Faerie realm), she enchanted the offenders, then had their reality; the other helped
books seized, unbound, and re-bound with covers made from the missionaries ' spread those little realities
still-living skins. Afterward, Hazita decreed that anyone crafting a book within across the mortal world. The
her protectorate would become its new cover. words "it is written became
n

And so the glitter trade was Now the only library to be found in Kashir Oaamarca e)(ists within shorthand for truth. And all
born. Goblin markets and Hazita's palace. Visitors to her realm say the books upon her shelves too often, that truth left no

strange shops opened for moan . . or, worse, sing in bodiless voices of the ecstasies of room for other visions of reality.
business in Deliria and the mortal becoming one with the words they revere. Faerie always has been.

realm. That commerce birthed the and always will be. a realm of

Mysterium, the underworld where impressions. Although books exist in

faerie Folk and human beings met Faerie, their invention and importance

in twilight. comes from man's domain. Reality in Deliria is

At first. this trade was one-on-one; later, shops, set by passions of the heart, notes of song. laws of word
then markets, then guilds swelled to meet the demand. By the and blood and living elements. In the old days. truth was measured

human Middle Ages, the glitter trade had assumed a prominent role the same way in the human realm. But as the written word - and

in the relationship between mortals and faeries. Necessity its importance as truth - engulfed man's world, reality came to be

demanded that the trade remain secretive, but still it flourished. In measured not by feelings or revelations but by fonnulas and texts.

time, each major city held a marketplace that opened after dark and The words of one man could bring the enlightenment of nations.
offered goods too precious to believe. This change allowed human arts and sciences to flower. It also
unleashed firestorms. Kingdoms went to war over the interpretation
Che Devil and His Works of a single word; people were burned alive for daring to disagree.

Few goods are as precious as the soul... except perhaps for political "Nothing vast enters the life of mortals without a curse,"

power. In time, the human search for understanding of the one led to wrote Sophocles. And as with so many other written observations,

the accumulation of the other. And in fear for both, human religions those words revealed truth. The printing press, a wonder more

began to confront those things dwelling in the shadows of the land: magical than the combined treasures of a dozen Faerie realms,

sorcerers, monsters, heretics. and the spirits that aided them. disseminated these tiny bits of truth like dandelion seeds.

Charms. Purges. Inquisitions. Burnings. They ignited here

 'Che Pal enoch
When Lord Aelwyn Silver brought his
fellow merchants to the table over
800 mortal years ago, he was simply
trying to settle a dispute over the cost of
saintly relics. What he and his companions
emerged with was a magical pact that
persists to this day: the Po/enoch, an enchanted guild
whose promises and terms are held in a tattoo borne by each
member.
A crossworld gUild of miracle merchants, the Palenoch
secures markets, protects members, and maintains the crossways so
vital to interworldly commerce. Composed of humans, aelden, and
possibly even a few aelderfolk, the guild reaches between the worlds,
counting members in nearly every mortal nation and many fey dominions.
How many members? No one's quite sure.The Palenoch doesn't meet in person,
and it has no membership rolls. Votes are tallied by magical consensus, and decisions
are announced by the Whispering Oaks, a secret and non·partisan group of wood
elementals nestled somewhere in the Altwald, safe from threat or interference.
Sworn members of the pact have a bright silver oak leaf tattoo somewhere on their
bodies. Many ofthem carry silver leafjewelry or display the silver leaf on a coat of arms as an
assurance of fairness and quality. The tattoo bursts into flames if a member tries to cheat another
Palenoch merchant or a favored client, tingles in the presence of such a cheater, and throbs if there's
trouble for the gUild. When it's time for a meeting, the Palenoch merchants enter a trance, then
envision themselves as leaves upon a giant silver tree. The tree whispers the issues and debates of
that meeting, then gathers the votes for the Whispering Oaks to tally. The trance ends when the
decisions are announced, and each member awakens safe in his or her own bed.
like most merchants, Palenoch members hire sellers, messengers, enforcers, and other
agents. These folks carry the seal of the silver leaf somewhere on their persons - not always in plain
sight. And like most businesses, the Palenoch's trade isn't always pretty. If need be, Palenoch agents
make deals, break heads, and stake out new avenues of trade or treasure. The pact protects members
from screwing each other, but outside merchants are fair game. Thus, the Palenoch (like any
corporation) is both a blessing and a curse.
In recent years, the consortium has skirmished with the Tendragon Shear and other groups over the
safety of the crossways and the neutrality of the Mysterium. But despite occasional bouts of violence
or treachery. the Palenoch's first order of bUSiness is just that: bUSiness. As a popular saying goes, "a
handful of acorns can raise a forest." I n the Palenoch, the members are determined to collect all the
acorns they can get.
 For all its blessings, the reality of words soon eclipsed the reality of
feelings. When the first met the second, the latter often lost.
And the faeries were amazed.
Bedazzled, many aelden and aelderfolk puzzled over books.
They ripped at the pages and glared at the ink and struggled to
decipher the titanic riddle of man's invention. To the oldest among
them, the very concept of writing was so alien it might as welJ have
fallen from distant stars. To Folk more familiar with this human
art, the codes etched across those pages - pages pressed from once­
living trees - offered a new and vital magic. Some embraced the
roles of muse or patron, inspiring mortal writers to new and greater
visions; others became printers' devils, damning the machines and
the pressed enigmas those machines produced. House-faeries took
up residence in bookstores and libraries, and jealous nobles devised
horrific punishments for those faeries who would bring the printed
word to their dominions.
As books and literacy spread, the pace of technology quickened.
Soon, wonders once known only to a handful of initiates became
common in the mortal realm. Steel replaced iron as both a material
of choice and a symbol of human power. Soon this steel, like the
printed word, reached out to encircle man's world.
The practice of mass printing inspired the process of mass
production. Forests fell to provide lumber for ships, paper for
presses, and furniture for human homes. Shimmerlings and tree·
aelden perished as their own homes were ground between the
wheels of human progress. In those lands, many fey withdrew to the

· 'IH ·
 And faeries did what they have always done: they changed.

In the lands where Nature's dominion shrank, the

shimmerlings dwelling between worlds shrank as welL As the spirits

of ancient groves perished, new sprites, perhaps reincarnations of

their ancient predecessors, emerged in gardens and fields. Like

saplings of those ancient trees, these sprites were smaller, more

delicate than their ancestors had been. The humans who saw them

named these Folk the little people, spreading the misconception that

faeries were a tiny, childlike race.

Deep in the wilderness, among lands that mortals had never

tamed, the Folk remained as powerful as ever. From time to time,

reports came back to the cities telling of huge serpents and dragons

on the fringes of man's world. The people living in those realms

retained their ancient pacts with the Others, revering them in shrines

and rituals. Occasionally, adventurers to these distant lands returned

with wild tales of pagan rites, lost cities, and fabulous monsters.

These tales took root in the cities, where they inspired new and

awesome dreams ... and occasionally new faerie Folk as well.

The elements of man's world inspired elementals of smoke

and steel. Urban folktales began to speak of soot faeries, paper men,

and people who could dilate time simply by standing there. New

mythologies, based in cities and their underworlds, arose. And the

Mysterium, always present, swelled with new and fascinating faces.

deepest wilderness, leaving the illusion that the Folk were dying Storms
off... or that they had never existed in the first place. Words, steel, progress, and smoke all came to roost in horrible ways.
Before long, that illusion became the latest truth of the Nations that possessed those elements overran cultures that did not.

printed oracle: faeries were not real, could not be real, never had The trade of kings became the pastime of nations - nations whose

been real. Although their lore still peppered rural areas, the Folk dreamers were constantly inventing new and deadly weapons.

were soon exiled to children's storybooks and nursery rhymes. Storms of blood washed across the mortal world, culminating in two

great slaughters and a threat to the earth itself.

Kingdoms of Smoke And the immortals began to worry.

The pall that fell over the cities of humankind contained more than They'd seen cataclysms. They'd seen war. They'd witnessed

ignorance disguised as truth. It contained soot. By the late 1800s, man's ability to massacre his brothers and had participated in

mortal industry had filled clear skies with ash. The dreams of massacres of their own. But the power of artillery and fractured

humans and faeries darkened. People were shackled in fields and atoms made Faerie's greatest magics pale. The shockwaves of those

factories as Nature's songs drowned beneath the thunder of stOrmS rocked the foundations of both worlds. The Song between

machines. Even far from the cities, the clamor echoed: MORE. them faltered, grew more dissonant.

MORE. MORE. The greed of Midas was nothing compared to the And then there was industry. The human gift of change

hunger of the industrial age and its Victorian centerpiece. Like a began to turn all the world into cities, harvests, and dumping

giant, it ground its bread from the bones of men, beasts, and ageless grounds. Forests were torn down to produce goods in other lands...

Folk alike. lands that had never even heard of the places that were devastated.

But Nature's soul will not be stilled. Her song cannot be Mortal dreams had uprooted human ties to the living world.

contained. Whereas some folks struggled to define and shackle every What to do?

living thing, others refused to be constrained. Poets and magicians Most Folk withdrew. The realm of Faerie, some argued, was

spread pelVerse gospels through the underworld; the desperate and safe from human depredations. Closing the crossways or warding

the faithful renounced the worship of paper and machines, them from harm, these Good Neighbors renounced their kinship to

returning to the myths and chapels of their ancestors. Amid cities humanity. Some abandoned human forms for the guise of beasts;

bristling with progress, practices of spiritualism, occultism, even others placed their dominions under bans, punishing anyone with

demonism thrived. ties to the mortal realm. Trade guilds like the Palenoch tried to
negotiate new deals with the neighboring world. And a handful of
alliances, like the Tendragon Shear, decided to cut the ties between
the human world and Deliria for good.
As if such things were possible.
The ties between our realms are stronger than blood.
Stronger than desire. Stronger than immortal magic. Not all the
smoke or storms or steel could cut these worlds apart or sever the
bonds between fey Folk and humankind.
Besides, like all storms, the mortal tempests raised rainbows,
bright promises of better things. And, as always, these new and
vibrant dreams summoned faeries to marvel at the human soul.
Chreshold of Light
Nature's cycle is as dear as it is eternal: birth begins life, life offers
growth, growth surrenders to death, death becomes decay, and decay
heralds rebirth. From all ashes new lives grow. In the pall of man's
industry. it was all too easy to see a world spinning to destruction.
Many folks, mortal and otherwise, saw just that. But just as spring
breaks winter's grasp. so imagination breaks the stranglehold of
hopelessness. The apparent death of the old world provided seeds
for a new and wondrous age... the era we now enjoy.
It began with harnessed lightning - the fire of heaven and
of the mind. Crackling down like God's own thunderbolt. it sparked
electric power and proclaimed electrifying freedom. Papers blazed
with words of independence. Streets roiled with cries for justice.
Huge screens flickered with images that defied imagination while
telephones opened up new lines of contact.
"The world is shrinking," some folks said, but those who
understood such things saw the mortal world expand.
In the old days. humanity had been shackled to what each
person could experience and express individually. But as industry
gave way to information, the ways in which that person could share
her experiences blossomed. Movies, lV, phones, the Internet, mass
travel, mass communication, quick access, wide distribution - no
djinni freed from a bottle could offer the possibilities of this
unleashed imagination. Within one lifetime, the potential of a
human life multiplied ten thousand times and more.
The mortal world became a Faerie of its own, a realm where
thoughts could whip across the globe and change what had been
solid for millennia. A realm where a person could go to sleep in
Ohio and wake up in Berlin. A realm where one girl with a guitar
could be heard by 20,000,000 people.
Ancient rules were shattered. New ones thrived. Destiny,
biology, geography, identity... all the ways mortals had defined
themselves up until then were wiped away.
Harnessed lightning revealed a threshold of light.
And even the immortals were impressed.
"'IH6>
New Music
of Our Worlds
This bright and glorious
age rings new changes on
the Changing Ones.
Although many of them
retain their ancient guises,
many others embrace fresh
possibilities. Shimmerlings
appear within computer
networks; bogeymen borrow
shapes from popular enter­
tainment; figments born
from new mythologies walk
the streets of man. And the
glitter trade passes tech­
nological miracles through the
crossways to Deliria.
Most of these innovations
don't work in Faerie. Man's newest tricks are still too novel to
reshape this primal realm. Manufactured items usually transform
when they cross from the human world to Faerie, but that effect
lessens with each passing decade. Every so often. you might find an
aelf in Reeboks or a mermaid listening to Faith and the Muse on a
CD player that shouldn't work but does. Just as they transform the
mortal plane, the toys of the past hundred years carry little bits of
power back into Faerie. Every year, it seems, what was once
impossible becomes more real.
New ideas make the passage, too. In dominions where a
single lord has reigned unquestioned for millennia, his subjects now
demand equal rights. Trolls who had enjoyed eating their meat plain
now devise recipes to make the meal more palatable. Copies of
Cosmopolitan or Mother Jones can be found in witches' kitchens and
royal bowers. Forest brigands quote Reservoir Dogs, and courtiers
bark "You can't handle the truth!" in joyful imitation.
The trade works both ways. Despite predictions that a
technological future would be stark and sterile, the world we know
has become a bright riot. FUBU-dad Latinos stand in line to see 11u:
Lord ofthe Rings; bonsai trees brighten cubicles; teenagers toss books
on witchcraft into Indian-print backpacks with Hello Kitty buttons
while making plans on their cell phones to meet at belly-dance class.
Polyethnic fashions draw from every time and place imaginable, and
magic stirs pop culture like some neon witch's brew. The influence
of Faerie is everywhere if you know how to look for it. And even
people who don't believe in that kind of stuff find them-selves
talking to computer gremlins when their laptops act up.
There's a glitter trade thriving between our realms. The
entire world has become a goblin market. Even beyond the obvious
bounds of the Mysterium, Faerie and our realm sing to one another.

These days, more than ever before, those songs spin trans­
formations. And no one, mortal or immortal, knows what those
changes will bring.
Laughter and Rage
So here we are - halfway into Faerie, with Faerie halfway into our
world. Our campfires burn brighter and our songs ring louder, but
the dilemmas and desires faced by our forebears remain the same.
The Changing Folk watch at the threshold of mortality. Some want
to devour us, others to ravage us, and others to love us. For our part,
we watch the shadows, noticing the faces that hover on the edge of
sight, listening to distant sounds and wondering where they come
from. The voices of humans and the fey blend into one another,
shaping a song too wildly unpredictable to resist.
But there's resistance to this age on all sides. Mortals
summon apocalypses, slash and bum their way to consumer hell, or
chain themselves to legalistic reason or senseless excess. Worst of
all, we lose hope and silence our dreams. Meanwhile, some Folk
resist by barring their kingdoms and banning commerce, as if rigid
adherence to old ways could stave ofT transformations. They creep
into human machines and institutions with sabotage in mind, they
call up Wild Hunts to remind mortals to fear the night, or they flee
'Che N avalon Project
Old King Arthur and his court cast such long shadows! Twelve hundred
years after their myths took hold, a consortium of aelderbloods and
twilight people formed to champion their ideals. With the Round Table
myth as a foundation, the Navalon Project now devotes considerable
wealth and influence to enhance education, honor, and personal grace
throughout an often-vulgar world.
Funded by private donations and various money wells, the
group began in the '940S as a response to World War II. Originally a
sorcerous British defense league, Navalon turned to charitable works
after war's end. Seeing the desperate and often nihilistic effect of the
age upon young people, founders Elizabeth Bright (a human priestess),
Anthony Den (a shape-changing bear), Lord Crow (an aelderblood
noble), Sir Garland Stone (a 6oo-year-old knight), and Mary Selstone (a
selkie) decided to use Navalon's resources to inspire a new age of
chivalry among British youth. Decades later, that mission has spread to
the Americas, Japan, the UK, the Middle East, and Africa.
Enhanced by the personal charisma and fortunes of its
founders - not to mention three very successful lines of young adult
fiction - Navalon has enjoyed a very receptive audience, especially
within the last decade. "The real mud·king was a git," said Sir Crow in
a recent interview, "but that's no reason for his legacy to go to waste."

into Faerie's wilderness, trying to outrun the song of change. The modern era resembles the Athenian wood in

But change comes regardless. Shakespeare's A Midsummer Night's Dream: mortals and immortals
The growth of crystalvine and video game dominions prove mingle their worlds and loves and screaming fits into one long night

technology's growing influence in the otherworld. The vivid of fabulous chaos. An enchanted blur cloaks both realms,

psychonautics of CGr and the boom in pop-culture sorcery prove swallowing distinctions between human beings and the Folk. Pop

Faerie's hold on us. In time, it might be possible to bring automatic stars dress like faeries; faeries dress like pop stars. Reality

weapons into Faerie. . . or dragons into this world. That possibility surrenders to potential. Comedy and violence intertwine.

terrifies most Folk, lending strength to guerrilla forces like the Shear Will someone break the spell? Is this our final dance

and reformers like the Navalon Project. At the same time, it inspires together, or will dawn bring some greater harmony?

opportunists like the Palenoch and the Mazikeens, who would Can you hear the music, feel the fire?

rather enjoy the new era than flee from it. Changing Folk in the See the Folk?

truest sense of the term, these faeries ride electric tides with us, They're all around you.

laughing all the way to tomorrow. And yes, as Cassandra the unicorn chick said, they are real.
What wondrous fools we be. This midrealm of laughter and rage is our inheritance.

Welcome home.

'Che Mazikeens
What good is longevity if you're not enjoying it? This jet-setting pack of Folk parlays its magical talents and considerable wealth into a globe·
spanning party. No city is too obscure, no pleasure too extreme, no expense too great for the Mazikeens. Bored with Faerie's diversions, they fly a l l
over man's world sampling human toys and games with inhuman abandon.
Clustering around the stylishly decadent Lord Smoke and the Ladies Ember Rose and Elynne Dragonchild, these aelderblood hedonists can
outdrink, outsex, and outspend their mortal playmates. Living out Lady Dragonchild's philosophy that a life unspoiled is a life denied, the Mazikeens
party with the ferocity of rock stars who never have to crash.
Although essentially benign, these Folk don't realty care about human limitations or emotions. Too beautiful and vibrant to ignore, they draw
humans of all kinds to their revels, leaving all kinds of messes in their wake. Lady Ember often uses the moniker "La Belle Dame Sans Merei" as a nod
to other legendary aelven tempters, and Lord Smoke bears an elaborate tattoo of Pan across his back. Ranging from three to 20 members, the
Mazikeens are essentially an ever-mobile faerie ring. Dawn never breaks this party down, and mortals can literally dance themselves to death trying
to keep up.
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"Faerie Nature " lower state, such legends assert, a form of grace transcended by

Dealing with the fey is like visiting weird relatives. Their house is those truly made in God's image. Thus, tradition sets the fey both
strange. their house rules more so. They laugh too loud, pinch your above and below humanity on the cosmic scale. Truth is, however,
cheeks, cry at odd moments, and generally keep you off-balance. they're just different - not better or worse, simply Other.

They always seem to have several games running. then chide you for
not keeping up when they never gave you a chance to learn the Craditi onal Faerie "Roles
rules. They're affectionate one moment, malicious the next, and The Folk don't exist to serve human needs. Nevertheless,

you're never quite sure which sensation is forthcoming. Is it any mortal lore continues to present faeries in certain roles, trying

wonder you're not sure you ever want to deal with them at all ? to define who they are in terms of what they do. Insulting
And yet, for all their eccentricities, they are family - heirs to as this tendency might seem, it can be helpful when
a great inheritance they may well share with you. Their dance is you're trying to place a faerie into context.
weird. but it is a dance, and it can be a hell of a lot of fun. The Common faerie roles include:

potential gifts of this relationship are incredible. Is the trouble worth � Bedevilers: Sometimes it seems as though the faeries
it? That depends on how well - and willingly - you dance. are just there to piss you off. Annoying villsprites
If you decide to join that dance, it's wise to learn some sabotage your computer, spoil your food. scare your

moves. This isn't choreography, it's improvisation, so think quickly dog, and generally fuck with you simply because they

and keep a light step. The following guidelines won't turn you can. Thematically, such faeries exist to test a person's

into Fred Astaire. but if you pay attention they'll help you catch patience. Their tricks rarely extend beyond irritation,
the rhythm of these odd relations ... and maybe help you learn but they complicate a story by making the simplest things difficult.

their dance. .. Guardians: In this role, nymphs, beasties, and faerie godparents
watch over places or people who need protection. Often found

Living Mysteries near abused children or imperiled wilderness. guardian faeries

Each faerie is a paradox. Although immortal, he can bleed. Although represent hope in a challenging world. Most times, such fey

alive, he stands outside death and time. He has an individual provide a miracle or two. Every so often, though, one might
identity, yet that identity is mutable. One faerie might have many manifest powerfully and kick some ass.

names. many faces, many histories. His only truth is his heartsong, � Guides: When this White Rabbit goes hopping by, a hero can't
the essence of what he truly is. help but follow. Dummy. The guide's journey will take that hero
Symbolically, the Faerie melds the Adult and the Child in far from home, and though this embodiment of initiation may

one. Her power reflects the ominous powers of adulthood to help the hero find her way around at first, the mortal would be

children and preserves the reckless wonder of children for adults. pretty foolish to trust such a capricious guide completely.

Tbe OQIg true cOQsisteQcg about faeries a .... ears to be tbat tbere is 110 cOQsisteQcg.
Our cousiQs are called Ibe CbaQgiQg FoI� for a reasoQ!

A living song of Nature and humanity, she honors all elements .. Helpmeets: When feats that cannot be done are accomplished any­
while refusing to belong fully to any of them. She's the jester in our way, these helpmeets are on the job. They might be birds that gather

deck of cards, the wild face that keeps Creation from getting dull. seeds. sprites who repair shoes. old men who bear gifts of food -

Like all other beings, the Folk blend spirit, matter, and the nature of the help isn't as important as the Folk who provide it.

consciousness into a living whole. Although animals and human Don't thank a helpmeet directly, though. In the strange etiquette of

beings gravitate more toward the element of matter, faeries are Faerie, human gratitude turns a gift into barter. Helpmeets exist to
more attuned to spirit. (Other entities, like ghosts and angels, hover recognize goodness. Their assistance is virtue's reward.

closer to pure consciousness.) The primal music of Creation .. Lovers: The tangled weaves oflove sometimes manifest in faeries
resonates more clearly within the Folk than it does within our kind, drawn to mortal hearts. Folk like the Little Mermaid fall into

and it sets them apart from us even when they visit our realm. often-doomed romances or win affection from human beings who

Mystics claim that faeries are more pure than we are. later pine away. Story-wise, such relationships reflect the mad

Naturally, most Folk agree. Human legends, on the other hand, nature of desire. They might be comical, tragic, or ultimately

maintain that faeries have no souls at all - they're captured energy fulfilled, but such star-crossed unions are never dull!

or rebel angels forever barred from heaven. This purity is actually a

 .. Omens: Certain faeries seem to exist merely to offer clues. The

bane-sidhe (banshee), White Lady, and other ghostly Folk warn of

doom, whereas trooping faeries and strange beasts deliver cryptic

messages, then vanish. Such faeries never stick around - they

simply make impressions, then leave mortals to figure out the

meaning behind their appearance.

• Predators: Who's afraid of... well, take your pick: the Big Bad
Wolf, the Ogre, the Wicked Witch, etc.? Folklore is filled with

monsters whose only purposes seem to be threatening a hero's

life and limb. But because "monster" derives from monstrum

("omen") and monstro ("to reveal "), we can see a connection
between the predatory faerie and the lesson a hero might

learn from it. On the surface, a predator symbolizes the red

fangs of nature (wild or human). Deeper down, though, we

can see the Big Bad Wolf and his ilk as reflections of our own

viciousness. We each have wolves within our hearts. Perhaps

the faeries who embody those impulses simply hold up dark

mirrors to our selves .

.. Saviors: like guardians, saviors rescue mortals from unbearable

situations. But whereas the guardian stands between an

inamorata and a threat, the savior changes the situation, either

through magical generosity or a quick ticket to safety. The

province of faerie godmothers, this role recalls the unconditional

love of parents for a small child. When cold winds blow, such

Folk appear to reassure mortals that the universe can still be

kind.

.. Teachers: Every story has its lessons. And so, each faerie tale

includes Folk who bear wisdom in their hands. Certain fey,

however, appear specifically as teachers - mentors of magic,

guides to new worlds, keepers of knowledge, and so forth. These

Gandalf-esque sages impart wisdom that no human could learn

without help... or, at the very least, point out things that should be

obvious but aren't quite clear enough just yet.

• Tempters: like lovers without affection, these Folk lure mortals

into danger. Sometimes shimmering will-a-wisps, more often

beautiful strangers, such Folk inspire mortals to leave common

.. Nemeses: Although mean-spirited faeries often dog a person's life sense behind. Symbolically, tempter faeries represent passion

for the sheer hell of it, the eerie theme of the nemesis consists of unchecked by reason. The gifts they offer seem so enticing that

Folk with personal agendas. Doppelgangers, hags, villsprites, and anything is worth the cost of their fickle - but oh, how pleasurable!

sometimes worse, these Folk have scores to settle with particular - embrace. And sometimes, just sometimes, they are.

mortals. Symools of ultimate justice, such nemeses cannot be simply • Tricksters: Like teachers with a mean streak, tricksters turn order
wished away. Before long, the hero must redeem a pact he broke, inside out. laugh at it, then make you question why you accepted

avenge misdeeds, or atone for some crime only faeries recognize. that order in the first place. Sometimes their antics are funny;

• Nightmares: These fey represent fear in all its splendor. Lurking more often, the lesson has a nasty bite. Most times, you'll get both

just beyond perception, they keep you jumping. Suddenly they a laugh and a spanking. Occasionally, a trickster winds up on the

lash out. . . They might be your evil twins or incarnations of your receiving end of his own pranks. He never seems to learn anything.

repression. They could be ogres too huge or lords too powerful to but a wise mortal can catch a clue if she's sharp enough to look

resist. Until a hero finds his courage, the nightmares continue. past shattered preconceptions and see the wisdom within folly.

Only by growing confidence can he shake these faerie fears.

 If you want to understand the Folk, these roles present only
shimmers on the mirror. Our stories are human inventions, not fey
commands. To go truly beyond the looking glass, be prepared to
listen carefully and take nothing for granted. Studying faeries is like
dancing with rainbows. You won't fmd what you're looking at, and
you'll probably get wet, but most likely you'll have fun doing it... so
long as you watch your step.
For more details about faerie tales and their themes, see
Chapter 4. For dozens of faeries past and present, see
Faerie Guises. Pages 129-141.
Common Cruths
As you can imagine, nothing is certain when you're discussing
faeries! The Folk don't just dwell within the Mystery - they are the
Mystery. Faerie lore is wildly contradictory. Find one truth, and a
dozen exceptions will suddenly appear.
Nevertheless. certain things can be said about our Cousins:
• Though Some Seem Mortal. Most are Not: Faerie beings don't age
or perish the way we do. Although lesser fey - aelden and
shimmerlings - remain bound by time and death, even these
Folk age at a different pace. The greatest faeries - aelderfolk -
neither age nor truly die. They can be dispelled, forced from one
identity into another, cut off from their current forms, or even
bound to a certain place or object. But their essence is, for all
intents and purposes, immortal.
• They're Deeply Musical: Music could be considered the soul of the
Folk. It determines what they are, how they appear, how they behave,
what they desire. Although they often speak human tongues,
faeries communicate best in musica, a wordless language of chimes,
notes, tempos, and tones. They're often sensitive to vibrations and
pitch (hence the old custom of ringing bells to summon or dispel
the fey) and adore humans gifted with musicianship.
• They Possess Inhuman Powers: Traditionally, Good Neighbors
enjoy incredible gifts of influence, illusion, conjuration. and
metamorphosis. They can be irresistibly charming, travel great
distances, spin straw into gold. walk through fire. and do other
amazing things. These powers are neither random nor godlike.
but they're impressive nonetheless. For millennia, mortals have
marveled - and envied - the talents of the fey.
• They're Subject to Potent Laws: Faerie powers aren't free. Equally
impressive bans and frailties make a faerie extremely vulnerable
in certain areas regardless of her strength in others. She may be
terrified of iron or human holy symbols. unable to cross a threshold
without invitation, bound to tell the truth under certain condi·
tions, or suffer any number of other traditional faerie banes.
<lJ()II�
• They Change Shape Easily: Faeries are called the Changing Folk
for good reason. Unlike us, these beings aren't shackled to their
material bodies. With little effort, any Cousin can shift between
certain guises - physical forms that look and perhaps act in
radically different ways. Although the essence of the faerie
remains unchanged, her appearance, identity, and possibly size
are flexible.
• They Cannot Create New Things, Only Shape thaI Which Already
Exists: At the heart of the fey fascination with human artistry is a
simple truth: Good Neighbors can refine, destroy, shape, imitate,
duplicate, recreate, transform, even perfect things that already
exist, but they cannot create new things from raw imagination.
A faerie can become a blue dwarf or a bluebird, but she cannot
become a blue xymellox (whatever that might be) unless such a
beast has already lived at some point. .. or has been imagined by
a human being.
• They're Closely Tied to Nature, Elements, and Seasons:
Embodiments of the living world, the Folk change with the
seasons, blend with the environment. and seem comfortable even
in extreme weather. Climate alone can't harm a faerie, although
certain phenomena (lightning, flames, landslides, etc.) can cause
him pain. A Changing One also responds to phases of the moon,
growing restless during the wane, energetic during the wax, and
positively manic during new and full moon phases. Faerie
temperament often corresponds to seasonal changes and usually
follows some elemental tendency (fiery. airy. watery. earthy.
wooden, even plastic) as well.
• Each Faerie is a Trickster: From the most honest gnome to the
most rigid aelf, all Folk possess a bit of mischief in their hearts.
Given a chance, almost any faerie will play tricks. cast illusions,
mislead quests, and otherwise test a mortal's patience. These jests
may range from low humor to subtle lies and may be performed
with malice or good intentions. Why do faeries do it? That's part
of the riddle mortals were not meant to understand. Perhaps
they're making fun of their clumsy cousins, or testing our own
cleverness. It could be that such jests are meant to teach us
wisdom; then again, they might just come from spite. Each
trickster has his motivations, so watch a faerie carefully.
Sometime, somehow, he will try to fool you.
• They Respect Their Own Morality, Not Ours: Although many Folk
are fair, honest, even generous, on the whole the faeries could not
give a single flying fuck at the moon about what human beings
consider proper. They might resemble us in many ways. but at
heart the fey are Other. Their priorities are not ours. Their
passions. though familiar, run at different depths. Their concepts
of time and vulnerability are as alien to us as ours are to them.
What is literally a matter of life and death to a mortal is just a
game to a faerie, whereas a fey deed of grave importance seems
like nonsense to a man.
Grace likes plal1ts. plants like Grace. 111 al1 office stuffeD with
vel1eer al1b cubicles, Grace's workstatiol1 sbil1es with life.
Ferns rul1 riot ulloor fluorescel1t sunshil1e. Flowers bloom with
brif/Jt il1te11Sit;y.
How 00e.s she 00 it, ber coworkers wOl1oor. How, il1 the half-
light of this call11eO-air limbo, 00e.s Grace get ber plants to
blossom? wbel1 askeD, she simpl;y smiles. "I'm ble.s.seil/' she brawls
il1 ber gral1bmother voice. "Just ble.s.seil." Allb she is.
Gettin g Along with the Family
Although they thumb their collective nose at human law, the Good
Neighbors are not lawless. Their morality seems strange, but it's
simply more primal than our own. Drawn from Nature's rhythms,
faerie temperament is touchy by mortal standards. Compliments
can be taken as insults, thanks as obligations. Family relations can
get tricky enough with human beings. When the family in question
includes these Cousins, though, a booze-soaked Thanksgiving
dinner can seem tame by comparison.
So what can you do if the Folk ask you to dance? Watch your
step. Be respectful. Stay smart. If you're dever, careful, and - above
all - considerate, this dance can be a great deal of fun. Weird, awkward,
occasionally dangerous, but fun. The following tips can help:
�espect
In the old days, humans understood respect. Every living thing was
granted recognition. But as humans became the center of their own
world, mortals forgot the magic of "please," "thanks," and "excuse
me." We may have forgotten those channs, but the fey have not.
And if you want to stay on their good side, you'll have to give respect.
"Respect" is a funny word. People kill and die over props, but
few people understand the essence of respect. The word itself means
"to look back and regard." To respect someone is to look at him, see
him, and take his presence seriously. Respect means stopping,
paying attention, and acknowledging someone's value. It's a good
way to live in general. And it's vital when you're dealing with the fey.
Ironically, the Folk - who so often remain unseen - get
deeply offended when ignored. Most aelders can remember when
people revered Nature, and they look back and regard
those days fondly. The informal (often downright I need no more excuse than that I AM.
For if ;gou saw the brif/Jt buzzlit1fJS haveril1g arOUI1� ber
cubicle, ;gou'� Ul1oorstal1b.
Grace has friel1�s. Nice friel1�s. she cal1't see them, but she
kl10ws theyre aroul1b. The crumbs of El1tel1mal111S'S she scatters
il1 that coffee ring 011 ber 00sk are alwa;ys gOl1e b;y momil1g. The
work she leaves at 6:00 PM is ool1e whel1 she arrives.
Grace respects ber little �iel1bs. Allb eaeb ba;y, without fail,
the flowers l1ear ber OOsktop bloom.
rude) manners of modem humans really piss most faeries off. That
incivility reflects man's disregard for his world! And so, as
incarnations of Nature's power, faeries give - and expect ­
respect... or else.
Manners
Most faeries seem excessively polite. A troll can be surprisingly
formal even when he's trying to eat you. And though this emphasis
on manners isn't true of till Folk, the majority of them at least offer
nice greetings to you before things get weird. Plenty of fey insist on
formality; though their etiquette can get bizarre, strangers are
expected to at least try to keep up with it.
Generally, the Cousins value a human who knows formal
etiquette over one who does not. A mortal who really knows his stuff is
considered well bred and may be granted extra favor. Outside the
labyrinthine manners of certain fey courts (where formallties range from
informal to impenetrable), most faeries insist on at least three things:
• Addressing someone - and being addressed - by name, using
an honorific ("good sir"), nickname ("Windrider"), or title
("Princess Marjollan").
• A physical acknowledgment (bow, handshake, howl. etc.).
• An exchange of recognition and good wishes ("Have a nice day"
often works. "Yo!" does not.)
A person who displays at least those three rudimentary
elements of respect is tolerable. One who can't? Well, he'll at least
have an interesting life.

'Chings Faeries Like
Bribes... I mea n, gifts offer a time­
honored way to break the ice. So what
can a mortal get for the aelder who has
everything? Traditional lore suggests some
of the following:
.. Songs/Music (usually played with traditional
acoustic instruments).
• Herbs/Plants (apples, cotton, cowslip. dandelions.
foxglove, ginseng. holly, iVy,jasmine, lavender, lilac, mistletoe,
mugwort, oak, plums. pomegranate. primrose, roses, rowan, saffron,
sagebrush, sandalwood, st. John's wort, tobacco, willow, and yucca
have fey associations, though malicious faeries supposedly avoid some
of these plants - see below).
.. Sweet foods and good booze.
.. Gold or diamonds.
., Handcrafted toys, shrines, artwork, or musical instruments.
• Great fantasy literature (Shakespeare, Spencer, Tolkien, etc.)
• Riddles (though it's hard to find good ones that faeries don't already know).
'Chings Faeries Don't Like
Just as you probably wouldn't buy Maxim for Grandma, you'll want to
make sure that a tribute suits the recipient. Just to be safe, you're better
off leaving certain trinkets home when you're dealing with the Folk...
unless you want to get a rise out of them. In which case, good luck, and
can I have your stuff?
. The sound of bells, prayers, or in some cases, laughter.
• Plants/Herbs (traditionally datura, garliC, ginseng, horehound,juniper,
lady's slipper, lilac, lilies, mandrake root, marigold, mugwort, nettles,
oak, onion, poppies, peony, ragwort, rice, rowan, sagebrush, thistles,
wolfsbane, yarrow, and vervain keep harmful faeries at a distance).
., Spicy food (except among cultures where very spicy food is the rule);
anything laced with garliC or salt.
• Silver or iron.
., Mass-produced plastic stuff.
., Roleplaying games dealing with faeries.
• Trickery - it's cool when they do it , but it tends to irritate faeries
when a mortal gets the upper hand.
Ownership
Many Cousins share an interesting view of property, too: Anything that 's
not naikd down is mine. Anything 1 can pry up isn't nailed down. Anything
that 1 can trick out ofyou wasn't really yours in the first place. But don't
touch my stuff, or you'U be sorry! Faeries are infamous for borrowing,
trickery, and outright theft; they're just as infamous for throwing
tantrums when a mortal does the same to them. In both cases, the Folk
display a sense of entitlement. No matter where an object started off, the
cry of "IT'S MINE!" goes up whenever there's dispute.
(Symbolically, this may reflect the resemblance between
faeries and children. Don't let them hear you say that, though!)
Perhaps this take on ownership comes from a holistic
perspective: Everything is connected, therefore everything is shared. That
idea falls apart, however, when you consider how territorial a faerie
can get about his own stuff. Some lorekeepers speculate that an
item taken by a faerie assumes part of his essence - perhaps it
even begins to vibrate at his musical tone rather than our own. In
that sense, the pilfered treasure may, in fact, become a part of him.
The odd nature of faerie treasures (which often turn worthless once
they're away from the Folk) bears this theory out, and the idea goes
a long way toward explaining the behavior of beings who have no
permanent bodies but seem incredibly attached to stuff.
Whatever the cause. this attitude is common to the lowest
villsprite and the loftiest princess. Not even the miracle merchants
are entirely immune. Coupled with the human take on ownership
(which boils down to It's mine unless J give it to you; it's yours unless J
can get it), the issue of property keeps Jacks and giants chasing after
one another, often at the most inconvenient times.
'Cributes
Even in this day and age, people leave tributes for the faeries.
Santa's milk and cookies, Halloween treats... it's even rumored that
bridge trolls skim a bit off the top of those automatic tolls. Such
tributes are gestures of respect and thanks, offered to Folk who
perform (or are expected to perform) a service.
For the most part, though, modern people are stingy when it
comes to their Good Neighbors (understandable. since most modern
folks don't believe that faeries exist). This has become a bit of a
peeve among the Cousins. Therefore. when dealing with the Folk,
it's a good idea to offer up a little something as a gift. Such
generosity usually gets their attention.
Common tributes include small offerings (see Things Faeries
Like); acknowledgment of deeds, friends. or ancestry (" I knew your
father"); chants, songs, or cries (like the Lost Boys' "Bangarang!');
formal address ("You who are the third scion of Master Blake the
Fourth, cousin of Nebulontus, and Singer of the Bright Voice'); eye·
gazing, energy-sharing, or even sex. Obviously, though, you want to
make sure that you've chosen the right tribute to bestow! Offering a
blowjob when some pearl dust was expected (or vice versa) is a bad
way to start a friendship.
 Traditionally, the tribute should include a ritual disclaimer and Mysteriae, a Cousin's promise is only as binding as the

like, "This is a gift freely given with love to my Cousins." Objects or Cousin's honor - which, despite romantic stories, isn't always what
services provided without a no-obligations clause might invoke one it's cracked up to be.
ofthe trickiest snares in human-fey relations. Certain faeries seem more honor-bound than others. Aelden
raised amid tribal circles or sophisticated courts often take honor to a

Favors and Obligation chivalric extreme. (This is true of both dark court faeries and light ones

Faeries aren't shy. When asked for a favor, most faeries' response is, - the obsession with honor is part of the courtly package.) Wanderers
"And what do I get?" They assume this works the same way with couldn't care less. Renegades actually prefer an aura of dishonor,
people (it usually does...) , and soon a delicate dance begins: the whereas miracle merchants consider rustomer satisfaction the highest
minuet of gratitude, which can tum suddenly into a waltz of one­ calling of all. (What that means, of course, is open to debate",)

upsmanship. You give something, the Cousin gives something, and True aelderfolk do appear to be bound by the so·called old
you both have to be careful to give things of equal value. Otherwise, law. According to this law, honor is a spiritual extension of the self

one of you goes in debt to the other... a situation that can get sticky A promise is literally a soul-bond that cannot be broken, no matter

very quickly. how much you want to do so. In ancient societies, this law
Our Cousins have no problem with small gifts or fair exchanges. inspired the original concept of honor. Human

To a point, gifts are their due. An imbalanced trade, however, beings, however, have greater freedom of

demands recompense... and implies that you're greedy, too. After all, self·definition than the fey, and in time
the thinking goes, if you offer something really big, you want some­ honor became a polite suggestion, not

thing really big in return. That impression, true or not, tends to piss a soul-compulsion. The immortals

faeries off. In a twisted way, generosity can be misinterpreted as don't enjoy that kind of
ingratitude! For that reason, most Folk prefer little gestures - a freedom, so boons bind

smoke of pure tobacco, a perfect rose, and so forth - over extravagant them in ways that they

gifts. Big offerings are more trouble than they're worth. cannot bind human
Inamoratas are usually excused from this cycle of obligation. beings (or aelderblood
Love is generally considered its own reward. Even then, though, a fey, for that matter).
loved one ought to show affection for his benefactor on a regular Faerie still
basis. Few things outside a troll's loincloth can match the ugliness encourages a strong
of a Cousin who feels that his inamorata is ungrateful. sense of honor. The old
law's spiritual

Gratitude compulsion might not

To avoid fey displeasure, always show gratitude for a faerie's help. apply to everyone, but
Under no circumstances, however, should you actually say "thank word does get around.
you" to one of the Folk. For reasons mortals have yet to understand, Oathbreaking is
the words (in any language) form an oath of mutual obligation that considered extremely bad
no faerie can resist (Or so it's said - folklore can be really form, no matter who's
unreliable sometimes!) Yes, this can get awkward. doing the breaking. On the
So what can you do? Simply offer respect Bow. Say eloquent whole, the
things that flatter your companion while showing off how cool you Folk are honorable to a fault. A
are. Don't ask "And what can I do for you in return?n As faerie tales faerie might lie about nearly
demonstrate, inviting a boon is a really bad idea. A common idea, everything else, but if he gives you a

but a bad one. formal vow, he's serious.

Boons and Honor Oaths

A promise to honor some future request, the boon is a hallmark of Promises hold power within their words. The Cousins might be

faerie lore. Traditionally, this open,ended pledge creates a potent liars, but no faerie takes a formal oath lightly. To swear upon
obligation. A clever negotiator can overrule an angry regent if he something important - a sacred place, a loved one, body fluids, or

words his request just right. Supposedly, no force in Faerie can undo heart's honor - is to link that promise to your self. In the old days,
such promises once they're spoken. such vows held the force of Nature; although humans dismiss those
Is the boon as powerful in Deliria as it is in most faerie tales? powers now, the fey do not. A sworn oath is sacred. If it's made at
Sadly, no. Although the idea carries weight in certain dominions all, it's kept unto destruction.

<11 (1 71)
It's tough to get a faerie to swear an oath. Only deep love or a wben Papi was a bo;<), be «sell to pla;<) with Hector. Noboo;<) kl1ew
terrible threat can make a Cousin swear one willingly. A time­
honored practice involves tricking the Cousin into a promise. wI;o Hector's parents were. He just «sell to show up after SUl1rise
Clever words lead the faerie to believe she's promising one
thing, when in fact she's swearing to another. Although many with a bie smile al1� sa�, brave e;<)flS. Papi sai� Hector smelloo like
legendary heroes have done this, such trickery demands guts
and quick thinking. A tricked faerie is an angry faerie, and cinnamD11. His banru an� feet were smooth anb nea� 11Dt like the
though she will honor her word, she'll make you choke on it
eventually! rowrP skill of the other cbil�re11. He la� like starlieb� Papi

Insults
You'd think that an entity that can live for centuries, use
magic, and change her shape at will would have a pretty thick of parents of the other kibs, the;<) saib Hector was bormiyweal1te.
skin. Not the case. As faerie tales from all cultures reveal, our
Cousins can be fantastically sensitive. An awkward remark others sai� be was a eik from la Virye11. Some families moo to
can send one into fury, and a perceived slight can bring down
a curse.
Why? Fine question. It may go back to those issues of

respect and entitlement. Being a force of Nature has its perks,

you know, and the Cousin may just be demanding her due!
Whatever the cause, be warned: the Folk take respect seriously, Hector. He tol� neat stori� saib his father was a jaywar anb his
and insults may be terminal

What do faeries consider insulting? Many things: no mother was a star. He hab 400 brothers al1� 600 sisters, al1� all
tribute, the wrong tribute, too much tribute; too little
formality, too much formality, no formality at all, the wrong of them were beautiful. Papi al1b the other kiru, the;<) l1ever saw a
kind of formality; withholding one's property, giving too much
away, taking something that a faerie regards as her own;
acting serious, acting silly, doing anything at all. To be honest,
anything can set a Cousin off. Certain things like disrespect or

foolishness are especially triggering, but fey temperament is

inconstant as the winds. little oloor, chi But his skill was still smooth anb his e;<)e5 were still
Fortunately, most fey are easily distracted, especially if

you've got something to offer them. Demonstrate quick wits, sa� aw his smile never wel1t awa;<). I l1ever met him that I can
and a screaming hag may decide that you're more useful as
her agent than as a toad. The rule varies, of course, but remember, but Mami saib be bent over m;<) crib an� bl� me,
generally the severity of a grudge depends on the severity of
the insult. A mortal insult won't be excused, but minor kissil1e m;<) forebea� before be wel1t awa;<). Mami sai� the;<) never
annoyances may be quickly forgiven, forgotten, or both.
If you offend a faerie (an easy thing to dol) make it up saw him ayain, but Papi kl1ew �ifferel1t.
to her as quickly as possible. The Folk have long memories
but capricious passions. One who bites you today may buy TIJere «sell to be a biro, Papi sai�, that smelloo like cinnam011.
you a round tomorrow ... and vice versa. Change is the greatest
constant of the fey. No matter how much you think you It flew aroun� the bouse ever;<) mornil1!J, sineil19 m;<) parel1ts up.
understand them, our Cousins have plenty of surprises in
store!

up fresh al1b bapp;<) the l1ext mornil19 wben that birb sal19- wbel1

m;<) brother al1b sister were born, ParJi let that birb into the bouse.

<II U II\>
Sometimf'.5 I saw it roosti»g »ear their cribs, chirpi»g like a sU11fise.
came i» a»D saw the birD a»D threw a �t, screa111i119 MaDre 00
Dios! a»D flaili119 ber arms a lot Next thi119, there's Father Batista
anD two aCillitos anD a lot of bol� water goi119 eve�wbere. Tbat
birD »ever came back in the bouse, eve» though I saw it sometimf'.5
One »ight wben be was Drinki»g, Papi tolD me about the qirl
in GuaDalupe. He a»D Mami, the� were bavi»g problems. I
was Drunk a»D feeli119 terrible. Next thi119 be knows, this beautiful
girl is sitti119 »ext to him with a s111ile a»D s�mpathetic e�. Tbe�
wounD UI) back il1 his botel room, but wbel1 be smelloo that
cin11amo» be baD to fUn to the bathroom anD throw up. wbe» be
came back, the girl was gOl1e. He never tolD Mami, but be kept the
feather tl,at girl le� bebil1D u>tOOr his pillow until be Dioo.
crowD. He wasn't smili119, anD his saD e� overfloweD. Wbel1 I
went to talk. to him, be was gone. But I Cilul� still smell the
Tbere's this little girl who Cilmf'.5 b� now to see m� little
LUpita. No one knOIVS }JXJ ber parel1ts are, but I let them pla�
al1�w. Ll1pita'S safe lVith la a»gelita. Some morni»gS, I can even
bear that bir� outsioo. Al1� there's ci»11amon on the breeze.
Wherefore Art Chou . . .
Whoever Chou Art?
Fey identity is a puzzle. Though humans tend to group the Folk
into blanket categories like elf, brownie, goblin, and so forth,
each faerie is an individual with his own attitude, appearance,
and agendas. Like snowflakes, no two fey are exactly the same,
even if they look similar from a distance.
Examining human tales, we find thousands. if not
millions, of faerie types. Each one has its own body of lore, and
every bit of that lore is packed with contradictions. If even halfof
those tales were accurate, our world would be hip-deep in faeries
of every possible description. So what's the deal? Are there truly
millions upon millions of different fey breeds? Or are the
various tales imperfect fragments of a truth that transcends
mortal comprehension? And do faeries ever offer a straight
answer? As any faerie could tell you. that would take all the fun
out of things!
Gui ses and H eartsongs
As any wayfarer knows, fey races don't exist. You could meet
seven so-called dwarves, but they probably wouldn't have much
in common except small stahlre and earthy personalities. One
dwarf might be a blue·skinned gent, the second a leathery
lizard-man, the third a gnome with silver hair, and so on. The
myths of dwarvish cities fIlled with mini.Vikings are just that:
myths. Aelders assume similar forms (and change those forms
into other forms!) when the mood strikes them. Those
constructs - or guises - are matters of choice, not biology.
Faerie nahlre, after all, isn't physical. It's spiritual.
The essence of that spirit is the heartsong. Unlike the
guise, a heartsong doesn't change. It's like music at a Halloween
party where you keep changing coshlmes but continue the same
dance.
Together, these elements of faerie nature present twin
keys to fey identity. The heartsong determines a faerie's inner
soul; his guises portray outer appearances. The former is fairly
immutable; the latter change constantly. Mortals often judge fey
creatures by their guises... when, in fact, a guise is the least
consistent thing to watch!
No wonder mortals are so confused ... and no wonder the
fey like to keep them that way.
Heartsong: Che Essence
Did you ever meet someone who seems to have her own theme
song playing as she enters a room? Faeries are like that. In the
faerie's case, however, that song comes from deep inside.
Literally music in the key oflife, a heartsong distills fey
temperament. All other elements of that Neighbor's identity­
behavior, motivation, appearance, power - flow from that tune.

Lady llaven
Heartsong: Mischievous
Guises: Stranger, AnimaJ(s)
She's cute. She's weird. She caws a lot in between words,
then smiles like she's making jokes you'll never
understand. She dresses all in black,yet she's one of the
least somber people you're likely to meet. And according
to folks around town, she can spread her arms and turn
into an unkindness of ravens in less time than it takes to
say, "Yipe!"
Lady Raven likes to keep folks guessing. She rarely
gives straight answers. Her eyes follow ever detail of your
face and movement, as if she were a predator looking for
the right time to strike. The air around her seems to
rustle even when she's standing still, and you can hear
feathers flapping in the distance. Every 50 often, she'll
drop a single glossy black feather from her clothing or
hand it to someone she likes. These days, she seems to
like a guy called Inkboy; the two of them often dance at
the local clubs, though you might see them on st reet
corners at night, dancing to silent music as rain falls and
their feet make soft sounds i n the puddles.
Every so often, you might notice a huge raven on
a porch or fire escape, looking you over. Or you might spot
a murder of small crows dogging your footsteps. They
don't seem that odd at first glance, but if you really look
closely, you'd swear you can see lady Raven's eyes and
hear the rustle of her wing.like voice.
The heartsong captures the timbre of a soul. Whereas mortals
can change their personalities from one moment to the next, a faerie
must dance to the dictates of her heart. This music swells and falters,
changes tone and measure, but it never really ends. Those who've
seen an aelder perish describe swirls of color and music rising from
the body. The corpse decays in seconds, releasing a heartsong that
weaves its way back to the elements to be reborn.
To understand the concept best, think of a faerie as music
incarnate. The heartsong is that music's melody.
You won't hear the heartsong clearly. Far subtler than mortal
music, it hovers in the atmosphere but remains indistinct to human
ears. Many animals can sense the tones, as can people with
especially keen hearing or pitch. Even then, however, the song is
more feeling than sound. Other Folk can hear it if they try, but for us
the concept of the heartsong is still barely graspable.
Cwo Songs, Cwo Ladies
It's impossible to distill a tune's essence into human language and
equally impossible to describe a fey heartsong in mortal words. In
an attempt to capture that which cannot be defined, many
authorities describe faeries by the moods of their heartsongs - the
feeling those songs inspire in the Folk and the passions those Folk
inspire in others.
For example, take an aelven lady. Glittering with finery, she
speaks with disdain. In her better moments, though, she's generous
and kind. Her every movement is refined; each guise is radiant.
Some might call her a majestic faerie, lofty yet compassionate. Her
heartsong resonates with dignity and her presence inspires respect.
Another lady might be just as beautiful, just as rich. You
could describe her as an ael£: too, but a bitter one. Her words are
vicious, her temper mean. Malevolent to the core, her heartsong
weaves through her like barbed vines. No matter which guise she
chooses, this lady's doomed to an eternity of spite.
The heartsong, then, is destiny. It sets the role a faerie plays
in life. Perhaps that's why the Folk envy us so deeply: faeries enjoy
power and long lives, but humans make their own destinies. People
who know the secret of the heartsong pity their immortal cousins.
This music ofthe soul adds tragic flavor to the Folk.
Gui se: 'Che M ask(s)
If the heartsong anchors the spirit, a guise provides physical
identity. But though we humans are used to fairly rigid bodies, the
Changing Folk aren't limited that way. Instead, they can shift from
guise to guise. One faerie may appear as many different things!
Essentially, a guise is a body mask. Its features and
appearance may change, but deep inside the spirit stays the same.
Depending on his power and intentions, a Neighbor may become a
bird, tum into a plant, change sexes, shrink down, or grow to huge
proportions. (Such radical changes aren't common, but they're
possible.) Each guise enjoys the basic physical attributes common to
 Common Heortsongs
In faerie tales, the Folk tend to be rather one-dimensional. Ifyou think about it.
though, a single heartsong can have many strains. There are lots of
variations on beguiling. and you can use them all.
(Imagine an enchantress as Ravel's "Bolero" in one scene and Dido's
"Thank You" in another. See the possibilities?)
Common heartsongs include:
.. Beguiling faeries tempt you with sweet promises. Often beautiful, always seductive, their music spins
enchanting guises - aelven maids. handsome lords. nymphs, satyrs, lost sweethearts, and demon lovers.
Beguiling animal forms are lovely. too - cats. peacocks. songbirds, stallions. These faeries embody desire in all forms; they might not be cruel by
choice. but they could leave your life in glorious ruin.
• Contemplative Folk seem reflective and serene. Often plain, sometimes pretty, they speak in slow and riddling measure. Their guises resemble monks,
old people, trees, gardeners, cows, and other simple, sturdy beings. Such faeries pay homage to the living miracle that is Creation, and they try to help
mortals comprehend that miracle, too.
• Dissonant fey turn your world upside down. Tricksters and deceivers, they force you to question everything you revere. Some are malicious, others
demented, and many charming as a l l hell. Their guises include talking animals, bizarre beasts, prankish sprites, devils, gremlins, madmen, and the
disturbing Kolamites.
• Fra ntic Cousins can't move fast enough! There are millions of things to do, millions of tasks and distractions and games and pleasures and ... you get
the idea. These little cyclones often manifest as pixies, fetches, natural phenomena, and the unnerving sprites that take the idea offrantic to a whole
new level.
• Inspirational Folk offer peace and hope. Appearing as eagles, angels, devas, flower faeries, phantom friends, and faerie godparents, these entities bestow
gifts on their loved ones and comfort upon everyone they meet.
• Majestic faeries command respect. These are the noble aelves, wise beasts, totem spirits, djinni, angels, and godlings of legendry. Incarnations of pride and
grandeur, such beings radiate graceful power. Their animal guises - bears, wolves, lions, falcons, dragons, and so forth - are as regal as their human
forms, but despite their intimidating aura, such fey are often merciful and gracious as well.
., Malevolent faeries are hardly good neighbors! Incarnations of disaster, these trolls, villsprites, hags, ogres, big bad wolves, and other monsters exist to
spread suffering. Often painfully unhappy themselves, such Folk often turn into terrifying hybrid beasts - harpies, stormcrows, hellcats, insect-men,
and so forth.
• Malignant creatures embody corruption. Vultures, hags, ratfolk, tempters, tricksters, villsprites, ghouls, and other agents of decay, these dark faeries
are the worms of their world. Despite their foul presence and disgusting features, however, these forlorn beings have a place at Creation's table... at
the bottom, eating the scraps that fall to the ground.
• Melodic faeries instill harmony. Industrious and sweet-tempered, these kindly souls keep all other elements in balance. They con get angry, but even
then, these beings prefer subtle justice over force. Often seen as little people, pixies, elementals, phantom playmates, godparents, and kindly aelves
(or i n animal forms like deer, rabbits, dogs, horses, unicorns, and songbirds), these incarnations of order appear when someone's in great pain or need .
., Mischievous little bastards love to joke at your expense! Embodiments of chaos and misfortune, these faeries enjoy pranks but rarely care about the
aftermath. The archetypal goblins, gremlins, aliens, tricksters, and other fey vermin, mischievous faeries challenge order and undermine authority. After
all, someone has to play the fool. If these Folk can get you to do it, so much the better!
• Nurturing Folk help the world grow. Embodied as faerie godparents, little people, pixies, wise beasts, elementals, and noble aelves, these beings are
true Good Neighbors. Favoring animals like dragons, unicorns, hounds, la rks, and doves, nurturing Folk tend the sick, guide the wise, restore the
broken, and tend the delicate yet eternal bond between the world and its inhabitants.
These categories are incredibly broad; music,like passion, has infinite varieties. There are plenty of other heartsongs and many variations on
these basic themes. In game terms, however, these generalizations offer a handle on each faerie's motivation and essential personality. If you
employ music in your saga, you might even set up a group of MP3 files with theme songs for different feytypes.
its kind - a bird form can fly, a fish form can live underwater, a
human form can talk, etc. - but it also uses the magics of the
faerie's essential self All forms share a common mind and similar
personalities. The heartsong lingers even when skins shift.
The Folk can change guises like we change clothing. Yet, like
our clothing, each guise says a great deal about the fey in question.
If you know how to read the signs, you might see through the
marvelous illusion ofthe guise... perhaps. Don't count on it, though.
Faeries are notorious shapechangers and infamous liars. Mortal
attempts to pin down their true shape or form seem doomed to
eternal confusion.
Changing Faces
How many guises can one faerie have? That varies. Some Folk are
full of surprises, whereas others retain the same guise for centuries.
For the most part, this shape-shifting talent is related to a
faerie's connection to the earthly realm. Aelden, with their relatively
dose ties to the material world, have only two or three forms they
might assume. Shimmerlings often enjoy three to five potential
guises, and aelderfolk are said to possess anywhere from seven to
666 different identities. (The last number is unlikely but not
impossible.) Generally, the more pure the faerie, the greater its
ability to change its guise. Those close to earth remain fairly constant
whereas their deep-Faerie cousins can be as fickle as the wind.
A faerie's guise bears little relationship to mortal biology or
physics. The same entity can appear to be a crow, a little boy, a giant,
and a tumbleweed. Size, sex, species... the usual laws of identity
don't apply. A single faerie may be male in one guise, female in
another, both in a third, and genderless in the rest. That same faerie
might also become as small as a bluebird or as tall as a house.
Guise-bodies are more dream-stuff than physical matter. like
rainbows, guise bodies do involve some physical substance, but they
distort it in seemingly impossible ways.
Guises may be thought-forms - figments of imagination
given substance. (See Chapter I.) If so, whose imagination crafts
these forms? Are they created by the fey? By human beings? By the
tales we tell about them? Or are they based in something far older
than either of us? No one's really sure.
Most fey guises are naturally occurring things. Many - but
not all - are living beings rather than seemingly inanimate objects.
Animals, plants, raw elemental forms, hybrid creatures, and people
(often with strange names and mannerisms) inspire most faerie
guises, although some Folk transform into piles of gold, swords, or
springs of water. In recent years, faeries have appeared as characters
from computer games, dead (or living!) celebrities, and even motor
vehicles. The latter cannot function like real machines, but that step
may just be a matter of time...
For dozens of potential masks, see Faerie Guises,
Pages 129-141.
Mortal , lmmortal , and ln Between
Not all faeries live forever. Some hover on the cusp of immortality,
yet perish nonetheless; others live and die; still others change but
never truly pass on. The distinctions between these shimmerlings,
aelden, and aelderfolk aren't obvious to the human eye. We can
make educated guesses, but the different Folk don't wear their
natures on their sleeves. Like most labels, these categories reflect
human definitions, not faerie breeds. Their differences mark
essence, not biology, and though there are definite power differences
between a shimmerling, an aelden, and an aelder, those differences
don't show. Again, assume nothing when dealing with the fey!
Shimmerlings: 'Che Living Promise
Minor faeries bound to a single place or purpose, shimmerlings
manifest fey power in the mortal world. Although they exist outside
of mortal time and physics, these beings hover in our realm. Like
notes of music, they resonate but cannot sustain themselves; they
mark promises between this world and the next.
The classic sprite, a shimmerling has limited powers and
slight intelligence. Even though humans assume sprites are small,
a shimmerling might manifest in human-sized forms. Busy by
necessity, he works in buildings or fulfills tasks in nature. Greater
faeries don't respect him much, and mortals rarely know he's there.
He might resent that disregard, of course, and ifhe does, watch out.
People might call him "just a sprite," but he can cause lots of trouble.
Each shimmerling needs a home. Without one, his heartsong
quickly fades away. House-faeries call this home a hearth. Wild
shimmerlings don't bother with names but nestle within trees,
plants, stones, or pools. Computer faeries spin fractal rings, whereas
family helpmeets enter altars or places special to the family. Some
sprites merge with artwork; others possess toys. What matters is the
resonance between the faerie's heartsong and his home. Both have
to fit together if they're to last.
In the old days, shirnmerlings maintained groves, gardens,
clearings, and wells. Some favored human dwellings, but most
preferred the wilderness. As mortals spread (and woodlands fell),
more shimmerlings became house-fey. Most times, these nature­
spirits sought kinship with the materials used to build the house,
treating the mortals inside like guests (or trespassers), rather than
the other way around. Claiming (as one oath says) "right of hearth
and health," these Folk took up residence, found purposes, and
stayed. Sometimes they'd help their human guests; occasionally,
they'd make a point of driving the people out. The human custom of
leaving gifts out for the Good Neighbors emerged during this
period. Many shimmerlings wish mortals would remember it today.
Have you got faerie senses? If so, you might recognize the
feel of a shirnmerling's home. Kindly fey have sweet melodies,
whereas angry ones disturb the ear. Depending on the shirnmerling,
this ephemeral music might sound like chants, sonatas, tribal
music, or any other form imaginable ... and quite a few that aren't!
 Favored Guise
No matter how many shapes he
assumes, each faerie has a favored guise­
a form he prefers over all others.
In human circles, this guise is often known as the
true form. That's not exactly accurate, as no mortal truly
knows what an immortal looks like. Even so, the favored
guise has a special significance to the faerie in question.
Perhaps he feels most comfortable in that body. ties it to a
pleasant memory, or feels a deep affinity for its appearance. Whatever
the reason, a favored guise becomes the faerie's default body. Often, when
recognized in some other form, he'll change back to the favored identity, curse,
and vanish.
The Folk get touchy about their favorite guises. Often, they'll concoct secret names
and consider those names keys to their identity. A mortal who discovers a secret name can
usually make demands, force the fey to depart, or win its love for a year and a day. As with
most faerie attributes, however, the favored guise (and an aelder's reaction to its
discovery) will depend on the faerie himself and, by extension, on the heartsong. A
melodic faerie will probably fall in love, whereas a malignant one might stam p a hole
in the ground, fall in, and disappear.
Tales abound of fey undone by mortals who discovered their true names. Although
such tales may exaggerate somewhat, there does appear to be a connection between
recognition and power. By discovering the favorite guise of a shape-changer, you show
cleverness and perception. Because the Folk respect cleverness (and fear mortals who seem
overly perceptive), that power might be a gesture of fear or reverence. After all, a mortal
who can puzzle past the faerie's various illusions is someone to watch out for.

Briska the Clue Fairy (Shimmerling)
Heartsong: Dissonant
Guises: Beauty! Child, Trickster
You probably won't see her. I doubt you'll hear her coming. But ifyou're
about to do something really stu pid ,you might just feel a sudden
whoosh of cold air, followed by a burst of darity. That's Briska, skating
'round town with her clue-bat at the ready. If she sees you about to
make a mistake, she may barrel up to you, swat you with the clue-bat,
and leave you wondering what the fuek you were just about to do.
How long has she been around? Good question! People
started talking about her a decade ago or 50, when inline skates fi rst
got po pul ar I'm sure she existed long before then, but she seems to
. well. She could reach 100 years or more without looking older than
enjoy the skates. Usually invisible and intangible, she bolts along at
crazy speed. Every so often, if you're faerie-sight gifted, you might see
h er, swingin g her silver bat like Mark McGwire gone insane.
Manic's a good way to describe Briska. Red hair flies out like
flames behind her; those bright eyes flash like spa rklers. Decked out in
bright colors and safety pads (she is t he Clue Fairy, after all!), she
laughs all crazy-sane. She rarely stops to talk - stupidity never takes a
break, y'know - but when she does, her raw enthusiasm could knock
you down. Briska speaks almost too fast to follow. Her words bubble
up like fresh soda overflowing. She's short, but she's strong. If she sees
you, look outl That clue-bat packs a nasty punch. You won't feel it like a
rea l bat upside your head, but if she hits you, you'll be clear-headed all
day long... whether you want to be or not!
It may be, in fact, that human music styles are drawn from faerie
inspiration. Most artists, after all, are sensitive to such things, and
most faeries are drawn to art.
Aelden: 'Che Fey-Blooded
"Mortal" comes from nwrtalis: "to die." According to the rules, a
mortal is born, grows older, and eventually drops dead.
But Creation likes to bend the rules.
In the harmony between Faerie and our world, certain
entities reach a half-pitch. Although flesh and blood, they're magical
as well. Bound by time and physics, such entities chafe against those
chains. These tulden, lesser faeries, occupy the border between
mortality and immortality. Biologically, they're animals or human
beings. But Deliria's song rings strong within them, and, despite
appearances, they're not entirely mortal.
Aelden come in many varieties. Some began as people but
were transformed; others look human but weren't truly born that
way. The beasts called belanshaya ("children of the dream") began as
animals but either learned new tricks or recalled their primordial
inheritance. And then there are the elementals, humanoid nature­
spirits who have taken some weird turns in the technological era. All
told, these entities are the true twilight people. They exist between
flesh and spirit, mortal and faerie, earth and Deliria. Rich shadows
are their homes.
Mortality aside, an aelden is a faerie. Her magics are
impressive but not overwhelming; her appearance can change, but
it's not infinite. Because she is mortal, she understands emotions
like fear and lust; because she's biological, she can reproduce. (Her
children, however, may not inherit her gifts. Faerie's harmony
resides in the soul, not DNA.) Many heroes of folklore and
mythology are aelden of one form or another. Plenty of villains and
sidekicks are, as well. Faerie blood (a misconception) doesn't
guarantee anything special except a long and healthy life.
Yes, it's true: a so-called aelderblood ages slowly and very
30 and without feeling worse than a teen on a bad hair day. Chances
are, she's either extraordinarily attractive or notably repulsive -
Faerie's essence tends toward extremes. These days, such resilience
is a blessing, but that wasn't always true. Back in the old days,
people who looked too pretty, too ugly, or too young past 30 often
had to worry about what the neighbors might think.
In the mortal realm, aelden are freaks. Those who manifest
their powers are isolated, studied, or killed unless they manage to
get away first. In Deliria, however. aelden are the rule rather than
the exception. The aelderfolk might be more powerful, but aelden
are more numerous and better organized. They create the courts,
construct the cities, weave the ties of etiquette that even aelderfolk
observe. The lords beyond the sunset are often aelden, not true
immortals, and they're as fey as faeries get.
 Melpomene of the Masks (Craver)
Heartsong: Beguiling
Guises: Stranger, Child, Animals, and more
There's beauty in pain. She knows. Once she was human, a playwright's wife in ancient
Greece. But he was no Euripides, and audiences laughed when he wanted them to weep.
His wife, however. was a gifted storyteller. Folks crowded around to hear her speak.
Jealous, her husband claimed her stories as his own; when she protested, he beat her to
the edge of death, weighed her down with stones, and tossed her in a lake.
But she didn't die. When nymphs came to take her to Hades' realm. the woman
struggled beyond her last breath. Impressed, one nymph offered her immortality. She
accepted and emerged as something else. Before long. she drove the playwright to suicide
and inspired his new lover to m u rder their children before burning herself alive. That was
2,300 years ago.
Since then, the self-made Muse of Tragedy has worked her way across the earth. Feeding
herself on joyful pain, she crafts new tales with living actors. Using mind-magics, she plays mortals
off against one another. Her games are most creativel Tapping passions that folks feel but don't
dare act upon, she improvises tragedies for the entertainment of her Court.
Ah, yes - the Court of Poets. Melpomene, you see, is not alone. Over centuries,
she's met other spirits like herself. Cloaked in robes, masks, and shadows, they watch from afar as their players perform. It's said that they hold
contests to see who can inspire the greatest tragedies. The mortals they audition have no idea what's going on; at best, they wonder Why am I
doing this? before committing fresh new sins. Occasionally, these poor folks see a cloaked and masked crowd in the distance, applauding as they
fade away.
Melpomene has no conscience, really. To her, everything is one long show. In addition to her courtly guise, she can appear as a gold-haired
little girl, a bird with golden plumage, a tabby cat, and a howling gold mask. In all guises, she is sad but charming. Her gold, you see, is made of
tears, and she knows full well how much it's worth.

Like all mystics, aelden find magic more difficult to use in
the mortal realm than in Faerie. Even so, the gifts o f hannony ­
extraordinary health, life, and appearance - remain strong in either
world. People who have soul sight or fey perceptions can tell the
difference between folk and Folk, though illusions may cloak that
vision. In short, then, aelden are the faeries who live among us.
Their faces are plain, though their magics often aren't.
Common aelden types include:
• Aelderbloods: In the old days, people spoke of elven kin or
changelings - people with an otherworldly essence. Those tales,
occasionally, are true. Although the blood in question isn't
unusual, an aelderblood manifests odd talents, uncanny habits,
strange predilections, and vivid perceptions. She can probably
change her shape, call upon the elements, speak to animals, or
perfonn incredible feats of endurance or dexterity. Slow to age yet
quick to anger, this aelden's passions lie dose to the surface. She
can whip from laughter to tears in seconds or contemplate an oak
tree for days on end.
• Belanshaya: Faerie animals gifted with unusual health,
intelligence, and potential, these creatures are said to be
descendants of the world's first beasts. The legendary black dogs,
white buffalo, talking ravens, and lion kings are just a few
examples of these children of the garden, whose spirits are re­
awakened by dreams of Paradise. An aelden beast can assume
human fonn or speech, lead others of her kind, or manifest
magical talents. Although undoubtedly an animal in
temperament, a belanshay stands out among her cousins.
Whether she's born in Faerie or in the mortal realm, the
belanshay is truly a regal beast.
• Cravers and Ghents: Immortal spirits in human hosts, these
entities combine the best and worst aspects of both. A craver spirit
flies from host to host, bringing magical gifts, memories of past
lives, longevity, and a constant hunger for life's energy. A ghent
spirit seals a pact between a mortal host and her magical overlord:
in exchange for strength and power, the host agrees - or is
compelled - to serve. Both entities mark the shadow-side of
human greed, and though not evil by definition, a craver or ghent
isn't the sort of person you want to invite home for dinner.
 • Melava nti (elementals): Named for an archaic
term meaning "one who becomes, or melds

with," these elementals personify forces of

Nature. Often known as merfolk, dryads,
sylphs, salamanders, djinni, gnomes, storm­
gods, and so forth, melavanti assume the forms
of animals, humans or something in between.
With a thought. however, they can revert to the
form of their element - then re-form in a body

- in seconds.
Each melavat embodies a single raw
element given physical identity. Born to normal
parents - or
occasionally to
aelden - she
demonstrates an
affinity for her
element in both
temperament and COi
talent. A water
melavat, for
Che King of Sleep (Aelder) instance, might be quiet and capricious, whereas

Heartsong: Nurturing a fire one blazes with intensity; the watery girl
Guises: Godparent, Animal(s), Child, and many others can swim like a fish, and the fiery one can make
I n the space between wakefulness and rest he was born, in the cries of hungry candles blaze without touching them. Although
children and the tears shed on fallow fields. He came from the distant Vembo there's always something odd about this child, the
Woods with bags of fruit and dream flowers, comforting those who struggle to faerie probably won't know what she is until the
sleep. elemental spirit stirs within her. When that
From Capetown to Cairo and many places between, he wanders. His happens... well, many a tale begins when a

kindly smile never fades, no matter how desperate the situation. He knows it's strange child suddenly gets a lot stranger!
all a dream, and in his hands it becomes a pleasant one. His touch soothes In classic lore, most elementals are fonned

sickness, fills e m pty bellies, guides the dying to easy deaths, and tickles around the primary forces of fire, water, wood,

newborns through their birthing-hours. earth, and a ir (and half-elements like smoke, fog,
The lines on his face betray his labors. There's so much to do, so many he and electric ity) . More recently, however, latent or

cannot save. And yet his kingdom prospers. Sleepers rest there comfortably at manufactured elements like plastic, light, metal.
night. In the shade oftso trees they dream softly, bathed in moonlight and cool paper, or even time appear in melavanti forms.
breezes. At each turn of the year, they harvest new crops - fruits to fill the For the most part, these odd manifestations can

King's bags and the empty stomachs of his children. They do so gladly- he be chalked up to urban legends or media burn.
forces no one to serve him. His people have known too much of servitude. In Anyone who spends much time around the
dreams he sets them free. Mysterium, however, knows better. There are
The King of Sleep rides on night-breeze. To most eyes, he's an old man in some pretty weird folks - and Folk - walking
bright African garb. Occasionally, he manifests as a golden gazelle, a parrot with around these days. And some of them hold the
moonlight feathers, a cloud of shining colors, or a cow veiled with rainbows. cauldrons of Creation in their hearts.
Occasionally. he walks the mortal lands as a boy, testing the generosity of those
he meets. People who aid him receive good fortune and dreams; those who
anger him (and he has seen too much not to know anger!) suffer nightmares
until they face their inner devils ... or perish. For those of good spirit. however, the
King is watching. His blessings reach across all seas, and his feet know the dust
of every human land.

41 I Ii..
Aelderfolk
Before there were beasts, people, or even elements, there were
echoes of Creation's Song. Resounding across reality, these echoes
took shape and purpose. Those shapes and purposes have altered
over the millennia, but the echoes still remain. Call them gods,
spirits, or immortals, they're the greatest of their kind.
These true faeries are rare indeed, possessed of immense
power and infinite disguises. If they desire, these Folk can manifest
as dragons, giants. totem spirits, even gods. On the other hand,
however, most aelderfolk choose humble guises - dwarves,
pixies, animals. even children. Perhaps these immortals have
outgrown their need for power, preferring humility to might.
(Perhaps they just like to fuck with expectations!)
Vibrating at the deepest frequencies of life, the aelderfolk
belong to Faerie. They might visit our realm on occasion, but they
are never truly comfortable here. Like shimmerlings, they exist
outside our concepts oftime and physics; unlike those minor Folk.
these immortals are not bound to our world in any way. The
substance of their bodies is Delirian, not earthly, and it's more
sublime than we can imagine.
Perversely enough, these sublime entities seem to enjoy
being gross. Some shine with dignity; others revel in filth. The
nasty-ass ogre with his flea-infested pelt? He's probably an aelder.
The bright goddess with 10,000 hands? She might be the exact
same aelder in a different guise. Aelderfolk enjoy extremes.
Perhaps it's a metaphysical balancing act for them - weighing the
corrupt with the ephemeral in order to understand each one
better. Then again, maybe they're just bored. Forever is a long
time unless you know how to have fun.
The faerie maxim - expect nothing but what you can 't expect
- runs especially true for aelderfolk. They seem mortal, yet they
are not. They can be grand, yet they often choose not to be.
Certain deeds can banish them from a single guise (see below),
but nothing on earth can truly destroy them. Because they can't
die, don't age, never grow from children to adulthood, true
aelderfolk can't understand the human condition. They may act
sympathetic, practice cruelty, affect nobility or assume fearfulness,
but they are not mortal. They cannot comprehend mortal concerns.
This distance makes them alien, even when they reach out
lovingly. The divide makes us Other - them to us and us to them.
Perhaps the only threat to an immortal is the
transformation - or annihilation - of the earth in general. And
because the ability to do just that now lies within human hands, is
it any wonder that the aelderfolk, who've been distant for so long,
have grown interested in our affairs? There may be seeds planted
in this era that will bear strange fruit in the days ahead. Perhaps
it's time to reach out to the immortals and join our song to theirs
while we have the chance.
 JetHM (carnci) the barb wa� l10t to litter. off again. Not tel1 l11il1ld.es later, she swears a birb with brif/Jt

Back a f,w l1"''' "9", si;>e usei) '" (jO out bikil1fJ ,ve'1) blue an� /leep black featl;ers alit near l,er. "l'� pick !hat up/, it

��,JfRl,'na j"'t wke l,er oo� pack an� sono, Powerba" an� I,ea� thirpe1l. "Or Grinobi""aIiJ 'vill be uni)aPl'1l."

'" tI;e s"ookies. sI;e'� COl», bock after niff;tfal( full of j,nna �j() a roubl,-wke "I'� r1ick !hat "Pi' tI;e bir� rerJeatOO,

stories about tI;e (jOrgeo'" thin(!l si;>e'� seen. "Or Grinobl""olb will be unbaM."

Now, :gou'� think j,n"'l wilb l,er love of tI;e outoloor� It was a lOHO wa� back. tfp the trail, ani) Jel1l1t1 wasl1't so

,,,,,,,l� be on' of those "pack it in, pack ti o"t" tl1P"- Nope. If sure si;>e lVasn't l,earing Wings. SO si;>e blelV tI;e lVarnil1fJ off iI,e�,

u;e on, bike I wck wilb l,er w'" an� in�icatio'l si;>e'� just toss I i)ii)I1't sa� m,!) roomie was smart, i)ii) I?) al1b kept OOil1f}

the lVrar'1Jer �om her Powerlxtr .J"erever seemei) CDI1V€l1iel1l I A few mil1tftes later, she sa,YS, a beer walkoo up to her. Jw..st

reI
.. n"'r fJivil1fJ l,er a &.r� ti»� abo..t ,
i aM si;>e ",l� "'" '" lVa/kOO ri!1Jt Ul' '" l,er, not !,e.siUl»t or an�thi"if Ji,at /leer &.�

II�SI"I' l'i�n"if "lt's a bio worib," she saiD. "No OI1e'S �1111l1 I1Dtice bri{fJt bl", '1J'S 'vilb oork black pupi� wbicb, if :gou know

" li;.t was u;e �rst an� last tinoe I went /ffli11fJ wi!h l,er. aH'!)tbil19 about beer, is l10t exactl� CD»lttlDl1. Jel1l1t1 sa� that

AI1�lVa�, ol1e HirPt she i)WI1't COttle bome. B� tel1,. I was /leer cockoo its I,ea� at l,er an� saj(), ve'1} clearl�, '"'� pick U)at

iJ'ttil1fJ worrie<l. j,nna'5 in f!OOIJ >harle, but si;>e's still lonoo up, or Grinobl""olb lVill be unbar�'�."

. Finall�, after l»i�ni!1Jt, I calloo 9u. wl,ere'� si;>e (jO oka� - now I»� if a bir� an� a /leer bolb wa/koo ur' '" lire

bikil1fJ? tI;e� ""'-00 I»e. I a�noittOO I �ion't know. li;.� ",l� 1», ,uti) saib SOU1elbii1f1, I thi� I'i) lislel1. But :gotf kl10w Jel1l1a, rirPt?

to go OOWI1 to the police sUitiol1 tll1i) �ll Otft a missil19 persol1's Again, si;>e just M l,er I,ea�, blelV it off, ano k,pt (jOi"if lsi,.

rel'ort if si;>e ba�n't (jOtt.n in b� noorni"if I tell :gou, I �i�n't a�l»ittOO !hat even if si;>e ba� (jOn' bock, si;>e coul�n't rellrellober

sleep at all !hat ni(JJl wl,ere sI;e,� l,� u;e IV"'PI"r an�lVa�J

ArDimb 5:00 AM, JeHI1tI came baclv all muO()� al1i) wire­ SO, 50011 after, it's oettil19 bark. Not sur'1Xl.SOO to - it's oHl�

e� aM dJakil1fJ like a 5«Iroo cal Wl,en si;>e ",l� noe �t two Dr so - but it is. Jel1l1t1's .scal1l1il1£l the � for cioui).s.

&'I'".noo, I unllerswoo wlm. Nothi"if just tree cover growil1fJ u)icker an� thicker. Now si;>e's

sI,.'� been bikil1fJ rown a partic"larl� lovel� win�il1fJ sUirtil19 to get a little creepell out - t nteal1, she's l10t greel1 Dr

trail wl,en si;>e S"'� for a snack. In l,er usual wa�, si;>e'� al1�thil1a. t1l1i) ber il1Stil1cU are tellil19 ber sometbiHg's wrol1g.
 AHb i)oesH't Tecogttize a tiJiH9- TI;e� chase !ler all over tI;ose wooo. up bil�, OOIVll "",.",,,04

Like I sa�, J'"""'S flO' ""1"r�"ce. she klWws bow !D follow throUflJ creeks, across deariJ19S. Sometimes si)f. elm see thelU,

trails, eve" "wke "'W 0"" if she (,ru !D. But ,../;e" she turns most times "Ol All tI;e tim" t/;ouiIJ, she &ears ',m comi"IJ­

'rou"�, she (,ru "0 "'" "';ere she i. TI;e trail is 9''"' a"� tI;e Hears tI)Ot w(nspero Grimbl'fT'ot/;. Grimbl'fT'ot/;. Gri.",b(''fJro �
forest looks all wro"IJ- she's 90t IW "'" wl;ere tI;e !lell she is, but tI;e lii!Jt keerJ.l 9ro,,;�

she tun!.\ back arou"�, a"� "OW "0"' of t/;at forest looks bilflmer til( there's just eHoM� to .see h�. Fit1a((� - al1b I

familiar, i" �out of or bebiu� !ler. bours la"r - she sPO!.l a familiar slope wit/; a pauh of trail

A"� tI;e" sf;e &ears t/;is r",diu9 "",rb�. Bi� like a bear Tltl111il10 up il

mi�Jt sClimb. Or hiooer. Ba"9! s/;e's up t/;at t/;i"iJ- pouu�i"9 fast as tirw 1'9' cou 90.

Now, sJ.,e kl10IVs el10MrjJ l10t to Tim awa� from al1imais, YOM see wi)f.re tbis is bMbi"9l lJcm't JJOu? Not tel1 :9lIrbs up

'caw;e most hig OHes cal1 catch �M al1�wa�. But si.1e's .senous(� tI;e troil, tl;ere's tI;is flash of briil)t ora"9' iu tI;e brush. A

.scaroo. That .soMH�S comil19 �Ottl eve�wbere al1() she i)oesl1't """"rhor wrapper. she grabs tI;e tbi"9 out of tI;e branches

klWw ,./ftd; wa� !D 90· TI;e breez, Tlicks up, s"'rt.I sbaki"9 tI;e (where it wasH't before, h� the wa�J, screamil19 I'm so�

leaves, a"� she """,rs sf;e &ears tI;e", ,vbisTJeri"9 Grimbl'fT'ot/;. I'm sorl1J! I'm sorl1J1 Jams tbat wrarIfJer iHtD her pack. aHb

Grimbl'fT'ot/;. Gri",bl'fjrot/;. wkes off up t/;at slop,.

Au� tl;eu sf;e sees e� i" tI;e foresl All arou"� !ler, 910wi"9 s/;e still &ears tI;e lVi"OS· Still sees tI;e e� Still feels t1;e

i" tI;e siJaoo,v. Briil)t blue wit/; /)ark black pupil. ]Jozel!.\ of crash of a"9"1J 1'9' bebi"� !ler. But "OIV she recognizes "';ere

'eu, Ma� hu"Moo. A"� bir3s collie flutteri"9 OOIVll �om tI;e she i. It wkes a ,vbil" but � full /)ark she's out of tI;e wooo.

�, oozel!.\ of 'em, "fJl� bu"�roo. All brirfft blu, a"� /)ark B� ou" she's at ber car OfJIlill You klWlV tI;e rest alrea��.

black featl;e" Now, I'm l10t Satre whether tD believe tbat StD� or l10l

Grimbl'fjrot/;. Grilllbl'fjrot/;. Grimbl'fT'ot/;. But I "II 1T"u tbi. for as I ktrolV, Je""" (,ru"'t 9O"e biki"9

TI"at's il s/;e's out'" tl;er� for a w/ftle. AHb I'Ve Hever seel1 her so match as spit Ott a

sWelValk sil1ct.
 Poetic 'Cone
Faerie enchantment comes from
within. Briska's magic is
mischievous; Rollie's is seductive;
Melpomene's is bitter; the King of
Sleep spreads goodwill. Every faerie
puts a bit of his soul into the spells
he casts, and each enchantment is an
extension of his personality.
Fey magic follows poetic tone; in other
words, it fits the faerie's nature and cannot contradict it.
The King of Sleep, for example, is benevolent. His magics
heal and restore. Despite his power, he can't tear people in
half with wishcraft. Not only wouldn't he think of doing that,
magically he could not do it. Destructive magics run totally
against his nature. Thus, his enchantments take other forms: clouds
of dreams, blossoming flowers. sleep spells. and so forth. The King has a
nurturing heartsong, and so his magics nurture, too.
Poetic tone fits gUises, too... or perhaps guises fit poetic tone. Both follow
the faerie's in nate nature, and they complement each other. A contemplative water
elemental, for instance, has watery guises - a merman, a seagull, a giant crab, a drift of
seaweed, a wave, and an old sailor. When he passes by, water ripples; when he charms people,
they cry. When angry, he makes waves rise; he can conjure rain or melt into a body of water.
His skin feels smooth and cool, and his hair is always damp. He can't work with fire to save
his life and probably fears dry land. This faerie's magics, guises, and behavior all suit his
contemplative heartsong and watery nature. Poetic tone shapes everything he is
and does.

" What's 'Chat Do?"

Very Im portant Note: Faeries are creatures of Nature. With veryfew exceptions (see New and
Unusual Faeries), they don't understa nd the principles of human technology. Unless a
magical feat does something that affects a machine in some overt way (like dropping a
block of stone on it), or unless the faerie in question has learned skills dealing with human
maChinery, a faerie's magiC is nearly powerless against modern tech (guns, cars, computers,
etc.). He might see technology working, but - being a primal magic creature- he cannot
rea lly comprehend how it works. Hence the faerie fear of human progress and machines-
like us, the Folk fear what they
can't control or understand.
 Faeri e M agi c
Pumpkins into coaches. Straw into gold. One hallmark of faerie
tales is wish fulfillment: where the Folk appear, miracles follow. To
our Cousins, magic is as natural as breathing. Whereas mortals
struggle with complex rituals, the fey carry enchantment within
their very selves. Call it "wishcraft" - some faeries do! Magic is an
extension ofwhat they are.
Faeries aren't superheroes, however. A Cousin doesn't fly
through the air dripping miracles. Although the laws of science
ripple in a faerie's presence, she'll have to put some wish into her
wishcraft if she wants to make big things happen. This takes time,
concentration and often more. Every faerie understands that ifyou
want something, you have to give something - a vital truth of magic.
Wishcroft
Wishcraft takes a faerie's essence and spins it into magic. It's natural,
but it's not always easy. To spin an enchantment, a faerie must make
a wish, then bind that wish with intention and seal it with activity.
Making that wish is simple: she simply envisions what she
wants. To bind it, the faerie speaks her wish aloud, often in a song,
rhyme, or incantation. To seal it, she has to stop everything else
she's doing and concentrate on a certain task - spinning, singing,
dancing, and so forth. The details depend on the faerie's form: a
river naga might weave in a hypnotic pattern, whereas a fox-woman
might bark at the moon, and a hag would boil up a foul brew. The
larger the task, the longer the work; it would take a moment to fix a
single shoe but several hours to fIx a roomful of them.
Wishcraft draws from a faerie's essence. That magic can be
cast in any guise, but it must suit the nature of her heartsong. (See
Poetic Tone.) Magic flows from the heart, after all, and though a
faerie's tongue can lie, her heart never can.
The Folk are innately magical. All faeries understand
wishcraft, have a handful of talents, and possess some uncanny
powers, too. Only the most ancient immortals have enough magical
prowess to cast truly grand enchantments, but even the average
faerie (if such a thing exists!) can do some really cool things.
Calents All Faeries H ave
Certain gifts are part of the package. All faeries - shimmerlings,
aelden, and aelderfolk alike - enjoy them. The lesser fey have a
hard time doing really large or spectacular things with these talents,
but even the smallest pixie has these Tricks at her command:
• Blending: Masters at remaining unseen, the Folk can virtually dis­
appear. A combination of other gifts (illusion, alteration, and
charm), this blending talent lets a faerie disguise her features, hide
in almost-plain sight, camouflage herself (especially in natural sur­
roundings), move very quietly, and conceal her fey nature from
mortals. Baffling elements and observers alike, she can merge with her
surroundings until only a dedicated (or magical) search reveals her.
• Enchanbnent: Faeries can be deeply impressive, too. Some seduce
humans, and others tenify us. Either way or in between, a Cousin's
force of personality carries a magical kick. If she wants to be noticed,
her presence can be incredibly compelling. Minor Folk use this talent
to get their way, whereas powerful ones can bind or break a soul.
• Faerie Sight: The Folk are incredibly perceptive. They see clearly
in near-darkness, hear soft sounds, sense life energies, and read
body language frighteningly well. Although few Cousins actually
read minds, a faerie can give you the impression that she knows
exactly what you're thinking just by watching your face. These
sharp senses reach outside the human spectrum, and although
they're not magical per se, they seem that way to us.
• Glamour (Illusions): They're fuckin' with you, man! Faeries play
head games, and even the kindest of them might be hiding the truth.
Although the power of fey glamour isn't perfect - such illusions
always contain flaws a clever mind can recognize - it fools people
who don't bother to look closely. Minor fey cast small illusions,
whereas the greatest ofthem can stage amazing (if false) spectacles.
• Immunities: Existing outside of normal space has its perks. All fey
entities age slowly, resist most diseases, and remain fairly healthy
throughout their lives. Aelden can catch any sickness or poison
that affects their mortal kin, but they stand a better chance of
recovery. Shimmerlings and aelden cannot be diseased or poisoned
at all except by materials that harm faeriekind. Either way, a Cousin
betrays few signs of aging unless his favored guise seems elderly.
• Rippling: When candles flicker, plants rustle, and music whispers
on the wind, you feel the presence ofthe fey. Although a Cousin can
dampen her effect on her surroundings if she wants to blend in,
she'll usually bring little stirrings ofweirdness with her wherever
she goes. Generally, this sort of thing happens without effort from
the faerie. If roused, however, our Cousin can sharpen this effect:
storms rise, fires rage, crops wither, or gardens run riot. Such
dramatic effects demand power and sacrifice, of course, but with
them an immortal can cause - or repair - disasters in short order.
• Shape-changing: Each faerie has different faces. A shimmerling
boasts two or three. but some fey possess dozens, even hundreds,
of separate forms. Shifting shape is easy - the faerie simply
wishes himself as his other guise, and it's done. His echoes,
however, follow every form. A smart mortal can spot them and
peg the Cousin regardless of the face he wears.
• Turnabout: Mortals can use magic, too... but not as well as the
Folk. Faeries' mystical nature makes them unusually resistant to
human spel1crafi. Mortal sorcery tends to bounce right off a faerie's
spirit - and occasionally reflect it right back at the sorcerer! This
talent makes wise magicians hesitate. Who's to say whether a spell
cast to ensnare an aelfwill bind the sorcerer to that aelf instead?
charms
and Banes
At first glance, faeries seem like gods. Their
mystic powers clearly dwarf our own. But are

they limitless? Hardly! In folklore, even a

child can defeat them ... though it often takes
the imagination of a child to figure out how.
For all their talents and wishcraft, the fey
have certain habits and weak spots an able
mind can exploit. .. assuming that the person
gets the chance to do any exploiting at all!
Every culture has charms against the
fey, which says something about the state of
human/fey relations! Most of these charms
are supposed to work in a general fashion,
like "do such·and·such to keep the faeries at
bay." Those wards aren't terribly effective.
Still, some traditional precautions actually do
work, at least against certain Not-So-Good
Neighbors. Perhaps those charms delve into
that mystical space where belief and reality bounce off one another. Smoke
Then again, maybe there's just something about a dude banging on a Although American faeries enjoy tobacco, many traditions use
bell while chanting in Latin that drives a faerie to distraction. smoke and ashes to drive the faeries off. In Ireland. peat fires gave
In any case, the most effective ways of banishing unwanted rise to the custom of smoor-prayers - rituals in which wise women
fey attention include: blessed the family and banished the fey. Other cultures employ soot
from ash or rowan wood, burnt peat, or charred coal. It may be that
Bells and Whistles the departure of faeries from Victorian England was connected to
Noise seems to keep faeries away. Traditionally, that noise comes the pall that covered most cities of that era ... which would imply
from silver chimes. church bells. iron gongs, and certain kinds of much about the banality of Los Angeles today.
penny whistles. Australian aboriginal shamans use bullroarers and
didgeridoos to drive off certain spirits and attract others. These days, woods and Flowers
dissonant music styles and the occasional pop song make Cousins Although faeries embody Nature, certain flowers and plants seem
hold their ears on the way to the exits. Maybe it's fey hypersensitivity anathema to them. Why? Maybe it's the symbolism of those plants
at work or a clashing pitch that jangles the fey equilibrium. Perhaps - most have theological connotations. It could be that the plants
our musical Cousins simply have different taste than we do. have offensive tastes or odors to certain fey. Or maybe there are
Whatever the reason. harsh sounds remain effective wards against elemental feuds we're just not privy to. In any case, the very same
the Folk. plants that some faeries enjoy make other faeries sick - see the
previous entries about What Faeries Like/What Faeries Don't Like.
Prayers
Angels to some, demons to others, the Cousins often wind up lron
tangled in mortal theology. Perhaps prayers drive them off because The legendary bane of faeries, iron is used in many charms today.
they'd rather avoid the mess humans often make in the names of Iron filings, scraps, bars, dust, even arrowheads and bullets are used
their gods. Or maybe faith is another form of human magic, one by folks who are none too fond of their Neighbors. But despite
that attracts help while banishing harm. Who knows? Perhaps there Emopean folklore (and modem experience), many Folk seem immune
really are gods out there that don't like faeries. In any case, prayer is to the presence of ironwork. Some even have an affinity for it!
not a cure-all for pixie infestation. The final option to stay or go
seems to be the faerie's choice... though most tend to go.
 So where did that idea come from? A few possibilities:
• Iron Symbolizes Human Technology: Many of the first truly
durable tools and machines were crafted from iron, and
ironworking marked one of humanity's first major steps from the
caves to the cities. It could be that faeries, connected to primal
nature, are offended by this symbol of man's dominion.
t lron Seems Inflexible: Symbolically, iron is the element of
limitless strength. Although modem metals put old ironwork to
shame, faeries are creatures of tradition - and traditionally, iron
represents that which cannot be changed or broken. Entities of
change, the Folk may be threatened by very idea of that inflexibility.
t Iron is the Material of War: In alchemy. iron corresponds to Mars
and his tools of destruction. Masculine in nature, it's considered
hot, dry, angry. cruel, and proud. Many fey denounce such
elements; perhaps they also shun the presence of the material
linked to those things. The idea makes sense, especially when you
consider that certain warlike faeries dress themselves in iron
armor or craft iron-studded weapons .
.. Iron Reverberates at a Painful Frequency: Given the musical
nature of Creation, it could be that iron sets up a dissonant echo
against certain faerie beings. This resonating effect causes pain
and horror in some fey but leaves others unaffected.
Any. all. or none of these theories could be correct. Truth is,
to this day some Folk recoil at the mere sight of iron, whereas others
handle it every day without difficulty. This weakness (or lack of it)
for iron is just one more of those mysteries that make the Folk so
infamous.
Weird Stuff
Sometimes the bizarre nature of the fey provides their weakest
point. Folklore is filled with things that supposedly harm or terrify
the fey. including: dogs, cats, roosters, or horses; bonfires; blessed
food or water; a child's tears; or recognition of the faerie's favored
guise or secret name. Likewise, certain compulsions slow them
down or stop them outright. Supposedly, faeries must: gather
scattered straw, needles, or seeds; lick up spilled salt (or avoid it);
gather blackberries by night; dance under the full moon; return to
their favored guise when called by that name; kneel in the presence
of babies; speak in rhyme; tell lies at all times; or indulge other
quirks. Meanwhile, an anxious mortal can make a hasty escape...
preferably with her clothing turned inside out so the fey can't see
her. (Why this works is a mystery, but apparently it often does...)
In game terms, all faeries have Bane. Wyrds. The
elements that trigger those weaknesses - and the
faerie's reaction to them - depend on the character and
his background. Fey characters also add + J Challenge Levels to see
a person who's wearing her clothing inside out. Why? Just 'cuz ...
Echoes
Our tricksy Cousins confound mortals by changing their shapes.
Even so, those (dis)guises aren't perfect. For every shape a faerie
wears, certain echoes - common features that mark all of his forms
- provide dues to the watchful eye.
As a general rule (a dangerous thing to trust when dealing
with faeries), every aelder has three to five echoes that follow him
from guise to guise. Most of them are physical - a streak of silver, a
red hat, or vile breath. Some, however, ripple the environment
around the faerie - you might hear beating wings, notice flowers
wilting, or feel a fresh breeze in a closed room. The faerie in
question could have a hollow tone to his voice, a phrase he uses in
all his incarnations, or compulsions that he can't seem to shake (like
picking up scattered straw or giving gifts to small children).
To mortals who can read such clues, echoes provide a key to
the puzzle of fey identity. Assuming she knows what to look for (and
has the opportunity to see the marks), an astute person can spot a
faerie even when that entity has changed his shape. Traditionally,
this discovery offers an edge over the faerie in question - for
example, Rumplestiltskin. And though no one can promise you that
a discovered faerie will stamp himself to death in rage, chances are,
you'll enjoy a slight advantage if you can recognize a Neighbor in
forms other than his default.
Against the Wal l
When charms won't work and manners fail, faerie tales ­
traditional or real - often get bloody. And though a shotgun can be
effective against the average gremlin, large or powerful Folk are not
so fragile. Many fey heal quickly, laugh off buckshot, or survive
seemingly impossible fates . They're not called immortals for
nothing, you know.
So what can you do when the Big Bad Wolf has you backed
against a wall?
Faerie Death
Some Folk die. Some don't. All of them, though, can be booted out
of their bodies by sufficient force. Despite their magical powers,
faerie spirits, like ours, live in mortal flesh. That flesh can be hurt
until the spirit decides (or is driven) to depart. Faerie essence (like
ours) is immortal. Faerieflesh is another matter ... literally.
Aelden fey are mortal. A mermaid might live 500 years, but
she could also catch HIV, grow old, or get ground up in a propeller
just as easily as you can. Shimmerlings don't have quite the same
sense of mortality; AIDS can't harm a pixie, nor do the passing years
mar her face. On the other hand, she's got her soul-hearth to
consider. If the strand of trees she lives in gets cut down, that faerie
ceases to exist within one moon-cycle (a month or so). Their
aelderfolk cousins don't worry about disease, age, or toppling homes
- they are immortal. after all! Still, certain things can destroy an
aelder's body, kicking her essence back into the Great Mystery until
 Common echo-Marks
When you're crafting a fey character, give her interesting echoes. These
distinguishing marks offer a magical sense of identity to what might
otherwise be a mundane persona.
Each fey character will have between three and five echo-marks.
Sample echoes include:
.. Clothing or Jewelry: Faeries are often said to wear red hats or clothing (red being
the color of magic); green gowns or boots; spiderweb garments; cloaks offeathers; silver necklaces;jewelry made of
coral, bones, gold, straw, or pearls; glittering headpieces; or ornaments made of metals or stones that have no
earthly counterpart. In some tales, the fey always go nude, whereas in others they are never completely naked .
• Fondness: According to tradition, faeries go out of their way to favor or pay tribute to certain things: children; cats,
dogs, or horses; birds (especially swans, doves, larks, owls, hawks, robins, and eagles); flowers and plants (especially
toadstools, mandrake, ergot. dandelions, mistletoe, seaweed, holly, ivy, foxglove, fresh tobacco, and red poppies); full
moons; and beautiful young mortals .
.. Physical Features: Among the features a certain faerie might carry from guise to guise,you might notice: red hair,
eyebrows that meet in the middle, fur or feathers, scales, one limb that never changes shape, eyes that glow, a
distinctive voice (melodiC, echoing, and so forth), pearlescent skin, wings, claws, sharp teeth, pOinted ears, or an
unusual temperature (hot or cold) to the faerie's skin .
.. Ripples: As we've seen, the Folk affect their environment. Such ripples may include breezes; storm clouds; sweet or
bitter smells; odd sounds (wings, singing, weeping, etc.), faint music, flaring or guttering of flames; puddles of
water, slime, tears, or blood; flourishing or wilting plants; clouds of mist; electrical surges; sudden changes of
temperature; or palpable auras of strangeness.
.. Technology: Until recently, faeries and tech didn't mix. The presence of one near the other made both
uncomfortable (fey beings felt pain; machines malfunctioned). These days, things are changing. New guises (or new
faeries?) often echo technological devices: (PUs flash new messages; screen savers shift; (Os Skip or change tracks
(possibly to songs that aren't even on the discI); radios change stations; computers freeze, crash, or run more
smoothly than ever; room lighting alters; and cars refuse to start (or purr like new). Many fey still feel discomfort
around human tech, but some newer ones use powers that resemble old gifts run through new channels. Their
echoes might manifest as LED eyes, uncannily perfect muscle tone, skin or hair with the flat look of (GI, and other
tics of the Information Era.
Echoes are constant - not always obvious but always present if you look for them. Should a faerie transform
into something that can't possess a certain echo (a pile of gold, for example, can't wear a red hat), a similar feature
(like a spot of red amongst that gold) appears nearby.
she can get herself back together again. (This sort ofthing really
annoys immortals, but it tends to get them off your back for a few
years.) In all cases, the Cousin's spirit and consciousness may pass
into another form; the body, though, is history.
Di spersal
Where do a faerie's aspects go when the body dies? Who knows ?
The Folk have as many legends for that mystery as we do. Shimmerlings
and aelderfolk, however, come back from that state with their
personalities and essence intact. Eventually, the faerie's essence
spins a new body for the dead Cousin, and she returns to existence.
This dispersal is what happens when such Folk kill one
another. The body dies, but the spirit returns in a new one
eventually. For this reason, faeries have a very different perspective
on death than we do... which explains a lot about the tricks they
sometimes play.
Banishment
Worse than physical death is banishment, a mystical murder that rips
a faerie's mind, body, and spirit into ribbons, and then isolates them
from one another. As you might imagine, this is about the worst
thing someone could do to a faerie. Banishment isn't permanent
either, but it hurts like 13 hells and leaves a Cousin shaken for ages
to come.
Neat! So how do I do it? Not so fast. First off, banishment
isn't permanent... which means that a faerie you banish will come
back with a serious mad on. The things Folk do to mortals who
banish them... well, hot iron shoes wouldn't begin to describe the
pain. More importantly, though, banishment leaves a karmic
footprint a giant couldn't fill. Bad luck follows people who banish
faeries. Better to disperse a Cousin - that, at least, is considered
fair play. Banishment is dirty pool, and it puts the banisher behind a
large eight ball.
Banishment isn't a dear process, either. Legends offer
dozens of ways to banish a fey spirit - rowan spears, burning on a
pyre ofoak, immersion in holy water or molten iron, destruction of
a piece of paper with the faerie's true name on it, and so forth -
but no one knows where the legends end and banishment begins.
For the most part, it remains a threat rather than a reality. Mortals
occasionally invoke banishment against a faerie, but few people ever
use it. And those who do often live to regret it.
'Che Doom
Between dispersal and banishment lies the doom - a death that
destroys the body instantly while putting the spirit and mind into
shock. The proverbial "I'm melting... " fate, a doom takes an
apparently harmless event and turns deadly for one particular fey.
Each faerie being - aelden as well as aelderfolk - has a
doom. It comes with the territory. Why? Like the dothes-inside-out
thing, it's one more faerie mystery. Each doom is unique, fitting one
Cousin or a related group of them. Essentially a curse laid on the
day that fey was born, the doom hangs over a faerie's head forever.
He'll know what it is and might try to avoid it. If that fate befalls
him, though, there's nothing he can do except throw a tantrum as
he dies. (See the Wicked Witch, Rumpelstiltskin, the Gentlemen,
etc.)
Traditionally, the doom involves a prohibition: something
must not be done, or else. Dooms from faerie lore comprise: being
seen naked by a loved one, being doused with water, stepping into a
home where the faerie was not invited, seeing a child cry, hearing a
maiden scream, touching a hawthorn bush, being rejected by one's
true love, having one's tree cut down, being called by name, and so
forth. Like magic, a doom ties into the nature of the faerie himself.
It resonates deep inside, disrupting the essence of who he is and
scattering that self to the winds.
For practical purposes, a doom is death. The scattered elements of
the faerie may come together again eventually, but it'll take a while.
Should they reform within a mortal lifetime, the person who caused
the doom will probably wish she'd never met the faerie in question.
Few mortals live that long, although some people have met, in old
age, a faerie they thought they'd killed in their childhood.
Communion
So much violence. So much hope. What a dysfunctional family we
share! And yet, our kinship with the Folk revitalizes all sides. The
faerie reminds us that all things are possible. We mortals remind fey
that nothing is forever.
Our communion reaches from firelit caves to neon winters.
You can see it in the streets of Harajuku, painted across the faces
of children and feel it in Kosian shadows, where mystics plumb the
secrets of a cell phone. The sighing skins in Hazita's library recall
the force of human ingenuity; the goblin markets evoke fey
timelessness. Songs from all sides catch the pulse of this
communion. Romances without end display the fierce tenderness
that draws us close. Beneath the seas, bone-mariners still dream of
the mermaids who lured them down... while on those waves the
mermaid floats, a sea-foam monument to eternal love.
 Faeries by the Numbers (Sort of. . . )

How powerful are faeries in game terms? That depends on the

nature of the faerie and the needs of the story. Unlike mortals, the
Cousins don't start small and grow up. A powerful spirit can
manifest as a full-grown dragon, whereas a weak one might be a
pixie for 10,000 years. Ultimately. a given faerie is as powerful as
you want him to be. Legacies: 10 to 20 favor points.
In games peak, every faerie character has the Accord: Wyrds: 10 to 20 paints (at least two different Banes).
Wishcraft and a Prowess score that reflects his magical ability. He has Guises: One to three.
the talents described nearby and Draws against his Prowess when Turnabout: + 2 Challenge levels
he wants to use one ofthem. (A failed Draw indicates that he didn't
accomplish what he wanted to do.) A high Prowess gives him a Aelden
good chance of success when he's using magic, though that chance Wishcraft Prowess: 9 to 18
goes down if he's trying something really ambitious. Graces: 15 to 20 points.
Every Deliria character has Graces - character traits that Legacies: 5 to 20 paints (pOSSibly more for ancient aelden)
reflect mental, physical and spiritual attributes. Each faerie also has Wyrds: 5 to 20 pOints (likewise; at least one Bane).
a few uncanny powers, a.k.a. Legacies, and some mystical drawbacks, Guises: Two to five.
a.k.a. Wyrds. These abilities and weaknesses don't require Prowess Turnabout: + 1 Challenge level
Draws, although they have degrees of effect on the character's life.
Each fey character also has a doom - a fate that will Aelderfolk
destroy him instantly. Dooms are detailed more later in this chapter; Wishcraft Prowess: 12-3 0
for now, just remember that every faerie has one. Graces: 15 to 25 paints.
The turnabout talent simply raises the Challenge level of Legacies: 10 to 50 points (or more).
spells cast directly against a faerie character. A failed spell will Wyrds: 10 to 50 paints (likewise; at least three Banes).
manifest later as a story element - some weird stroke of luck that Guises: As many as you want, but at least five.
gives the unfortunate sorcerer a hard time. The how and why of Turnabout: + 2 to + 4 Challenge levels
this turnabout is left up to the Guide's discretion, but the
punishment should fit the crime. It's no wonder people don't screw Remember that no matter how powerful a faerie may be, he's not truly
around with the Folk! a god. The Guide can exercise a lot of discretion with the character's
The following guidelines can help you establish a base abilities, but she needs to keep a sense of balance, too. Faerie tale beings
power level for faerie characters. Note that you don't have to limit are neither invincible nor omnipotent. Poetic tone, faerie banes, dooms,
yourfey characters to these levels. Unless a note says otherwise, and common sense should limit the power of even the most ancient fey.
these scores are guidelines only. (We do suggest, though, that you
stick to the gUidelines if you choose to allow aelden player For details about Prowess and scores, see Chapters 5
characters.) and 6. For rules about Accords and magic, see
Chapter 7. Several fey characters, Banes and Tricks
can be found on the Appendix Disc.
 Guiding Faeries
What to do? What to do? Given their shape-shifting
talents, strange powers, and incredible potential, faerie
beings can be challenging to run i n a game setting.
So how might a Guide handle the trickier aspects of
fey characters?
t Think of Faeries as Story Elements: In conventional faerie
tales, these beings can do whatever the story requires. Need an
aelfto whistle up a wind? He can. Change into a mouse? He can. Turn your
mother-in-law into a cabbage? He can do that, too. Although this section details
some common fey abilities, the Guide should retain the right to make up new
faerie powers on the spot as long as such powers seem appropriate.
• RememberThat Faeries Have Strange Weaknesses: Despite their powers, faeries are
not godlike powerhouses. Traditionally, fey beings aren't hacked to death by packs of
warriors - they fall victim to a child's tricks, or stamp themselves to death when heroes
discover their names. To retain the flavor of the old tales, give your Folk strange liabilities ­
weaknesses that can knock them out ofthe picture in a single lucky stroke.
� Make Up Cool Legends: Faeries are living stories. The cooler that story, the cooler the faerie. When a
Cousin appears, give him a vivid origin story. It doesn't have to be true (and probably isn't), but that tale will
make that character memorable.
� After the Setting to Suit the Faerie: Fey Folk alter their s urroundings when they appear. When a faerie appears, her
mood should affect the environment nearby. The more powerful the faerie (and the stronger her emotions), the more
dramatic the shift in her surroundings.
., KeepThem Offstage: Familiarity kills mystery. The less your players (and their characters) see of the fey, the more
unpredictable the Folk remain. Faerie beings ought to show up, do something dramatic, and then vanish. They tend
to appear and disappear at will in the traditional stories and ought to do the same in yours.
� With Minor Exceptions, DO NOTAllow Them as Player Charaders: In the book Aelden and Aelderfolk, we offer a
few potential options for aelden characters. For the most part, however, aelderfolk entities should not be available
to players. Although a mermaid or shimmerling can be a cool addition to your Circle, true immortals and their
powers are beyond the scope of even the most otherworldly sagas.
" leave Details Up to Your Circle's Imagination: Fey beings m ight brag a lot, but they say very little about themselves.
And so, when such characters appear, let the players guess what the faerie wants, what he can do, who he might be, and
what guises he might adopt. Drop hints and clues, but say very little to confirm or deny suspicions. Chances are,your
Circle will invent possibilities that you hadn't even considered... and from there, you could use those ideas, discard them,
or keep them as potential story elements for later fun.
Faeries are mysterious. To retain that unpredictable aura, the Folk must remain enigmatic forces of nature within
your saga. Shackling them to rules systems turns such wonders into mere monsters. So use imagination, not statistics,
to reflect a faerie character. Have fun. Play. Be free. That's the essence of the faerie spirit, and such beings wouldn't
have it any other way.
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Lies th at 'Cel l th e 'Cruth
On a moor, you meet three hags: one is tall and bony, in fine old
clothes; another resembles a wizened toad with human features; the
third holds six wilted flowers and wears a tattered wedding dress. All
three seem cantankerous. All three have answers you seek. All three
will demand a heavy price for the learning. Each faerie is a Hag in
the classic sense. But in terms of who they are, what they want, and
how they might respond to you, each hag is a very different being.
Humanity has thousands of names for the Folic The sheer
variety of powers, names, and characteristics attributed to the faeries
shows just how flawed human perceptions are. When you whittle
them down to general categories, however, you'll notice that certain
faeries dominate folklore. These types, like the motifs mentioned in
the previous chapter, are archetypal figures in human dramas. They
transcend time, culture, and human language, and they capture
truths about the drama of Creation.
Take Rollie, for example. A fox that wished to become a man
- and did - Rollie is a faerie being. He's got three guises: a good.·
looking young man (the Beauty/ Demon Lover), a normal·looking
fox (the Animal), and a fox/man hybrid (the Beast·Man). The fox is
Rollie's favored guise, but none of those forms is his true self. Each,
to some degree, is an illusion; within each illusion, though, you can
see a bit of Rollie's true essence smiling back at you. Deep inside,
he's a rakish adventurer with an honest soul. Rollie's a trickster for
sure, but he doesn't have a malicious bone in his body. Every guise
holds a bit of Rollie's truth within. And none of them define him.
In short, Rollie seems to be three different beings. All three
beings share Rollie's personality. Each one would be called a
different name in human folklore (the bard, the wise fox, and the
were·beast). All of those names would be real, if only because
folklore makes them real. Yet Rollie is not anyone of those
legendary faeries. He's an individual, not a type. Under those three
skins, Rollie is, and will always be, himself.
It's another one of those great faerie paradoxes: the type is
real, but the face is illusion; beyond that illusion lie dues to the
faerie's inner nature... which is real. The guise itselfis false, yet the
inspiration behind that guise is true. It's enough to drive you crazy
when you think about it.
Sometimes, it seems, the Folk enjoy tying mortal minds into
knots, if only to show us that we think too much.
Classic Guises
The following guises are common figures in human lore. Each one
shares certain characteristics within the type, yet each individual will
have different wants, needs, and features. Like living trumps in a
folklore Tarot, every guise holds some archetypal significance. Yet
not one of them contains the ultimate essence of The Faerie. Each
fey is what he/she/it is, each has many faces, and every one of those
faces is slightly different. One Hag might seem like any other on the
surface, but if you really want to understand her, you'll have to look
a little bit deeper.
Che Aelf
The classic otherworld nobility, aelves combine regal grace and
primal passion. Immortalized in fiction and lore as high faeries,
these slender Folk are impossibly beautiful, coldly charming, deeply
refined yet undeniably tied to the natural world. Decked in fine
apparel and keen weaponry, aelves represent everything humans
would like to be but can never quite reach.
As an archetype, the Aelf represents genteel allure. Like a
forest, she's wild and beautiful, a green threat too lovely to resist.
Reflecting the best (and sometimes worst) aspects of mortal royalty,
this figure plays power games with lesser fey and human hosts
alike. Distinguished from vulgarly overused "elves," this guise is
noble to the core. Sometimes compassionate, often cruel, the Aelf
reflects the most sophisticated face of Faerie.
., Characteristics: Slender and charismatic, an aelf radiates power.
She may be dressed in finery or nearly nude, but either way, her
demeanor is inhumanly composed. Unspeakably beautiful, the
aelf seems to bear the wind in her hair even when the room is
still. Her personality and magical talents meld primal nature with
sublime cultivation. Her poise is the supreme confidence of one
who belongs.
Che Animol
Is she a faerie in disguise or a link to wise and ancient creatures? Is
there truly a difference? The Animal doesn't think so! Mingling the
finest elements of beast, fey, and human being, this archetype
represents the world that men have left behind but no forgotten.
Before there were people, animals embodied the greatest
impulses of nature. Active, wise, earthy, yet so very smart, the beasts
provided the perfect guises for faerie Folk. Even now, when humans
dominate the landscape, many fey maintain animal identities.
Symbolic of all things man can never achieve, this form embodies
an irresistible link to the wild world. She might be powerful (a wolf,
eagle, bear, buffalo), small (mouse, songbird) , primal (fish, lizard,
insect), extravagant (peacock, parrot) , repulsive (skunk, warthog),
seemingly domesticated (dog, cat, horse, hawk), or mythical
(phoenix, thunderbird). Either way, this guise melds the intelligence
of a person, the magic of a faerie, and the instincts of the world's
original inhabitants,
., Characteristics: Faerie animals are essentially fey in animal
guises. Lesser faeries like shimmerlings and aelden are the
magical beasts of the Delirian realm. (Many mortal beasts live in
Faerie as well, but they're definitely not faerie animals in the
legendary sense.)
like the wise beasts oflegend, a faerie's animal guise can
speak and think at a human level. Even in her animal aspect, this
being radiates uncanny power and boasts strange features (silver
feathers, rainbow hues, walking on her hind legs, etc.) that set her
apart from mortal beasts. Her powers favor the raw elements of
earth, water, and air; her echoes usually involve beastly features (fur,
claws, feathers, etc.) that carry through into all of her forms; and her
mannerisms recall the animal she so deeply resembles. In many
cases, an aelder whose favored guise comes from the animal
kingdom shares a close affinity with the natural world. Social graces
are not likely to be her strong point!
'Che Beast-Man
Bridging realms in a more obvious way, the legendary beast-folk
combine animal features, human bodies, and feral drives into
frighteningly seductive forms. Mermaids, minotaurs, satyrs, Iizard­
men, snake people, harpies, werewolves, cat-folk, shark ladies ­
these forms and others echo down through age and culture as both
fantasies and nightmares. Countless fey beings have merged
serpentine, avian, aquatic, reptilian, mammalian, and even insectoid
aspects with disturbingly human guises; indeed, folklore often
curses the Folk with animal features that can never be lost, no
matter how human the form might appear. (Clearly, such features
are echoes of a particular faerie, rather than a curse upon them all.)
Wild yet familiar, the Beast-Man symbolizes primal desires
beneath human skin. His sharp claws and bestial nature makes him
all the more entrancing, even as we recoil from his animal scent. He
makes few apologies (if any) for his passions. like the beasts he
resembles, he cares little for civil niceties. Running free through the
Dark Wood of our imaginations, this guise reflects all we wish -
yet fear - to be.
• Characteristics: Many aelden - especially those known as beJanshaya
- choose a favored guise somewhere between the human, fey, and
animal realms. More often than not, the Beast-Man will bear one
or two distinct features as echoes, holding them over from one form
into all others. The goat·homed satyr, fish·tailed mermaid, thick·
clawed weretiger, and feather·dropping crow girl embody the strange
clues that the beast-folk leave in their wake. His magical powers
favor elemental manifestations (winds, rain, plant growth, etc.)
and, of course, a close bond with mortal animals.
See Pages 115, 272-273 for more about the belanshaya.
Beauty
She's hot. She's incandescent. She knows how to work it, and she's
been doing so for centuries. She's the siren, the enchantress, the girl
every man (and many women) would kill for. The Beauty may be
sweet, saucy, harsh, or cruel. People will forgive her almost anything
so long as they believe they can have her all to themselves. That'll
never happen, of course - regardless of her heartsong, this seductress
belongs to no one... unless, of course, some mortal sweeps her off
her feet and claims the bittersweet favor of faerie love.
The extremities of beauty - and the ugliness it can conceal
- fascinate mortals and immortals alike. So is it any wonder that
faeries have always chosen impossibly beautiful forms with which to
beguile us? Folklore is full of uncanny charmers - of men no maid
could resist and women whose loveliness shamed the sun. And
now, in this media-driven age, the terrible allure of such Folk has
grown exponentially. Sheer gorgeousness is a hot commodity in this
era, and so faeries of all kinds adopt the Beauty guise ... even when
fiends lurk beneath the mask.
• Characteristics: So impressive is this faerie's loveliness that
Nature herself bends to the Beauty's whim. Birds sing to her,
plants blossom in her presence, and sweet scents linger in the air
as she walks by. People (mortal and sometimes fey as well) rush to
protect her... or, conversely, to torment her - beauty's blade is
double·edged and sharp! A faerie who prefers this guise will have
strong charm and influence powers and a disposition that either
suits her pretty face or contradicts it completely.
'Che Child
Innocence and promise incarnate, a child invites love by his very
presence. Is it any wonder, then, that faeries are often seen as
children, even when everyone knows they're older than time? This
guise inspires affection in the mortal heart; therefore, it's an ideal
shape for Folk who wish to be loved - or underestimated - by
human beings.
The Child isn't necessarily human. He might be a kitten,
yearling, or bear cub, too. H e could be a near-infant, a little kid, or a
youth just on the verge of puberty. Most often, he'll be endearing;
occasionally, he might be a terror. In all cases, though, he'll be small
and vulnerable, bursting with potential yet apparently too frail to
achieve it without help .
• Characteristics: Cute and winsome, this guise can be one ofthe
most potent tricks in a faerie's goodie bag. Seemingly weak, he
appeals to the mortal nurturing instinct. His powers are often
subtle, used covertly to influence events or people. Intentionally or
otherwise, this guise often leads humans to patronize the faerie,
too. It's no wonder so much Victorian lore featured childlike
faeries: to the lofty perspective of that culture, anything as primal
as a faerie had to be a virtual infant. .. and if a faerie could take
advantage of that mortal arrogance, so much the better!
'Che Dragon
What could be more regal than a dragon? Terrible in her grace,
coiled amidst trees or treasures, she rules the mythic bestiary.
Although most people consider dragons to be creatures in their own
right, many otherworldly travelers maintain that they're just faeries
- faeries of incredible power, granted, but fey beasts nonetheless.
Perhaps born from the thought·forms of dinosaurs or pre·human
races, a dragon-guise reflects raw force leavened by frightful
cunning. No mere monster, she's a living storm.

Mingling the
most elemental
aspects of faeries, men,
beasts, and forces greater
than all of them combined,
the Dragon demands
considerable power to manifest. As a
guise, she's impressive enough to send giants scurrying for cover.
Only true aelderfolk, it's been said, have enough magic to assume
this titanic form, though aelderfolk and shimmerlings have been
known to appear as small dragonets (ro' or so). Depending on her
heartsong. our Dragon might be gracious, nurturing, selfish, or
downright destructive. Either way, she's not to be trifled with!
• Characteristics: The grandest manifestation of faerie powers, a
full-blown dragon guise is beyond most fey. Lesser faeries might
appear as large dragon-like beasts, but the traditional size and
might of a true dragon makes her a challenge for anyone except
the true immortals. This explains the tremendous variety ascribed
to dragons throughout the world - some fey are capable of far
more than others!
Traditional dragon abilities range from speech to vast
elemental magics. Although the common western dragon breathes
fire, a faerie can create whatever weapons suit her fancy... including
ice, smoke, lightning, boiling puke, an unbearably vile stench, or no
breath weapon at all. Each dragon is her own entity, bound only by
the wishes and talents of the faerie who dons her form.
Che elemental
Creation is alive. That lesson, often forgotten, is driven home when
an elemental appears. Fire-people, merfolk, green men, wind­
sprites, gnomes, afreets, vine-girls, stormbringers, and dozens
of other elemental forms arise from vast quantities of their
chosen element, yet they retain man-like shapes and
dispositions. Raw and often alien in personality, these odd
beings reflect the bond between humanity and the living
world - a bond too often forgotten but nonetheless real.
Be he fire or water or wind or stone, the Elemental
archetype represents a primal force with human
intelligence. Alluring yet terrifying, this guise
confronts mortals with remorseless sensibility.
The Elemental's concerns reach far beyond
mortal feelings into times and effects measured
in aeons, not lifespans, A fitting guise for aelderfolk,
the Elemental is just that: elemental. Raw. Pure. An
incarnation of worldly forces to whom a body is just a
fleeting point of reference.
• Characteristics: A common guise among shimmerlings and
the aelden known as melavanti, the elemental can shift
between humanoid and raw element forms. He cannot,
however, switch between elements; he may manifest fire or
earth but never fire and earth. Attuned to a single element,
this faerie shares a lot of the personality characteristics and
magical gifts you might expect from that element. A fire
elemental, for example, would be an impetuous flame-flinger,
whereas a wood faerie would be slow and contemplative,
connected to the living land.
See Pages 116, 269-271 for more about the melavanti.
Che Godparent
When we're young, Momma and Daddy seem like the source of all
goodness. Later, as we mature, the frail human beings who raise us
slide from godhood to parenthood. In their place, the Godparent
assumes the all-nurturing aspects of our infant memories. This great
ancestor gives without demand, smiles without hesitation, and offers
miracles out of sheer love. Traditionally, this figure becomes the
ancestor-spirit or fairy godmother of human lore. And sometimes,
just sometimes, a real-life faerie assumes the Godparent's mantle
and brings her gifts to needy mortals.
You can see the Godparent in "Cinderella: "The Little Match
Girl," and many other tales. She appears when life seems hopeless,
when even a touch of kindness can save a person from the abyss.
Kindly aelders occasionally don such guises for reasons of their own,
dispensing miracles to folks in need, and sometimes punishing
those who deserve pain.
• Characteristics: A living symbol of familial love and generosity,
this guise appears with gifts, then disappears when her work is

done. Often aged yet beautiful, this faerie has a soft voice, a warm
heart, and a parcel of miracles at her command. Traditionally, her
powers involve transformation (turnips into coaches), bounty
(instant food), or salvation (a healing hand or escape from despair).
She's not one to stick around, though. Once the immediate crisis
has been solved, the Godparent leaves her inamorata to his own
devices. Eventually, even in faerie tales, the loving parent must let
her child grow up.
'Che Hog and the Nasty Old Man
Behold the corruption of mortality. Behold the wisdom wrapped
beneath its parchment skin, the jealousy of youth grasped in its
crabbed fingers. Aged to the brink of humanity, the Hag and her
counterpart the Nasty Old Man reflect the human fear of aging.
Despite their wisdom, these guises clutch at beauty and try to rip it
into pieces. They know many secrets, true, but these archetypes do not
dispense that lore lightly. Instead, they demand harsh tasks or cruel
promises from young supplicants, bake youngsters into pies, drain
vitality, or ride a person until the youth's back breaks from strain.
Unlike the Godparent, the Hag or Old Man is a bitter guise.
Perhaps a faerie wears such a mask to better understand mortality.
Or maybe she wants to shake a human youth with the promise of
what old age might hold for him. Such guises, after all, are often
worn to teach lessons to those who see them! Deep down, the Hag
and her counterpart are teaching archetypes. The schooling they
offer is merciless, but its rewards - if properly appreciated - can
be legendary.
• Characteristics: Unpleasant both to look at and to meet, a hag
assaults your sensibilities on all levels. To understand her, you'll
need to face your fears and look beneath surface appearances. Hag
and Old Man faeries tend to have affectionate (and vaguely
disturbing) names like Baba Yaga, Little Old Ned, Grandmother
Thorn, and Papa Jambe. Their powers involve odious potions and
painful sacrifices that don't seem to make much sense until after
the enchantment has taken effect. Such enchantments traditionally
involve charms, storms, transformations, and other inversions of
the expected order. In human folklore, these gnarled old faeries
live far off the beaten paths. Symbolically, such guises represent
hidden wisdom , gained at high cost but worth each drop of blood.
'Che Hybrid Beastie
Head of an eagle, claws of a lion, body of a panther, voice of a
child... who comes up with this stuff? Perhaps the faerie tricksters
who, for reasons of their own, combine the most potent features
from several different beasts and appear as a single guise: the
Beastie, an impossible yet unforgettable creature.
Hybrid beasties appear in nearly every human culture's lore.
From the Choctaw to the Chaldeans, storytellers have grafted heads,
bodies and limbs into incredible combinations like the sphinx, the
chimera, the griffin, or the Flying Head Monster. Were these tales,
perhaps, inspired by forms adopted by faerie Folk? Or did they
inspire those Folk to craft new and interesting shapes? Like most
things fey, this question can be wrapped endlessly around itself. But
wherever this creature came from, the strange and wondrous
Beastie reflects a natural world bent into magical possibilities.
.. Characteristics: Like a dragon, this bizarre guise links the primal
world to sophisticated imagination. The features of each animal in
a beastie form work normally (wings help it fly, claws to help it
rend, etc.), making it a dangerous opponent. At the same time, the
faerie can still use her natural magics and intelligence. The result:
a crafty and unpredictable creature, worthy of legends.
'Che Little
Judge him by his size, do you? And well you should not! Although
this faerie is small, his magic and tireless strength make him more
than equal to a man. He could be a house-faerie, a sturdy dwarf. a
garden pixie, or a mouse with human gait; whichever way, the Little
can get into tight places, accomplish great deeds, and reflect the
boundless courage of a child within his tiny frame.
Traditionally, the Little hangs around man-settled realms:
gardens, homes, pastoral forests, or children's' playgrounds. Deep
wilderness seems too vast and threatening for him. The minor faerie
shimmerlings most often take this form, dwelling as they do
between the material world and Deliria, although faerie godparents
and minor guardians do so as well. Perhaps the Little is well suited
to deal with mortals, who find his diminutive form less threatening
than primal guises. Or maybe his status really has been diminished
by human progress ... at least in the material realm. Regardless, the
Little is not to be dismissed. He may be tiny, but neither his heart
nor his talent is too small for a hero's world.
• Characteristics: For starters, a Little is... well, little. He could be a
bit short (like a Tolkien dwarf) , small and wizened (like the Nordic
nibelungen), cute (a pixie), fleet (a sprite) , tricky (a menehune),
beautiful (a fossegrim), childlike (a flower fairy), a miniature
human (like Tom Thumb), or a small animal with human aspects.
Unlike his malicious cousin the Villsprite (below), the linle tends
to be benevolent or, at the very least, indifferent. He's probably
cute or endearingly earthy, often male but occasionally female.
Symbolically, he's the memory of worldly power, diminished in
man's world but nevertheless there.
Che Lord or Lady
And then there are those whose majesty cannot be diminished in
any way. Lords and Ladies of their realms, such faeries inspire
legends like "Tam lin" or The Lord of the Rings. Graceful beyond all
human measure, with cold beauty that could shame a supermodel,
the Lord or Lady represents the power of the Old World in a time
when such power is too often ignored.
Whereas most faerie forms reflect a humble place in Nature's
domain, this guise commands Nature, man, and all others within
sight. The Lord might be a dark king or handsome prince. His Lady
counterpart could be the Queen of Night or the Shining Lady who
blesses heroes. Either way, such imperious faeries demand respect,
even from beings who seem to respect no one. The very elements
seem to bow when this guise comes through; lights dim or blaze,
flowers wilt or prosper, and beasts follow right behind, showing the
grace of Nature in regal tluall.
• Characteristics: A Lord or Lady is Class incarnate. Tall and well
groomed, such a guise enjoys impeccable fashion sense and a gift
for looking just right even if some disaster threatens the faerie's
dignity. This regal guise excels at influence, chann, and command.
Elemental manifestations (breeze, plant growth, flaring candles,
and so forth) often follow the appearance of a Lord or Lady, and
beasts tend to offer respect for these glorious fey. More often than
not, a regal faerie will have a retinue of servants, protectors,
enforcers, messengers, and general hangers-on. These lesser
guises (often aelves, sprites, littles, beasties. or villsprites) attend to
the noble faerie's wishes ... or cower from her wrath! As you might
imagine, a Lord or Lady is quite potent magically and demands
respect through promises, threats, intellect, and sheer willpower.
Che Muse and Che Galatea
Faeries and art are inseparable. Both rise from divine places in the
world-soul, and each one feeds upon the other. Given this bond and
the fey love of human creativity, it stands to reason that certain
faeries would seek to inspire the artist... or perhaps even draw their
very existence from his craft! And so it is that we find the Muse and
her counterpart the Galatea: one ignites a mortal's creativity... and
the other comes into being because of an artist's creation. Both forms
are as beautiful (or occasionally as ugly) as the vision of the artist.
Each one appears to him, often as if she were a mortal, during a
time of crisis. The Muse embraces the artist and draws him deeper
into the soul of his work... and by extension, into his own soul. The
Galatea (whose name recalls the Greek myth of Pygmalion) is more
furtive; every so often, she appears at the edge of the artist's gaze. By
embodying the essence of his work, she rewards his vision while
forcing him to contemplate what he does and why he does it. And
for her part, this fey gains further immortality through the work of a
gifted mortal's hands.
• Characteristics: Both Muse and Galatea draw their physical
appearance from the vision of the artist. One might read his
dreams and shape her guise accordingly... or listen to his words,
check out his works, and style her looks and personality to match
them. Magically, she's not a showy fey - charm and influence
seem to be her greatest gifts. Unlike many Folk, she often seems
content to let the mortal take the lead in their relationship.
Although she's usually in control, the Muse prefers to act like the
passive partner, inspiring her inamorata by example rather than
by spell.
Dark folk tales claim these faeries are vampiric. Seducing the
artist, they consume his soul to sustain their own. But though this
may be true occasionally (cravers enjoy this game!), most times the
Muse or Galatea truly wants to be near the source of genius. By
assuming the guise of his imagination, she draws the mortal into
ecstatic dance. Such dances may tum wonderful or tragic. Whatever
the final tale might be, though, every artist dreams of a day when he
might, in the flesh, finally meet his Muse.
Che Ogre, croll , or Giant
Brute force in a lumbering package, this beingjees,jis, foes, and
fums his way from the Bible to Shrek. Ugly, voracious, huge, and
often stupid, the Ogre is every child's nightmare adult. Perched
atop a beanstalk or glowering beneath a bridge, he demands
tributes of blood and bones. Somewhere within his ftlthy lair there
are treasures for the brave; to get them, though, you'll have to dare
his awful breath and thundering fists.
 Our Ogre might not necessarily be dumb. He's big, though,
so hig that no mortal can hope to beat him with strength alone. He's
everything huge and scary about the world, a howling force of
unreason that keeps us from getting the riches we deserve. To
achieve Ollf desires. we must confront the Ogre and his cousins.
Only when we bring him down (or win him over) will we master the
strength within us all.
� Characteristics: The Ogre and his kin are often long on brawn and
short on everything else. A simple faerie, he'd rather pound skulls
than cast spells. Every so often, you might meet a giant whose
intellect or magical power matches his considerable size.
More often, though. this guise commands a
II.!!!
rustic home, a handful of treasure, and a
truly brutal temper.
'Che Sprite
At the other end of the spectrum, the
Sprite flits around a world of
dizzying size. To her, flowers
become thrones. Fortunately, she's
got wings to bear her over most
obstacles, and she's small enough to
avoid many threats. Symbolically a
hybrid of child, adult, and bird, the Sprite
melds kidlike wonder, adult sophistication,
and the bright freedom of flight. Often blessed
with a natural glow, her guise seems most common
among shimmerlings, whose nickname evokes this tiny fey.
Originally a form unfit for aelderfoll<, the Sprite was
essentially a pet for more powerful Folk. Her tiny size might be
useful in some situations, but outside gardens and flower-fields,
most nature-spirits preferred larger forms. As usual, though,
humanity inverted the old order: by Victorian times, the Sprite was
the humans' ideal faerie form. To many mortals, the little flower
fairy defined what all faeries should be. Nonsense, of course, but
pervasive nonsense; a century later, most folks still think of
Tinkerbelle when the word "faerie" appears. And so, in many urban
landscapes, this little guise still reflects the human perception of the
fey. Even potent Folk assume this form when it suits their purposes
to do so.
• Characteristics: The Sprite is quick:, cute, and whimsical. She darts
about, spilling shimmerlight and faint laughter in her wake. She
nearly always has wings - bug wings, bat wings. butterfly wings.
whatever. She's probably good-hearted, but she may have a
strange sense of humor. (Some sprites, like the legendary will-o-
wisp, can be deadly tricksters.) Her magics involve emotions,
illusions. plant growth, and sometimes healing. Rarely powerful
in a mystic sense, she's probably a lot stronger physically than she
appears! (Recall the pirate-beating scene in the movie Hook.)
Especially fond of children, the Sprite relates with them on an
intuitive level. Both parties know what it's like to be small in a
great hig world, never respected by their larger kin, yet possessed
of gifts that those larger kin envy. Most guardian, teacher, and
helpmeet fey assume this form, especially when dealing with kids.
For rules about unusually large or small characters, see
Chapter 5, Pages r86-r87, r92.
'Che Stronger
He comes from nowhere. Who knows why? An enigma, he slips in
and out of other peoples' lives, offering cryptic commentary
before disappearing once again. Everyone seems to
recognize his face, but no one knows much more.
He's got power, obviously, but its source and his
intentions remain, as always, mysterious.
The Stranger drifts outside the lines,
defying laws and expectations. His advice is
odd but often useful. Very little gets under
his skin, and even less escapes his
attention. He's always cool and
composed... or at least he seems that way.
But perhaps his elusive nature hides the
pain he truly feels.
A symbol of the unconscious mind, this
motif pays for his abilities with harsh tests and
secret pain. Brief touches of affection are all he can
endure. Before he can rest, he must fulfill some promise and
heal that wounded heart. Until then, he wanders a lonesome road,
offering comfort to others but seldom taking it himself.
• Charncteristics: A common guise for aelden (especially aelderbloods
and belanshaya), the Stranger is a common motif for mortal folks
as well. Traditionally a helper in many faerie tales, this archetype
opens doors for questing heroes but seems barred from those
quests himself. His powers often manifest as environmental
shifts, mind games, and charms. He's infamous for getting in and
out of places unseen, skimming information, and intimidating
people. Famous Strangers include Gandalfthe Grey, Odin
Stormcrow, and the Hermit in the Tarot deck.
'Che 'Cotem
We think of faeries as European creatures, but such entities are
universal. In other lands, however, the immortals wear different
guises - often the forms of wise animals or ancestors. Thus the
Totem (from the Ojibwa term for "my village-mate") appears,
dressed in archaic clothing or animal skin. Melding old traditions
with modem awareness, he speaks of Past, Present, and Future in
an endless sense of Now.
Like the Animal and Beast-Folk guises. this faerie recalls our
primal heritage. But though the others maintain a wild mien. the
Totem is familiar. He appears only to members of his family or
clan, and they recognize him on sight. He knows their names and
often their secrets and may very well open the door (like the
Stranger) to some grand adventure. Unlike many faeries, the Totem
can be called upon ... or he might call upon you, whether you want
him to or not! He might assume the form of an animal with rich
cultural symbolism, like an eagle, bear, or wolf; he might be a man
who switches back and forth between animal and human skins; he
might appear as a human relative who died many years ago.
Sometimes he even manifests as a natural phenomenon, like a gust
of wind or talking fire. In any form, this faerie knows and is known.
His people pay him respect, and he cares for them in a harsh yet
loving fashion.
.. Characteristics: Under many names (ancestor, kami, loa, etc.), the
Totem stays close to his people. Unlike most faeries, he watches
over a given protectorate - usually blood-family, but occasionally
sworn followers or people who understand his ways.
The Totem's magic seems bound by certain elements or
animals: he might work in water or fire, but not both - with hawks
or lions, but not both. He always has a certain animal. element, or
person that he's associated with: he might be Legba or Chin Li, but
he will not assume both personalities. His talents extend to
prophecy, blessings, healings, deep perceptions, and elemental
influence; in return, he demands respect, observance,
and proper behavior (not always good behavior!)
from his mortal kin.
The origins of such entities are
shrouded in debate: Are they faeries
who assume familiar faces? Nature­
gods? Ascended ghosts? Whatever
the truth may be, a Totem is more
defined by what he does than by
what he looks like. He may wear
different faces, but he always
speaks the truth.
Che Villsprite
Though not always solitary, this little
monster is unpleasant, nasty, brutish
and short. Folklore gives him many names
- goblin, imp, ore, bogey, bwaganod,
razortooth, boggart, huldrafolk, gulley-man, raksha,
natterling, rubezah!. Red Cap, That Little Bastard, and other,
less-publishable names. Under any moniker, this faerie hates pretty
much everything. He's smaller than a human being but packs quite
a punch for his stature. In many legends, he eats man-flesh, ruins
crops, tortures animals, fights with his kin, and generally makes a
terror of himself His deeds can range from annoyance to atrocity,
but they're ultimately dark. This faerie thrives on spite, and no one
is truly safe from him.
Symbolically, the Villsprite is misfortune and brutishness
incarnate. He may be cunning, but he's not very smart. Often dirty,
usually rude, always malicious, he seems immune to kindness.
Individually, he might not be too strong; unfortunately, his kind
often travels in packs. Powerful faeries enlist such hordes for their
dirty work, and mortal sorcerers occasionally gather them as eerie
enforcers. The legendary unseelie courts teem with villsprites, and
children's' nightmares overflow with these vicious little men.
.. Characteristics: Traditionally, the Villsprite is always male. He
might dress in rags, armor, finery, or nothing. Such faeries often
change shape into small but vicious animals - rats, bats, rabid
dogs, possums, swarms of bees, and other nasty critters. Although
small, the Villsprite boasts surprisingly strong limbs. His magic's
pretty weak - shape-changing and minor enchantments seem to
press the limits of his talent. But oh, is he cunning! His gift for
pranks and delight in disgust would shame a ten-year-old boy.
Che Wood lander
At first glance, she seems like a sbadow, a trick oflight among boughs
and underbrush. Then a breeze picks up and the branches sway and
you see her human form. Perhaps she's beautiful, with leaf-tangled
hair and sapling limbs; she might be gnarled, like an oak who's
outlived many a winter. Nymph or woodwife, her
lineage is certain. Although human in
appearance, she is one with her forest home.
Bred from the bond between the land
and its inhabitants , the Woodlander
melds human abilities with earthly
elements. Unlike the trees that
birthed her, she can move, think,
and speak aloud. One of the
oldest guises in mortal reckoning,
she dwells within the wood
whence she came. Those trees
provide her essence, and she
provides their voice.
All human cultures know her:
she's Mother Nature and Flower Maid
in one. This guise has many faces - wood
crone, green man, dryad, nymph, and so on.
Occasionally male but most often female, she
symbolizes the conscious heart of Nature. Dressed in simple
clothes (when she's wearing clothes at all), she rarely leaves the
forests of her birth. When the trees fall down - as so many do! -
this faerie perishes as well. Is she reborn in some new guise, or does
she disappear completely? None can say...
� Characteristics: Elemental in every way, the Woodlander resembles
a person who lives wild in the forest. Her magics involve plant
growth, healing, beast-lore, charms, storms, and animal friendship.
Her health, however, is linked to the forest she calls home - if
they're destroyed. she dies as well. no matter where she might be
when it happens. As you may imagine. she takes poorly to people
who trash the wilderness. Folks who offer special respect to the
woods. on the other hand, win favor and often friendship.
New and Unusual Faeries
The classic faerie guises have been around for hundreds, even
thousands. of years. And despite the many changes in our
world, most fey respect tradition when they assume
their archetypes. These days, however, new faeries
have begun to appear - forms unimaginable in
older days.
Inspired by the media legends or
social upheavals of the last century or so,
these odd beings join the ranks of classic
aelves and ogres. Are such modern guises
fresh masks for ancient souls? Or have the
seething energies of our era birthed new
faeries, beings unlike anything our
ancestors imagined? Who knows? As usual,
Faerie exists to confound our expectations.
The following bizarre entities simply continue
the long fey tradition of turning mortal minds
inside out.
Che Alien
It comes from out there. Implacable, Other. Its desires remain
unvoiced, but they don't seem healthy. A century of foreboding has
instructed us not to trust that thing! And perhaps we listen. The
Alien is not like us. Why shouldn't we be afraid?
This faerie of the American age began to appear during the
20th century, often around the New World. Renowned for its large
head, spindly limbs, reptilian features, and unnerving appetite, the
Alien appeared from the skies to set upon lone bystanders. By
definition inhuman, this improbable creature symbolizes mystery.
As a guise, the Alien fits in with mediatech mythology;
people who dismiss tales of faeries believe deeply in UFOs. Fortified
with such belief, the Alien archetype represents the mysterious void
beyond human conquest or reason. Sometimes hostile, occasionally
cute, and always several steps beyond humanity, this guise has
found a comfortable home at the modern firesides of film and video.
Thus, the Alien has become a common guise for Folk who want to
explore the technological world and be accepted as part of it.
.. Characteristics: What does it want? Who knows? Pop culture has
given us peaceful ETs, parasitic carnivores, shapeshifting
tricksters, and bug-eyed monsters under the Alien's motif.
Physically, this guise is either ugly (like a sky-born troll) or weirdly
beautiful (like an incandescent sprite). Either way, the effect is
both familiar and uncanny. All we understand about this creature
is that we can't understand it. The Alien keeps us guessing, and
maybe that's the point.
Che Chronopoth
She's unsettling - somewhat blurry, as if she's vibrating slightly
out of synch with you. Her voice has a faint echo, and you might
even see her clothes and hairstyle changing as you watch. Her
movements seem jerky or oddly fluid. Her limbs and expressions
tic. Although most people don't appear to notice, the
Chronopath exists outside of time.
Imagine a person on Fast Forward (or occasionally
Rewind) and you'll get an impression of the
Chronopath. Her name means "one who
suffers/feels through time," and she seems
both sad and joyful in that state. Perhaps
she's been dazzled by our fast-paced media
or thrown into ecstatic confusion by the
frantic pace of modern life. She may even
be an embodiment of the time£low itself,
warped by the ways in which current
technology breaks time down yet scatters
those moments apart. This guise is far too
recent to pin down. It's hard enough to find
one, let alone have a conversation with her! When
and if you do, you're liable to find that her speech
patterns sound more like a skipping CD than a
coherent human being.
Some authorities on faeries, like the esteemed Max Russell,
speculate that the Chronopath is actually an ancient form with new
mannerisms. People living out of time (like Merlin or the
Wandering Jew) appear in classic folklore. The dramatic flux effect
that surrounds a modem time elemental may be a reflection of
hyperdrive mass media and the fractured sense of time in our world.
The guise itself. however. may predate clock-based chronology. The
Australian Aborigines and American Hopi have such beings in their
legends - beings to whom all time is a single stretched moment.
Naturally, such faeries have a very strange view of our world. To the
Chronopath, linear time, speech. thought, and action are just
endearing mortal eccentricities. She might enjoy playing with them
(both the eccentricities and the mortals!), but she cannot be bound
by them.
• Characteristics: All faeries rattle mortal preconceptions; the
Chronopath, however. destroys them completely. Her words and
actions seem irregular, scattered, or downright random. Weirder
still, the environment itself seems to speed up or slow down when
she's nearby. Time acts strangely in this faerie's presence: clocks
run oddly, go backward, or freeze; sights, sounds, and perceptions
seem out of whack; events that should take seconds stretch out for
minutes, and vice versa. Normally, these oddities are barely
noticeable. I f the faerie gets excited or alarmed, however, time can
 go all Matrix. By the time the mortals realize what's going on,
they might be picking themselves up from a floor they don't
remember falling to in the first place... or seeing themselves fall
before anyone takes a step.
Symbolically, this archetype overturns the linear perception
of time. She's ordered chaos throwing rules out the window. In
many ways, she reflects the skip-scatter random play of samples and
computer media. This archetype is a digital chimera, a walking
hallucination of the random-access age.
From a Guide's standpoint, a Chronopath is essentially a plot
device. Existing outside of our perceptions of time, she can appear
and disappear at will, know things before they happen, and even
slow the passage of events. Her powers and behavior range beyond
conventional rules systems (though you might want to have her
make a high-Challenge Prowess Draw before she can do really
awesome things), and she's better used as an enigmatic walk-on
than a major character in your saga. (Need we add that such faeries
shouldn't even be considered as player characters?)
Roleplaying a Chronopath is tricky. If you want to capmre the
uncanny nature of this guise, speak backward, quickly, or
exceedingly slowly (better yet, mix 'em up); jerk your limbs and use
facial tics; spout gibberish that seems profound; make up
prophecies but leave the details to the players' imaginations; then
wink in or out at dramatic times, sidestepping potential obstacles by
disappearing from the here-and-now. A little of this sort of thing
goes a long way, so keep the Chronopath's appearances brief The
less your players see of her, the more mysterious she'll be.
If things get violent, consider a Chronopath character to have
a Prowess of 20 (that is, she has five actions per round). Tfyou want
to truly mess with your players' minds, slow time and actions down
or speed them to a blur. Don't be afraid to alter the normal flow of
play or game balance - that's what time elementais do! For rules
about time and action, see Speed and Multiple Actions in Chapter 5,
Pages 176, 180 . For examples of Chronopaths in action, see The
Matrix and its sequels, the Red Lodge sequences in Twin Peaks, or
Morgan Ie Fey's mannerisms in the TV film Merlin.
'Che Critter
Kids have so much imagination. Sometimes you'd swear they could
bring their toys to life with will alone. Maybe they do - urban legends
are full of living Furbies and walking teddy bears. What gives? Well,
faeries have always been fond of children; occasionally, a faerie crafts
his guise in honor of a child's favorite toy or program. And when he
does... well, walking teddy bears are only the beginning.
 The Critter is an odd beast, toy, or TV creature come to life.
Like the child, he's small and not especially powerful, but he's got a
few surprises all the same. A favorite shimmerling guise, the Critter
hangs around a certain household, takes a welcoming shape, and
becomes one child's special pal. (See The Imaginary Friend, below.)
Often loyal to a fault, the Critter can then complicate that kid's life
immensely without meaning any harm. (See the mms Lilo and
Stitch, E. T., and Gremlins for examples .) Although he tries to remain
hidden, this faerie has a way of going public at the most awkward
moments possible...
• Characteristics: Aside from his improbable appearance and
behavior, the Critter doesn't seem terribly magical. He may be
incredibly charming (in a cute way) and disturbingly agile, but the
greater faerie powers are beyond him. Symbolically, the Critter
recalls the Totem and Animal aspects. Like them, he represents a
primal connection to a simpler past. But whereas the older
archetypes refer to nature, the Critter is a product of modern
entertainment. Garish colors, weird powers, obnoxious behavior,
and a talent for creative mayhem mark his Hollywood pedigree.
'Che Cybrid
Once upon a time, they said, technology could banish faeries.
They were wrong. It just encourages faeries to change.
Enter the Cybrid, archetype ofdigital imagination. With
spoken words, she can send email; with a wave of her hand, she can
turn electronics on or off; with a song, she can speak to the heart of
a computer in its own language. Her spirit crackles with vitality, and
her beauty boasts a Photoshop clarity. The Cybrid thinks around
corners, understands non-linear space. Inspired by the hectic flux of
meat, mind, and infotech, she captures the spirit of our times as
eloquently as aelfknights once reflected chivalry.
But there's a catch: magical immortals can see the effects of
human technology, but they don't necessarily understand it. To such
faeries, the miracles of the Digital Age are arbitrary, uncontrollable
as the wind. And so our Cybrid has disturbing echoes and
perceptions: she tries to turn living things on and off (and gets
irritated when they don't respond accordingly); she speaks in
gibberish, then wonders why people can't understand her. She flips
channels or CD tracks simply because she can (no matter how
important the previous information might have been!), and she
possesses a disquieting perfection in her looks and mannerisms,
missing the vital link between life and imperfection. In short,
despite her talents, she can be creepy, self-absorbed, impatient, and
occasionally demented.
• Characteristics: Most cybrids look more or less like slightly odd
people; a few, though, boast technofetish Matrix garb or the
exaggerated features of anime characters. Echoes like LED eyes
and skip-track speech follow them from guise to guise, suggesting
that these fey spirits are products of our age.
Magically, the Cybrid merges old-style mysticism with high­
tech trappings. She affects computer systems rather than winds or
flowers; she morphs like CG I . She can charm a bailey PowerBook
with her song, use a cell phone with depleted batteries, or dictate
and send e-mail without touching a keyboard. Using spincrafting,
she can create or read data jewels. On the flip side, she's easily
distracted, sometimes incoherent, and physically vulnerable to
electric s!rifts. Her appearance is more like MTV than Lord of the
Rings, and her mannerisms have a frenetic televised quality. This
faerie's sleek appearance seems a bit too perfect, and her mannerisms
are unnaturally fluid or jerky, as ifher body obeys different laws
than our own. Like a classic faerie, the Cybrid is familiar yet Other.
She might not look like Tinkerbelle, but she's fey nonetheless.
For details about spincrafting, see Chapter 7, Pages
304, 310-311.
'Che Fetch
If you're gifted, you might spot him, pelting through your office like
a hummingbird on crack. A flower faerie of the Internet garden, the
Fetch grabs glowing data jewels and darts them to their destination.
He gathers gossip, too, acting as an office spy. He's the incarnation
of wireless messaging, a faerie who helps computer drudges with
their Cinderellian tasks.
In old folklore. a fetch was a spirit who retrieved things for a
mortal master. That concept still applies, but these days he often
works as a data handler instead. Attracted by an offering (or a sorry
plight), the Fetch homes in on someone burdened with thankless
computer tasks. Laying out a fractal faerie ring within the mortal's
hard drive, the Fetch spins data into crystals, delivers them, and
keeps watchful eyes and ears on office politics.
Naturally, this doesn't always turn out well. Our Fetch has
good intentions, but his grip on mortal tech and etiquette leave a
great deal to be desired. He might confuse messages, drop them
into the wrong e-mail boxes, or read gossip as deadly threats. Like
most faeries, he's got a bit of trickster, too. In a crowded office, the
Fetch might enjoy proving "what fools these mortals be." Passing
secrets (and lies) to all the wrong people, this faerie can raise total
hell. With such pranks, the Fetch can make sharp points about the
faith we place in our machines.
• Characteristics: The Fetch is a simple shimmerling with a strong
work ethic and a soft spot for data hounds. Invisible to mortal
vision (but not faerie sight), this guise whips around at
phenomenal speed. Small as a bumblebee, he crackles with a dull
fluorescent glow. He's drawn to offerings placed within a
ceremonial ring or altar near the computer (he especially enjoys
sweet coffee or doughnuts dusted with cinnamon). Essentially an
office pixie, this guise boasts little magic save speed, invisibility,
and spincraft. He's often benevolent, but he is a faerie, and they've
all got their own ideas about the definition of help.
Che Gli tch and often invisible to mortal eyes (though obvious to faerie sight),

Systems , in order to work, must move smoothly. OUf little friend this malcontent uses minor magics with potent effect.

the Glitch makes a point of ensuring that they don't. A plague Riding data streams or a hacking program, a glitch raids a

upon computers, data storage warehouses, networks, and other computer system and sets up a fractal faerie ring inside. (A person
vital technologies, this faerie makes them freeze up. frag up, and with faerie sight can actually see this ring if she knows where and

otherwise fuck up. Our aggravation is his pleasure. Our rage, how to look for it.) Dancing a virtual jig, the Glitch can corrupt data

his entertainment. or set off programs that would have functioned smoothly otherwise.

Unhelpful cousin to the Fetch, the Glitch carries on a grand The end result? A computer user finds her machine acting strangely.
tradition. In the old days, villsprites spoiled milk, ruined crops, lamed The amount of havoc unleashed depends on the system, the data,

animals, and otherwise made life difficult. Those tricks pale, though, and the faerie's viciousness. Most times, the Glitch's little dance

when compared to the fun of lost data! Phantom of the Digital Era, isn't life-threatening, but if the system in question happens to

this villsprite dances through hard drives, erasing data, mutating involve weapons, life support, disaster warnings, or sanitation, the

programs, spreading viruses, and tripping triggers at the most jig's results can be very messy indeed.

inconvenient times. Whether he does this out of curiosity or malice is

debatable, but in any case, he's a damned annoying little bugger! Che Gremlin
• Characteristics: Like his cousin the Gremlin, the Glitch messes Things fall apart... especially when this little bastard's around.

with our minds by messing with our world. The Glitch's specialty, Like the imps of elder days, this modern villsprite plays with

however, is electronics and computer systems. Miniscule in height mankind's toys until he breaks 'em. Is he just curious? Or does he

enjoy causing frustration, pain, and occasionally death with his

pranks? Because he refuses to give straight answers to mortals, we'll

simply assume he's a shit who seems obsessed with mechanical

technology.

First appearing by this name around World War I I , the

Gremlin is especially fond (or resentful) of airplanes. Once, it's been

said, he had the power of flight. A curse or punishment of some

kind doomed him and his brethren to the ground until human

imagination perfected machines that could fly. Hopping aboard

these contraptions, the Gremlin started pulling them apart in small

yet significant ways. Ripping wires, fouling gears, stuffing vents,

tripping circuits - he's certainly an imaginative little cuss. Granted,

the people who experience his personal terrorism rarely appreciate

the Gremlin's art. The lucky ones make it to the ground intact.

• Characteristics: Small and hairy, the Gremlin boasts nimble

fingers, sharp teeth, and steel-hard talons. He seems to enjoy his

work, though whether his glee comes from exploration or

destruction remains to be seen. Best known for ruining aircraft

(or starring in satirical 80'S fLlms), this guise reflects the fears of a
mechanistic age. He's the monster in the gears, the bit of happy

chaos that keeps man from growing too proud. Every so often, he

might actually do something constructive with his talents. For the

most part, though, he tears his way through airports, truck stops,

docks, and factories in search of new toys to break. The Gremlin's

magic may be limited (he's strong, quick, and seems to defy the

laws of physics and biology), but his imagination makes up for

their lack.

Che Kolomite
Our era is an age of flux. Things change context and appearance

with little warning. So it's not really surprising that in the last few

years a new fey guise, the Kolamite, has emerged. Manifesting our
fluid sense of identity, this entity takes flux to an extreme. All faeries
are shape-changers, but the Kolamite changes shape and identity so
often that not even he/ she/ it knows what he/she/it is anymore.
If faeries are like children, then the Kolamite is a kid with
ADHD. But his/ her/ its distractions don't end with behavior: the
faerie's name, shape, mannerisms, speech, even thoughts change
rapidly. You might be talking to a striking blonde who morphs into
a stinking wino before transforming into a butterfly and fluttering
away. That's the Kolamite - he/ she/ it rarely holds an identity for
more than five minutes. Change personified, this faerie isn't a single
guise but many guises in one - more accurately, the guise of the
Kolamite is all guises in tum.
• Characteristics: Talk about confusion! This faerie's greatest power
seems to be an endless talent for shape.changing. (Other magics
seem to be beyond him/her/it... for now.) Eternally restless, a
Kolamite fidgets between identities. Sometimes he/ she/ it will
shift gradually, assuming other features over a few minutes' time;
when excited, though, he/she/it may start morphing in place,
melting from one form to another in seconds. This later mani­
festation is deeply disturbing, not only to mortals, but to other fey
as welL Even among the Changing Folk, there's such a thing as
changing too much. Confronted with this sort of thing, most
mortals simply walk away swearing that they need more sleep.
The Kolamite often manifests in Deliria or particularly wild
corners of the Mysterium. Calmer areas of the mortal realm seem to
have an inhibiting effect on his/ her/ its shape·changing. Even so,
this weird faerie can and will show up in mortal lands occasionally.
When this happens, camera systems fluctuate, blurring or flickering
so that no image is completely distinct. Having a conversation with
this entity is equally unsettling, as he/ she/ it cycles through names,
voices and trains of thought as if the previous ones never existed.
Naturally, such fey are solitaries. Lasting associations are difficult
when you can't even remember who you are!
<II III\>
'Che Imaginary Friend
In the old days, most children had plenty of company: siblings,
neighbors, parents, and peers lived side· by-side with kids of nearly
every age group. In the 19th century, however, the vast expanses of
America (and that nation's cult of individuality) began to draw
families further and further apart. People began to grow up alone...
and in the absence of other company, children began to have
invisible playmates. Enter the Imaginary Friend - the kid no one
else can see or hear.
The Imaginary Friend embodies everything you wish you
had in a brother or sister, but without the messiness of real siblings!
He's your age or a little older and knows things your parents won't
tell you about. He's daring, adventurous, speaking truths no one
wants to hear. When your report card's full of Fs and you're grounded
for a month, this faerie helps you escape death by boredom.
• Characteristics: As far as everyone's concerned, such friends are...
well, imaginary. Often, that's true. Occasionally, however, a
shimmerling or house sprite will adopt this guise. Bonding with a
mortal child, this faerie becomes her unseen advocate. If the
child's simply bored, the Friend inspires flights of fancy; however,
if there are serious troubles in the home (abuse, neglect, addiction,
etc.), the Friend may take a more active role, spiriting the child off
to better pastures or punishing those who threaten her.
This guise is probably invisible to everyone except his
inamorata; in some cases, though, he might take on the form of a
toy or pet who becomes something greater when no one else is
looking. (See the Toy Story films or the comic strip Calvin and
Hobbes.) Traditionally, an Imaginary Friend's powers involve
invisibility and minor tricks. If things get dangerous, however, the
faerie might open up a crossway, grant the kid a wish, or do
something really, really bad to the child's tormentor(s).
Che Psiren and Che Narcissian
A faint sheen outlines her muscles. A smug grin tugs at her lips.
Her body promises sensual perfection. Her face promises that you'll
never get it. She's the Psiren, incarnation of modern vanity. Women
kill themselves to be like her; men will kill others to be with her.
The Psiren is everywhere you're not: magazine covers,
infomercials, Baywatch reruns, fitness videos. You'll glimpse her (or
her male counterpart, the Narcissian) in supermarkets and parties.
But are these phantoms human beings? Or are they faerie tempters,
dressed in new fashions of desire? Not even the Beautiful People
can reach this level for long. The Psiren seems too perfect to be
real... or, at the very least, to be human.
This archetype is the foundation of consumer culture. Sex
sells, and she's the sex in question. Her carefree smile throws down
a gauntlet: buy more, and you'll look like me! So men and women
spend lifetimes and life savings on books and exercises, trying to
reach this pinnacle of health. Even though some of them actually
come close, these mortals discover that life never gets much easier.
Bills need to be paid, diets must be maintained, hearts still ache,
and no 'Cosmo article will make everything all better. The Psiren, in
contrast, remains aloof, a faerie quite beyond mortal reach. You
might tty to be like the Psiren, but her ease is just one more illusion.
" Characteristics: As a guise, our Psiren put a new spin on the old
traditions regarding the inhuman beauty of the fey. A
sophisticated modern tempter inspired by the illusions mortals
create for themselves, this guise resembles the Beauty archetype
but adds Photoshop gloss to that earthy glamour. She might be
distant or cruel; conversely, she could be a whirlwind of fun.
Dressed in the latest sex-power fashions, this faerie dares mortals
to keep up with her. Old fey embrace this form as if it were a new
dress, whereas young aelden and shimmerlings arise from this
ideal of beauty itsel(
Chern
They re everywhere. Monitoring your email. Reading your mail.
'
Hacking your personal information. Tapping your phone. Who
needs goblins when these faceless voyeurs are watching everything
you do?
They have many disguises. They're the CIA, the FBI, the
Uberals, the Bible-thumpers. They've got terrorists on every plane,
snoops in every office. If you don't watch out, They will suck away
your freedoms, your health, your identity, your life. They're a plague
on the free world. Nothing is safe or private when you have to
contend with Them.
A manifestation of paranoia, Them is more a force than a
persona. Even so, it's an archetype you might meet in the Mystery.
Because it's true: They are all around us. This world is alive with
eyes and ears. The wind does carry secrets, the birds do talk, there
really are little faeries living in your home. If that realization doesn't
drive you stark raving insane, it'll propel you into a new reality -
the world of Deliria and its Mysteriae.
., Characteristics: The archetypal Them does not have game traits,
solid form, or set identity. It's a feeling down your neck, a
prickling that suggests you're being watched... often because
you are. This manifestation is like the weather, sometimes
noticeable. often just part of the scenery. Occasionally, They will
swell to Kafkaesque proportions, becoming a dangerous force in
your life. At those times, there's an adventure on the horizon ...
possibly kicked off by unseen parties taking a special interest in
your life. (See Brazil, Minority Report, The Matrix, or the stories of
Philip K. Dick.)
 'Cruth and Death

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 Echoes of l nfinity
Our cousins are powerful, no doubt. Some can grow huge in an And yet, paradoxically, the Folk are drawn to our creations ,
instant, and others charm, fly, open crossways. or summon storms. inspired by our innovations, and defined by our expectations even as
Most possess a talent for illusion. And all of them, even the most they shift identities before our eyes. Like moths to an overused
honest, are grand deceivers. Their very forms are costumes, put on simile, the Folk seem dazzled by the mortal gift that may destroy
to keep us guessing. For truth is power. And no faerie in its right them. And we, in turn, are dazzled by the chaotic promises they
mind would grant power over itself to a mortal. offer.
Human beings, it is said, wield a magic faeries fear: the gift So sweet, the flame. And so brave the dance at its edge!
of naming. With our imaginations and language and irrepressible Did guises exist before human beings? Or do human
need to build things, we shape the rest of the world in our image. expectations bring guises into existence? Like so many aspects of the
Whether this talent is a divine gift or simply the fallout from an Folk, these questions remain unanswered. This much is certain,
overactive cerebellum, it scares the living crap out of the Changing though: fey guises preserve a measure of fey immortality. Even as
Folk, even as it inspires them to imitate us. For if mortals can the guise defines the faerie, it helps the faerie resist total definition.
remake their world, the Folk reason, doesn't it follow that we could By keeping mortals guessing, the Changing Folk resist mortal
remake them as well? And so they keep us guessing, switching domination. They keep their souls, and ours, alive.
guises and identities until our gift for definition falters. Ah, but if a
human discovers a secret or wo about a faerie being, the game
shifts in favor of the mortal... or so the fey believe.
Because, you see, for beings as changeable as faeries,
definition is stagnation. And stagnation leads to death. Thus, faeries
- the greatest of them, anyway - resist death by refUsing to be set
into form. They refuse our names and expectations by changing
constantly, bedeviling us with riddles, and upending the structures
we hold so dear.
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Sou I s of Change
Faerie is a fistful of stone, a wisp of smoke, and a dream. The tales
spoken of that realm and its inhabitants are just as marvelous -
earthy but ephemeral, something we all know yet have never quite
experienced.
All cultures have their faerie tales, their stories told 'round
the hearth. Apache nomads and Irish tinkers, Congolese farmers
and Kyoto merchants all share this heritage. The details of the
stories differ, but their themes and characters are remarkably
similar. Like myths (with which they're often confused), faerie tales
speak to all humankind. Whether the taleteller is a toothless elder at
the fireside or a CGI ogre on DVD, the basic format is the same.
Once upon a time, a person's world turned inside out. Familiarity
went strange, and the new hero either met new challenges or
perished. Either way, that hero changed. For change is the heart of
Faerie... and the soul of faerie tales .
�.
. -
.� --!!!"
• •
What I s a Faerie Cole?
Often known by the dismissive tag "fairy tale," a faerie tale takes a
folksy character, drops weird challenges in his or her lap, and offers
that character a choice: adapt or be destroyed. To survive, the hero
must travel "beyond the fields we know" (a wonderful term overused
by Lord Dunsany in his classic The King of ElJIand's Daughter) .
There, the familiar world morphs into a shadowy landscape where
the Other reigns. Tests appear. Temptations beckon. The stakes rise
sky·high before some otherworldly helpmeet ofTers the key to the
solution. Does our hero take the hint? That choice determines
whether the ever after at story's end is happy or othelWise.
At their core, faerie tales are about growing up. The main
character begins in a state of childlike innocence. Fate (the root of the
word "faerie") pops up, says, "Hello:' and yanks the carpet out from
under our protagonist. The resulting fall dares the character to become
a hero. In the process, the hero transforms. For better or worse, that
character ends the story in a different condition than he started with.
 Innocence has given way to experience,
and a new day begins.
These three themes are nearly universal:
• Innocence (or naivete), in which the
world seems simple.
• Challenge, in which that simplicity
ends.
• Transformation, in which the hero
becomes someone or something else.
Maybe he learns something in the
process; maybe not. Either way, the
person he is at the beginning of the
tale is not the person he is at its end.
As J.R.R. Tolkien pointed out in a
landmark essay about faerie tales, such
tales are not stories about faeries.
Instead, they're stories about people
entering strange and wondrous domains.
Such realms might be the dark mines of
Moria, the bright hills of Elfland, the
chambers of the Beast, or the tunnel into
John Malkovich's mind. Either way, these
domains are Other; they exist a few steps
away from the everyday world of the
protagonists, and they force those
protagonists to change.
escape or
understanding?
Common misconception holds that
faerie tales are escapist fun filled with
trite morality. In a complex world, these simple tales are supposed
to soothe our nerves.
Bullshit.
First of all, few faerie tales are soothing. Mothers betray
children. Fathers lust for daughters.
Wicked witches and big bad wolves Faerie: from Jay.
lurk in every shadow. Pain is every-
where. The elements themselves are Fay: from Jata ("fate").
unkind. Justice is brutal. Help may
be around the corner, but it carries a Fate: from Jatum ("utterance, decree,
steep price. Some comfort!
The morality of faerie tales is destiny"); related to Jari, "to speak."
questionable, too. Purged of heavy-
handed revisionism, traditional folk stories involve trickery and
courage. Disney presentations aside, faerie tale heroes are not
pristine models of behavior. They often steal, cheat, lie, and get away
with it all. Sitting around waiting for Prince Charming will often get
you killed. Cleverness, not docility. is the reigning virtue in most
traditional faerie tales.
Yet despite the dark tone of such stories, they do offer hope.
No matter how bad things become, there's a way to prosper if you're
quick, brave, and fortunate enough to seize the day.
That underlines the true purpose of such stories: not to
escape the real world but to learn how to deal with it.
As we saw in Chapter I, the Dark Wood is a metaphor for
life. Its giants, wolves, and demons reflect the problems we
encounter. The tricksters and riddles that appear there represent the
choices we face, whereas faerie godmothers symbolize help from
unexpected sources. The trials endured by the characters are
exaggerations of our own suffering; the treasures are riches we
might seize if we have the wit and will to act. Those faerie tale
heroes inspire us to challenge our own Dark Wood. Through their
examples, we emerge victorious.
Kid Stuff?
"That's for babies!" This idea has banished faerie tales (and their
cousins, myth and fable) to the nursery. Despite the fact that we live
in a world built on fantasy's inspiration, the idea endures that only
losers love faerie tales. By adolescence, we're told, any normal person
outgrows such tastes. Even authorities like Bruno Bettelheim (whose
book The Uses of Enchantment encourages faerie tales as therapy)
perpetrate that misconception. Faerie tales, to many people, are for
children. Adults move beyond them.
Bullshit again.
In a way, faerie tales are children's stories. They dramatize
life choices in ways kids can understand. But just as we never stop
growing, we never stop learning. The Faerie Wood stretches on for a
lifetime, and we can always discover new truths and tactics within it.
With her book Women Who Run With the Wolves,
psychoanalyst Clarissa Pinkola Estes encourages today's women to
retrieve their real-life power through the deeds of fictional heroines.
In Iron John, poet-therapist John Bly urges men to reclaim
masculinity by identifying with characters from Grimm's faerie
tales. In The Serpent Slayer and Other Tales of Strong Women, Trina
Schar! Hyman and Katrin Tchana
inspire both girls and boys to respect
feminine wit and bravery by retelling
traditional stories from around the
world. The lessons of faerie tales don't
need to stop at childhood, and they go
far beyond the facile "be good"
messages we've come to expect.
Power Fantasies?
Pop media has taken the garments of faerie tales and draped them
over power fantasies. Computer games, films, RPGs, novels,
comic books - all of them perpetrate a hollow view of fantasy in
which blowing shit up is the ultimate fulfillment. Although this
sort of thing can be fun, it's a far cry from the faerie tale tradition.
 We Can Be Heroes In folklore, such they realize how rich they truly are.
As you've probably noticed, hero is a tales often begin f; Foolishness can be Fatal: Foolishness and his sister, Vanity. are
generic term here - gender neutral and with the loss of prime antagonists in most faerie tales. Behaving badly is a good
culturally universal. A hero can be power, not a way to get turned into a toad... or worse. (Check out Cinderella's
Cinderella or Sinbad, Coyote or Fuon shopping spree for sisters. Not pretty.) A faerie tale hero understands her worth, but
Mulan. Faerie tale heroes can be unethical, more. she also knows better than to act like an asshole.
vindictive, or otherwise flawed.They can Given the f; To Get, You Must Give: Sacrifice and suffering are key themes in
be animals, children, old men, or young exaggerated faerie tales. Helpmeets don't just pop up offering their services
women. What they all have in common is trappings of Faerie, for nothing. It's worth remembering in our instant-gratification
a life that slipped from the normal to the it's easy to confuse era that faerie tales demand dedication. Victory comes from virtue
surreal, the courage to face that shift, and might with magic. and cleverness, not wealth or power.
the determination to make destiny rather But though a hero During the Victorian era, faerie tales were often purged of
than be its pawn. may win three their primal themes and wrapped in petty moralizing - a legacy
wishes or a hoard of that taints our view of them today. But though it's true that faerie
gold, those rewards tales are relentlessly moral. that morality is more about respect and
don't make him a demigod. On the contrary - they often make his responsibility than about being a good little boy or girl. Faerie tale
life more difficult and may even disappear entirely by story's end. morality is rather elemental, too. The forces that judge a hero flow
Even if he does become rich, though, those riches provide gilding, from the natural and spiritual worlds, not human institutions. In
not growth. And growth, not power, provides the heart of the faerie most tales, society is deluded; only the spirits, animals, and fey
tale tradition. understand what's truly in a hero's heart.

What Do We Learn From Faerie 'Coles? Myths and Faerie 'Coles

Traditional folklore is shot through with themes and lessons. Many It's easy to say "myth" and "faerie tale" as if they're one and the
of them pertain to specific times and cultures, but a host of others same. Despite their magical settings, however, important differences
are universal. Boiling down a core list of faerie tale lessons, you separate high myth from faerie tales:
might reach these conclusions: .. Myths are Epic; Faerie Tales, Intimate: Mythic settings have casts
• Life Belongs to the Brave: Cowards don't fare well in these tales. of thousands. Faerie tales, in contrast. are small stories dealing
Courage and cleverness (not obedience or passivity) win the day. with individuals. The implications of those folk stories may be
Sitting at home gets you nothing in a faerie tale. To gain that pot broad, but their scope is intimate. Faerie tales often take place in
of gold, a hero must face her fears and win. or around someone's home, perhaps passing through great
f; The World is Alive: Faerie's realm is innately aware. Trees speak, distances but passing over them as well. The myth alters the
jewelry bleeds, and winds blow secrets to listening ears. This course of history; the faerie tale affects a handful of lives, leaving
animistic theme upends the whole living/ unliving value system. the rest of the world unchanged.
A faerie tale hero learns very quickly not to take anything for granted. • Myths Deal in Thrones; Faerie Tales Deal in Hearths: Mythic
All things - even things usually heroes remake the world. Faerie
thought inanimate - live, and If you remember listening to stories as a child , tale heroes. on the other hand, are
they're all worthy of respect. you will remember the pleasure of hearing a story human beings. They may have
• Respect is Vital: This living world repeated many times, and you will remember that royal pedigrees or magical powers,
demands that respect. Heroes while you were listening you became three but their personalities and
who cannot be generous, kindly, people. There was an incredible fusion; you concerns are ones we can all relate
honorable, and aware soon became the story-tel ler, the protagon ist, and you to. Contrasted with the might of
meet hideous fates. Heroes who remember yourself listening to the story. mythic heroes, these concerns
acknowledge the value of the make faerie tale characters more
beings around them, on the other John Berger, from Nikos Papaslergiadis Third Text humble. A mythic king is a
hand, are blessed with good symbol with personality; a faerie
fortune. In these self-indulgent tale king is a man with a crown
times, that's a lesson worth learning -fast! who happens to symbolize something.
• Honor is Worth More Than Gold: In faerie tales, honor, not • Myths Speak Great Truths; Faerie Tales Deal with Personal
property, determines your worth. Gold is fleeting; many heroes Issues: Myths traditionally deal with grand questions: Why is there
lose everything they own except their honor ... and only then do suffering? Where did we come from? Why do the seasons change?
 Faerie tales, however, address personal questions: Why must 1 selves, faced uncanny tests and bizarre creatures. In those early
listen to Mother? What's on the other side ofthat mirror? If I ran days, such stories may have been taken at face value; then again,
away into theforest, what might [find there? Myths often address their audiences may have recognized a taU tale when they heard one.
the "we;" faerie tales address the "I." In either case, those adventures - often acted out by clever
• Myths are Respectable; Faerie Tales are Vulgar: The myth storytellers - offered comfort when darkness fell.
occupies a favored place in human lore, inspiring kings, In time, lessons worked their way into the fireside stories.
theologians, and psychologists. Sacred texts commemorate the Elders passed along rites of adulthood encoded into entertaining
myth, and the culture's greatest minds use it to illuminate Truth. tales. Heroes became stand-ins for their audiences, role models
Meanwhile, the faerie tale is considered a poor bastard cousin, fit living once upon a time. Dreams and folklore, myth and everyday
for children or immahue adults. Its tellers are considered clowns, life intertwined in those stories, and the listeners were both
not sages, and their venue is the street corner, not the altar. educated and enchanted.
• Myths are Sacred Writ; Faerie Tales are Common Entertainment: Trade routes and travelers brought stories from hearth to
As we see from world events, people will kill and die for myths. hearth. Clever storytellers listened for new tales to bring back home.
Courts will wrestle and wars will rage over the validity of such As our ancestors passed along Silk Roads and imperial byways,
godly tales. On the other hand, it's hard to imagine a person folklore spread across the known world. A tale first told in China
killing somebody over the one true way to Grandmother's house. found its way to Roman firesides; Arabian nights spiced slow days
Few people take faerie tales seriously. beside the Rhine.
And therein lies the power of such tales. For like the little old And in these tales, the faeries danced - strange creatures
lady telling stories by the hearth, the faerie tale slips in unnoticed whose gifts and
and makes an impression by firelight. You might not notice her at treacheries kept life
first, but her words linger long past the time when louder sounds uncertain. In many
have faded. lands, the tale­
Despite its bastard legacy, the faerie tale tells us important tellers made
things about ourselves. As psychologists from Jung to Estes have offerings to the
pointed out, Faerie's realm of the everyday impossible is a reflection Folk at the same
of the heart. Whether or not a given tale has a moral attached, it hearths where they
provides a mirror for our own growth journey. As mentioned earlier, spun their yarns.
every person has a Dark Wood to struggle through. And for all its Odd features of the
apparent silliness, the humble faerie tale provides a lantern and a landscape inspired
map for those struggles. faerie tales: a stone
ring older than
memory became an
A M i croh i story aelven fort, and a
weird cry after
of Faeri e Cales sundown became
the White Lady's
When the world was younger than it is today, people sat around fires lament. Over time,
rather than TV sets. Lacking 100 channels of solitude, they turned to these elements all
the tale-speakers who wove truth and dreams together. In the oldest wove together,
days, those tales - most often told by women - explained the why crafting homespun
of things: why the sun sets, why fire burns, why Papa never returned faerie lore for the hours after dark.
from the hunt. Some of those tales were epic, but many were
personal; in those days, the distance between a child and a king Court
could probably be crossed with a few steps. The grand sweep of Halls and Decadence
culture had not yet wiped away the human element, and the myths Castle nights are cold and boring. As a result, bards and storytellers
of man had not yet trumped the wise tales of women. became welcome guests in courtly halls. In time, the nobles took up
As kingdoms and myths arose, those humble tales remained. those tales, shaping amusements for one another in their sitting
Fireside storytellers raised the children and entertained adults. Their rooms. Like all entertainers, these folk worked their own
stories were simple yet exciting journeys over the farthest hill, in embellishments into the form; a simple nurse's story might become,
which adventurers, who very much resembled the listeners them- in a courtier's hands, a clever parody or bawdy jest.

These courtiers competed for fun or favor, drafting poems
or storybooks filled with their favorite lore. Regents like Louis XIV,
sometimes called the Sun King, staged circles for the telling of
contes defoe - faerie tales - and many of our traditions grew from
these courtly games. Charles Perrault, whose stories remain familiar
today, rose to fame within those salons. Noblewomen like Madame
de Villeneuve (Beauty and the Beast), Madame LePrince de
Beaumont, and Madame D' Aulnoy, hosted gatherings and wrote
tales shot through with social relevance. Collections like Straparola's
Delectable Nights ('553), Giambattista Basile's The Story of Stories
(16)4; later called the Pentamerone), the legendary Arabian Nights of
Scheherazade (unknown date), and the landmark French court
collection Cabinet des Fees ("Cabinet of the Faeries," '785-89)
brought peasant stories to courtly attention. Most famously, the
Brothers Grimm collected their Kinder·und Hausmarchen ("Child
and Household Faerie Tales," or simply Grimm's Fairy Tales) in
various editions, cutting a path through a storied wood that endures
nearly 200 years later.
Through grace and circumstance, the fey
tradition ascended to high art. Shakespeare's A
Midsummer Night's Dream combined parody and romance
into an enduring work of magic. Edmund Spenser's The
Faerie Queene used fey trappings to celebrate Queen,
Country, and Christian virtues. Artists of the Renaissance
and Enlightenment drew inspiration from folk tales as well
as mythology, and authors like Sir Thomas Malory,
Jonathan Swift, and Daniel Defoe swept satire and political
allegory into Faerie... or vice versa.
In fine faerie style, these fantasies undercut the
ruling order. Subtle insults, quiet flirtations, genteel
subversions, and overt attacks ran through such works like
poison through a sleeping princess. As reason ground
wonder under its bootheels. rebel artists of the Romantic,
Decadent, Gothic, and Pre.Raphaelite movements took up
the faerie trickster'S gambit. Keats, Fuselli. Wilde, Goya,
Blake, Beardsley, Waterhouse, Klimt, Moreau, Burne·
Jones, Siddal. Byron, Walpole, Mary and Percy Shelley,
painter Dante and writer Christina Rossetti... even Edgar
Allan Poe fell under the faeries' spell. Whereas scientists
and merchants sought to conquer Nature, fey artists turned
to her for inspiration. In a world that seemed bent on
mechanical slavery, sly tales restored enchantment to
deadened souls.
'Cyronny of the neal
Victorian England supplied a backdrop for many aspects
of the faerie experience. On one hand, the old tales were
snapped up, heavily censored, and reprinted in nursery
editions for wealthy children. Meanwhile, their oh·so·
rational parents kept hidden copies of Burton'S Arabian Nights
translation, Beardsley's lithographs, or Sir Arthur Conan Doyle's
articles about real·life faeries. To the Victorian eye. "fairys" were
exotic curiosities (parallels, perhaps to what they called the little
people of distant Africa and India) - cute, but too tiny to matter. In
that affectionate contempt, the 2oth·century vision of childish pixies
was born.
But faeries are subversive. Like so many things in that era,
those tales travelled the low road of popular culture through the
back doors of upper·class life. Though deemed fit only for children
and imbeciles, fantasy art and literature prospered during the
Victorian and Edwardian eras. The works of Lord Dunsany (The King
of Eljland's Daughter), George MacDonald (Lilith), H. Rider Haggard
(She... ), and Sir Richard Burton (The Arabian Nights) were clearly for
adults; faerie stories like Lewis Carroll's Alice's Adventures in
Wonderland and J .M. Barrie's Peter Pan seemed headed for the
children's comer (though both had adult overtones); tales like
Kipling's jungle Book, Burroughs' A Princess of Mars, and Doyle's
The Coming of the Fairies sat curiously between both worlds. No
respectable adult wanted to be associated with such nonsense, but
plenty of adults enjoyed it anyway.
I met a lady in the meads,
Full beautiful - a faery's child,
Her hair was long, her foot was light,
And her eyes were wild.
John Keats, La Belle Dame sans Merci
As the final century of the millennium bloomed, faerie
influences reached further into the visual arts (through the
Pre-Raphaelites, Orientalists, and illustrators like Howard Pyle and
Arthur Rackham); dance (via Isadora Duncan and her elementalist
approach), music (Wagner's Ring cycle); photography (the Cottlington
girls and their real fairy photos); and the infant medium of film
(George Melies and his special effects wizardry) . Industrialism served
to make faerie tales more resonant. As World War I tore through the
mechanized world, spiritualism, occultism, surrealism, and other
phantasmagoria seemed like the only sane response.
Pop Goes the Faeri e
Magic lanterns flickered in the darkness. Their hungry flames
demanded dreams. In that cold light, people gathered like their
ancestors around the campfires. The new storyteller was film, and it
wove old tales into new mythologies. French fllmmaker George
Melies (A Trip to the Moon) may have been the first to dance with
faeries in the movie-house, but he soon had company: Bob Clampet
(creator of Cecil the Seasick Serpent); Theda Bara (who drew
influences from dark faerie tales); Lon Chaney ("Man ofl,ooo
Faces"); Douglas Fairbanks (the original Thiefof Baghdad); James
Whale (Frankenskin); Jean Cocteau (whose La Belle et la Bek ­
"Beauty and the Beast"- remains one of the greatest faerie tale
fIlms ever made); Robert Wiene (The Cabinet of Dr. Caligari); Fritz
Lang (Metropolis); Ruth Rose, Merian C. Cooper and Ernest B.
Schoedsack (King Kong); Victor Fleming (The Wizard ofOz); and
New York animators Max and Dave Fleischer (the macabre
masterpiece Sleeping Beauty); and, of course, their arch-rival Walt
Disney. For better and worse, these artists , and many others, took
the faerie tale out of the home and into the marketplace.
Meanwhile, other forms drew upon faerie tale themes: pulp
magazines. comic strips and books, cheap novels, even advertising
(by way of Maxfield Parrish and Alphonse Mucha). Despite - or
perhaps because of - the growing industrialization of the world,
these fantasies swirled around the fringes of popular culture, rarely
respected but never ignored.
Striving to inspire what seemed like a desolate age, L. Frank
Baum (Oz), C.S. Lewis (Namia), H.P. Lovecraft (Kadath), J.R.R.
Tolkien (Middle-Earth), and a host of others followed in the
footsteps of Dunsany, Haggard, and the rest. Though the epic
fantasies they wove resembled myths more than faerie tales,
their otheIWorldly realms drew from the ancient fey tradition.
Like the wise women around the fire, these writers (and their
illustrators) were despised by their more serious peers. The
audiences, though, responded as always to Faerie's allure.
This led to a problem: cheapening. The old tales had been
vital things, filled with blood and thunder, rich with life lessons.
The new strains of fantasy, though entertaining. slashed the
deeper undertones from faerie tales in order to make them
more commercial. Endings were rewritten, heroics trivialized, villains
defanged, erotic themes neutered. Worst of all, vigorous feminine
role models were turned placid. Between Victorian censorship and
the mass marketplace, all potentially offensive elements were
banished. The trickster faerie was tamed; his antics became banal.
Pop went the Faerie and his lore.
Mythic Cides and Fires
But the subversive tides of Faerie are never still for long. As the ruin
of World War II and the Cold War darkened the new century, the
rationalism that had banished faerie tales gave way to a thirst for
wonder. People needed their fantasies. They craved meaning. Even
the brackish pools of pop culture provided more refreshment than
the grim face of serious perspective.
The faerie tale came home again.
Mass media and technology gave rise to new folk tales:
UFOs. urban legends, twilight zones in which reality ran screaming
down the street. The silver screen provided new archetypes, too -
the Cowboy, the Gangster, the Sex Bomb, and so forth. And then
there came rock music. a satyr's dance of primal chaos. Movie stars
became gods. rock stars became shamans, sports stars became
heroes in an existential drama, and all of them shone - and burned
- like fires in the sky.
Though many so-called experts fretted about tides of
irrationality, other scientists began to notice how vital myth and
folklore are. Psychologist-philosophers like Carl lung, Joseph
Campbell, rames Hillman, Timothy Leary, Clarissa Pinkola Estes,
Bruno Bettelheim, and others began pondering the place of myth
and fantasy in the psyche. Perhaps, they realized, faerie tales were
necessary - not childish diversions but potent inspirations.
Meanwhile. new artists began to think similar thoughts ...
I write fantasy because it's tfiere.
Patricia Anne McKillip
Dangerous Yet N ecessary Dreams
Angela Carter was an iconoclast, a trash-talking
philososensualist who made no excuses for her insights,
sexuality, or dreamspanning prose. The "high sorceress ...
benevolent witch queen" of English literature. Carter took a
crowbar to the padlocked doors of faerie tales and opened her
Bloody Chamber (1979) to reveal the sexual perversities that
had been there all along. With a series of novels, collections,
essays. and commentaries (as well as the screenplay
adaptation of her story "The Company of Wolves "), Carter
epitomized a new and lyrical revival of the faerie tale. Beside
her, a new vanguard of storytellers - Tanith Lee, Storm
Constantine, Patricia McKillip, Ellen Datlow, Terri Windling,
John Crowley, Robin McKinley, Charles de Lint, Neil Gaiman,
Octavia Butler, Anne Rice, Clive Barker, Francesca Lia Block,
among others - brushed the plastic moss off of the faerie
rings, restoring elements of sensuality, psychology, defiance,
and honor that had been removed by Disney's pop-culture
juggernaut. Carter died in I989, but her voice still echoes
around the fireside.
Musical artists delved into the Dark Wood, too. Bands
like Fairport Convention, Steeleye Span, Ciannad, and Silly
Wizard released rock versions of traditional folktales.
Terminally unhip prog-rockers (Jethro Tull, Rush, King
Crimson) wove fey elements into their works, and rebels like
Kate Bush, David Bowie, and Lou Reed told their own brand
of faerie tales. The psychedelic colors and hyperactive
fashions of the 60'S, 70's, and 80'S evoked the otherworlds,
too. The sterile rationality foretold by scientific progress gave
way to phantasmal riots; the goth, techno, rave and world beat
styles now move further into Faerie and show no desire to
return.
Those travels have been taken up by audiences, too.
No longer content to have stories told to them, many young
people now become their tales instead. Seeking stardust in
tales of their own, modern Jacks and Beauties build cobweb
portraits of their dreams. With websites, blogs, fashions, and
body art, they revive mystery within a banal world.
But that banal mainstream builds its castles, too - its
Harry Potters, Buffys, Everquests, and reality TV shows. The
urge to dream is everywhere, reaching across cultures,
languages and technologies. And so here we are today. The
campfires may be cold, but their tales burn bright as ever.
Despite crackdowns and critiques, the faerie is alive and well
in our new millennium.
Where might he lead us from here .. .?
• L"
Can Bryce come out to play?
I smiled as the 1M box popped up. True, I had some
work to take care of, but a little roleplaying wasn't
gonna hurt.
Checking the sender, I saw Marc's handle, mystree4U.
Where are we;J I typed in my character's signature
font, Impact.
On Castleberry Street, came the reply. It's
raining.
I'm wearing my duster, collar turned up, Got my
lockblade - not lOOking lor trouble, Castleberry was
in a nasty part of town, and it wouldn't hurt if Bryce
was prepared.
Ur feet squish in puddles, Deep, Lots of water
running through the gutters. Stuff floating
there, too. Icky.
Lovely. I growl under my brath.
It's night, U and Wendy just had a fight, Big-n­
public, at the Velvet, She's probably on stage
now singing about what a shit U R,
Marc was stirring the pot again. Kelly and I love
playing this stuff out. She and I aren't an item or
anything, but our characters are. It's not exactly a love­
and-cuddles relationship, though - they're both way
too poor and way too aware of the weird side of life to
settle down much.
I step out of character, switching from Impact to
Franklin Gothic and dropping out the caps.
marc - have you been playing online
with kelly again?
I I
'-'
So Kelly's in melodrama mode again.
Playing Out a Faerie 'Cale

couldn'. you guys have reached me to ply out the fight?

U were offline. Ah. the perils of online roleplaying.

okay - j'll bite. what did we fight about? It helps if I can at least get my bearings before Marc throws in one ofhis patented
complications.

URfBryce's drinking.

am i drunk now?

A little... maybe more thn a little.

Bastard. So I was out here drunk, walking down one ofthe ugliest streets in Riverford, Dangerously close to Golgotha, too - especially
considering that Bryce's old girlfriend Ash still works there.

so j've got ash on my mind again?

Yep. I an practic.lily Stt Marc smirking.

you're an asshole.

That's why they call me the Bastard. :-)

I switch back to Bryce mode. Why do I .ven boter wfth that crazy bhthi»

The rain has no ansers.

Except maybe 4 the big guy unfolding out otthe alleyway in front of U.

Oh. great.

StoP. Glaro. Got mVhand on tho lo.UJlado but .ot pulling n out lust vet.

His color is really, really bright. Puklsating. He does n't seem to notice the rain, and he's really skinny -
and really tall, like nealry seven feet.

Um, have I seen him beforeil

No - but he's wearing Ash's jacket.

Oh, crap. This was gonna be worse than I thought.

• •
 Active Visions
Our world is filled with fantasy. Bestseller lists and box office
receipts proclaim this the richest age of dreams since... well, ever.
On the other hand, so much of this treasure trove is passive

entertainment: you buy your ticket, book, or game. then settle down
to watch someone else's dreams. Not a bad thing, surely, but why
not enjoy your own dreams? Given the hunger of this magical age,
personal folklore seems like a fine reward indeed.
7
H ints This section's all a bout that.

for a Good Circle
.. Think drama, not power.
.. look at challenges as opportunities, not
obstacles.
.. Regard your character as an extension of
your hopes, not your frustrations.
.. Play out your character's strengths and
weaknesses - perfection is boring.
.. Enjoy your character's misery - it's not happening to you.
.. Think of what you'd want to see in the story if you were watching it
rather than playing it.
• ChilL I!" all about fun.
7 H ints for a Good Guide
.. Make notes beforehand spelling out who's doing what t o whom before
the players show up . characters may become myths in their time, hut like the stories that
.. Be flexible, and don't worry about having things your way.
.. When possible, act things out: get up, run around, assume the
personalities of your supporting cast, and really see andfeel the
surroundings you describe.
.. Keep things moving. Don't bog the saga down in over-description or
arguments. If you get stuck,just move on to something else or perhaps
have another Guide waiting as your backup.
., Remember: everyone wants something - especially your supporting
cast. When all else fails, play up a character's wants and needs rather
than a story's circumstances .
.. Apply rules quickly and fairly. Have the necessary charts or notes close
at hand, and describe results as story elements, not numbers.
Deliria is interactive fantasy. We present ideas, you run with
them. In the last few chapters, we've laid out designs and patterns:
what you craft with them, though, is your decision. The saga you
unfold with these materials could be a quest for redemption, a
comical romp. a romantic entanglement, or whatever else you want.
It could revolve around two or three characters or encompass a
whole town. Either way, it'll be a faerie tale of your design - a story
(or series of them) told from your perspective, with your friends,
including themes, inspirations, and ideas that seem important to you.
Trust us, it's fun!
Hope, Growth, and Control
Many modern fantasies follow the mythic example: something huge
is going down, and mighty heroes hold the key. As the title says,
however, Deliria is about Faerie Talesfor a New Millennium. The
give rise to myths, these tales begin in familiar surroundings and
focus on the people, not their powers.
We've chosen the faerie tale framework for several reasons:
.. Faerie tales are personal.
., Faerie tales begin at home.
., Faerie tales upend life as we know it.
• Faerie tales offer hope rather than despair.
Each of those elements is vital these days. A personal story
revolves around people, not powers or events. A saga that begins at
home gives you some familiar footing before you charge off into
mystery. Upending daily life with magic is both fun and appropriate
for the times we live in. And hope - the most vital element of all!

., Chill. If it's not fun, it's not worth your time.
- keeps us from being oveIWhelmed with the challenges that face
our age.
Faerie tales, you see, are about progress . Such stories begin
with someone who has lost control, then they follow that hero
through tests and transformations that force him to progress until
he achieves a new level of control. The favored daughter becomes a
scullery-maid on her way to becoming a princess; a poor lad is
forced to wander before his journeys win him a throne. That throne
symbolizes maturity: the hero progresses - he becomes something
greater because he or she has passed life's tests.
In faerie tales, the key is thejourney, not its end. And in that
journey, we find hope. Such tales say that though it's true that life
can suck, will suck, and is probably going to suck pretty badly, you
don't have to be a victim. With courage and
determination, you can achieve your dreams.
(Author'S Not<: This book is proof of that.)

Circle, Guide, and Sago

As we saw in the Introduction, Deliria sets the stage
for your own ideas. Gathering a group of friends
together, you collaborate on a story. taking on roles
and making the tale up through the actions of those
characters. There are no set courses to follow, no
scripts, levels, or pre-made characters. Although we
provide settings, rules, and advice, you decide the
course of the story.

'Che Circle
The Circle is you. however many of you there are.
Your Circle could be two people or 20 people.
Everyone involved is part of that Circle, whether
they're playing characters or acting as a story Guide.
like King Arthur's round table, a Circle has
no one at its head. All members are essentially equal

- the contributions they make mean more than

arbitrary rank. At the same time, all members are

also responsible for keeping the Circle intact. I f one
person tries to ruin it, the whole thing falls apart.
This Circle concept encourages each player to
cooperate and bring imagination, fairness, and fun
to the game. There are no winners or losers in
Deliria - it's collaboration, not competition. If
there's an element of one-upsmanship involved, it's
the cool factor: players who want to excel should
think about creative ways to make the saga even
cooler than it already is.

'Che Guide
"First among equals," the Guide sets the stage for
your adventures. At the beginning of each tale. she
baits a hook, then essentially asks, "What do you do?"
From there, she improvises, basing her own choices
on those made by the other players. She takes on
various parts. acting out supporting characters while
establishing the scene. Essentially. she's the Circle's
escort, beckoning the others into the Dark Wood of
her imagination, then helping them get out alive.
Our Guide must think quickly. like a dancer,
she'll have to be light on her feet i n order to keep up with the Guiding is a workout, though. To avoid burnout, take breaks.
tempo. But also like a dancer, the Guide grows strong through Ideally, the Guide ought to trade oITher position to the other
effort. Think of it as mental Pilates - a cool workout that stretches members of the group. At the end of each story are, another player
and strengthens your imagination. assumes the Guide's role, comes up with a plot. and begins the next
session with a new hook and fresh perspective.
 Note that the Guide is not the Wicked Witch. She's not out to
eat the other players, and they're not out to cook her. Everyone's a

player in this game. The Guide is simply there to set the tale in

motion, create its atmosphere, draw its hidden places, and decide

what does or doesn't happen. Although some rules arbitration will

be necessary, the Guide is just that: a guide, not a referee.

'Che Sago
7 elements of a Sago As the Introduction points out, the word saga comes from "say." A

.. Setting: A combination of place, saga is a conversation of sorts. All Circle members converse through

weather, atmosphere, and their characters' activities, and the heart of that conversation is the

circumstances, a faerie tale setting story itself.

establishes where the tale occurs, what's Like a conversation, the saga begins with a subject: the main

going on, and how the characters fee l while character(s). Something happens to change life as the subject knows

they're in the middle of it. Tradit ionally, setting it, and the saga picks up speed. Over the course of that saga, the

ought to start out mundane, then move to the oth erworldly. subject goes through changes, inspires new tangents, and eventually

.. The Hook: A barb that grabs the characters and players, the hook draws winds up saying something. The more active and meaningful the

them into the adventure. The sharper the hook, the stronger the draw! subject is, the more entertaining the saga becomes. A really kick-ass

.. Supporting Cast: People, animals, plants, and what-have-you populate saga can start out simply, cover some wild ground, undergo radical
the saga's setting. Each member of t his supporting cast has his/ herl its shifts, and come out on the other side of imagination'S Dark Wood

own agendas; if you've got a handle on those desires, you'll be able to with pretty treasures - memories - to show for the journey.

improvise like mad. Also like a conversation, a saga is collaborative. Some people
.. Conflict: When those agendas collide,you've got conflict on your hands. It may have more to add than others, but each person has contributions.

might involve physical violence, emotional turmoil, social intrigue, or a The Circle/Guide dynamic encourages everyone to get involved. And

combination of them all; the tactics and stakes of the conflict will because everyone has a stake in the saga (and assumes the Guide

depend on who wants what and how badly they want to get it. role occasionally), there's no real motivation to screw things up. The

• Complications: Nothing is simple in faerie tales. Just when things appear more you put into a saga, the richer the experience. It's adventure as

to be going smoothly, complications appear. Rainstorms, mistaken a dialogue - a faerie tale with many tellers.

identities, plagues, true love... these elements, and others, keep the plot Deliria is a game. It's all in your head. No matter whether

bubbling. you play it in chat rooms, around a table, through a fairground, or

• Climax: When all the conflicts come to a head, the climax resolves the whatever, the rewards are the same: fun times, cool stories, and a bit

tale... for now. Traditiona lly, a faerie tale climax should involve a secret of imaginative flex. No one's going to assign prizes for Biggest

discovered, a challenge met,justice done, and rewards received. Whup-Ass or Largest Collection of Powers. The prize is in the playing.

.. Story Arc: A single tale i n a larger saga, the story arc covers a single series Have fun, and don't take anything too seriously ... except, perhaps,

of connected dramatic events. The tale told under "Rachel's Saga" the insights you might gain from making your imagination stretch.

presents a single story arc, and the untold sequels would involve
additional story arcs. So Where Do We Begin?
Like all faerie tales, a De{iria saga starts among familiar settings,
See Faerie Tale Elements, Pages 163-1 67 for examples then heads outward into the unknown. Along the way, our hero:

of new and traditional hooks, settings and themes. For • Loses control of his old life.
potential supporting cast ideas, see the Motifs in Chapter 2 • Meets strange entities.
and the Guises in Chapter 3- • Faces challenges.
• Changes from what he was before to what he will now become.
Although this structure rings true for most fiction, the

uncanny nature of these elements sets the faerie tale apart from

realistic stories. At the same time, the personal nature of the faerie

tale sets such tales apart from the epic scope of mythic fantasy; as

we saw earlier, a faerie tale keeps a low profile. Even so, the stakes

are pretty high. If you happen to be the hero in question, your life

will never be the same again!

Putting it Cogether
So how does Rachel's saga work out in game terms ? Who does
what, and how do they do it?
juli, Kelly, Rick, and Marc comprise the Circle. This time out,
Kelly takes on the Guide role, Juli creates Rachel as her character, and
Marc employs Rollie, his supporting-cast characterfrom another saga.
Rick is pulling some heavy nights at work, so he'll be taking on small
supporting roles. Kelly assumes the roles ofthe other characters, and the
game begins.
For "Once upon a time," Kelly uses the terrible day when Rachel
loses everything. Not knowing whot Kelly hod in mind, Juli had built a
goodjob andfiancee into her character's backstory. Kelly begins the first
session of this saga with: "There's a note from your boss on the desk when
you get in to work this morning. 'Come see me when you get in,' it says,
and you don't like the sound of that." Kelly has baited the hook, and the
saga's off to a strong start. Handing off the role ofRachel'sfiancee to
Rick, Kelly provokes an argument between the characters; Rick (having
been brieftd by Kelly) has the guy break up with Rachel and move out.
Juli plays along with the game and has her character suffer a meltdown.
The tale moves into its next phase.
We will push on to that mystery
And it will push right back, and
there are worse things than that.
Dar Williams, "After All"
"Time passes, and things get worse." With those words, Kelly
compresses a lot oftime and activity together. Outlining a series of
financial and personal disasters, she ends with a near-broken Rachel
crying on her balcony. "Suddenly," she tells Juli, "you see a moonlit shape
darting through the garden shadows. What do you do'" Juli. seeing her
cue, has Rachel investigate. The main character heads offinto adventure.
As the Guide, Kelly has alreadyfigured out who the child is,
determined that he has a monstrous uncle, and decided to have Rollie
involved somehow. Taking Marc aside, she briefs him about a child
whose uncle sells nightmares. Narrating a short tripfrom Deliria into the
mortal realm, she describes the garden outside Rachel's building. "The
child disappears, but before you can catch sight ofhim again there's this
cute chick entering the garden. She sees yourfox,head. Whot do you do?"
A bit ofroleplaying later, and Rachel's in the otherworld with Rollie. The
saga continues, ..
You get the picture. The Guide establishes the scene, plops the
other players in the middle of it, then lets the story take its course.
Every so often, she tosses in complications to keep the action moving:
Tlachel's Sago
Traditionally. the faerie tale takes place i n a legendary past.
Deliria. however. brings that Once upon a time into the present.
A Delirian faerie tale might go like this:
Once upon a time, our hero (col/ her Rachel) lived in a
beautiful apartment overlooking a garden. A single awful day cost
her both herjob and herfiancee. and she spiraled into depression.
Late one night, Rachel saw afrightened child in her garden; going
downstairs to rescue him, she was swept up by ajoxlaced wildman
and taken to another world. Escoping, she encountered six-armed
dancers, living rosebushes, and Q hot guy who becomes Qfox when
her back is turned.
Winning the dancers' trust, Rachel learned that the child is
hidingfrom his uncle - a merchant who sells bod dreams. When he
learned of her involvement, he sent nightmares to punish her. But
thefox-headed man hadfallen in love with her, and he defended
herfrom the nightmares. Struck down, he appeared to die, until her
kiss restored him to health. Together, they defied the nightmares,
destroyed the merchant's trade, and delivered the boy to his distant
cousin - a witch who Jived among the roses.
Returning home, shefound rewards: a golden key and an
address. Following that lead, she unlocked an abandoned shapfront
and discovered a deed signing this store - a magiC shop - over to
her. The shopfront belonged to the merchant, once, but with his
exile that shop - and the hot guy who walks in to be herfirst
customer - now belonged to Rachel. The hot guy in question was,
ofcourse, thefox. And, as Rachel soon discovered, the merchant was
none too pleased about losing his trade to this upstart mortal...
All the elements are there: Rachel's life goes "BOOM!" Strange
events take her into unfamiliar territory. She meets weird
creatures, learns the ropes, proves her worth, and wins a prize.
The woman she is by the end of that story is not the woman she
was at its beginning. The course of existence has not changed,
but Rachel's life is radically different.
There it is: the Deliria saga, a faerie tale told i n our world.
All the classic elements are there, but they're given a modern
slant. The Circle members play out key characters in the tale­
Rachel, the fox-dude, possibly the dancer, maybe even the boy, the
witch, or the merchant. Best of all, we have material for a sequel
- the fox-dude, the witch, the storefront, and the merchant all
provide seeds for Rachel's future tales. The saga could end with
Rachel taking over the business and her new lover, or it might
continue in a new story arc with further complications from
outside.

Venues
Deliria is a game of imagination. As long
as you have that, you can play it anywhere.
Potential venues for a game include:
• Tabletop: The traditional gaming space, a
tabletop game sets your Circle in a single room with books, a set of
cards or dice, notes, and possibly a table for all of the above. In tabletop
play, everything is narrated: players assume their roles verbally but
dress up or act out (much). In this venue, you might use miniature
figures to reflect your imaginary selves or draw diagrams to represent
the setting . pick up later, there are plenty of elements for Rachel's later
• Live-Action: The live-action or LARP ("live-action roleplay") venue lets
you slip into character and act out the adventure in person. Narration
is still important, but your Circle may use costumes or props, keeping a
single deck of cards to resolve disputes. Ideal for medieval recreation
weekends, Renaissance faires, clubs, or simply walking down the street,
LARPing can be a great deal offun so long as everyone stays on the
right side of the law.
.. Virtual: When you can't be physically present in the same space, a
virtual game allows you to meet anyway. Played through Internet chat
rooms, email, instant messaging clients, or even the telephone, the
virtual game uses narration and short cues to evoke the place and
events of the adventure. When necessary, a quick-resolution program
can decide Prowess-based contests. (See next chapter and the
Appendix.) The short vignette at the beginning of this section offers an
example of virtual play, which can take place i n real time or (with
difficulty!) separately, through email.
Soon, Kelly decides, the wicked uncle learns ofRachel's interest in
the boy. Rick takes on other supporting roles, like the six-anned dancer,
and the Circle adds to the tale's momentum. Rather than telling the other
players what to do, Kelly watches them, keeps track ofher supporting
cast's agendas, and nudges things when the other players start to wander.
Over the course of several game sessions, she throws in living rose bushes,
the nightmares, a couple ofthe uncle's clientele (also played by Rick), and
other complications. For the most part, though, she hangs loose and lets
the other players do the talking. Jull and Marc take their cues and have
Rachel and Rollie begin a tempestuous love affair.
Kellyfinally brings things to a climax by pitting the uncle against
the heroes. Deciding on a worthy doom for the merchant (see previous
chapter), Kelly lets Rachel discover the uncle'sfatalflaw. Ding-dong, the
wicked bastard's... well, not dead, exactly, but he's out of the picturefor a
while. Kelly wraps things up by getting Rachel back home, letting]uli
discover the key and note, and allowing things to take their course. "You
walk into that interesting bookstore you've been meaning to check out, n
Kelly tells Marc, "the one that's always closed. [t's open now, and guess
who you see at the counter, looking very confused... n
And so the saga concludes its story arc. If the Circle wants to
adventures. For now, though, Kelly is done. She hands Guide duties
off to Marc, who has his own plans for her character, Wendy Carter,
and Rick's character, Bryce. A new saga opens ...
H elpful H ints
Group storytelling is easy, intuitive, and fun. B y working together,
Circle play encourages everyone to use imagination, people skills,
and common sense. Even so, a few tricks can help your Circle get
the hang of these collaborative faerie tales, giving you enough
energy and material to create stories together for years to come.
Evocation
Evoke means "to call." In this case, evocation is calling upon your
imagination to provide sensations, ima ges , motivations, and plots.
In passive entertainment, evocation involves sitting down at a screen
and letting someone else provide imagination for you; in active
entertainment, the impressions and ideas are your own. This
demands a bit more work, but that's where the fun comes in.
To evoke an image or sensation, concentrate for a moment
on what you want to express, then look inside your own mental HIes
of impressions and memories until you find something that sparks
your imagination. Say you're Kelly, trying to describe that sinister
merchant; reaching into the memory vaults, you pull out the image
of an old boss you hated. Recall details in all sensations - his smirking
leer, his onion breath, his demands that everything be perfect. . okay,
.
you've got the image. Put that impression into your description of
the merchant. Voila! One vividly contemptible cha ra cter.
Do the same thing for settings: remember a torrential
rainstorm, a pot-holed street, an office building that resembled a
glass castle in the morning sunlight. .. soon you'll find that your
imagination can call up all kinds of helpful things. Better still, you'll
probably notice that your experiences in the real world become more
vivid - you start to notice more because you've been concentrating
on things you've noticed. In this way, evocation adds to the quality

of your everyday life even as it makes your games more fun.

lmprovisation
To improvise is to make things up as you go along. Deliria's all
about improvisation: instead of a scripted adventure, you've got a

group of people spinning a storyline together. Again, this is a tad

more demanding than sitting there watching someone else's story.
but the extra effort is worthwhile.

Three keys unlock improvisation: knowledge, flexibility, and

cooperation.
., Knowledge involves a strong sense ofyour part in the story - who
your character is, what he wants, and how he'll go about getting it.
(This is what cheat sheets and character sheets are for - see
below.) Once you establish those things, you'll be able to
improvise like crazy. That knowledge provides fodder for your
imagination - which, through evocation, probably has plenty of
material to work with already.

., Flexibility means being willing and able to move freely. It's a trust
thing - you trust yourself to come up with what you need, trust
your Circle not to screw you over, and trust the story to take shape

from your efforts. Assuming everyone in the Circle shares this

kind of trust (if you don't, why are you friends in the first place?),

improvisation becomes a dance of imagination, with everyone

both leading and following the leads of others in their turn.
• Cooperation offers each player room to move. Every person in the
Circle has something to contribute, so allow one another to shine.
Juli may have the main character in Rachel's saga, but she gives
the stage to Marc, Kelly, and even Rick when another character is
doing something important. The play's the thing in De{iria, and
that play is the game's reward.

For example:
cheat sheets Rachel Forrest - reluctant heroine. short,compact, blond hair, brown
Deliria doesn't require scripts. Even so, it's still a good idea to keep a eyes; kinda cute, but no st unne r No makeup, looks like she's been
.

cheat sheet handy, especially when you're the Guide. A shorthand crying a lot late ly Short·tempered, a bit whiny; expects everything to
.

sketch of who's doing what, why they're doing it, and how well they
can do it, the cheat sheet supplies much·needed knowledge for your
improvisation.
A cheat sheet doesn't have to be elaborate. A simple list of
the character's name, goals, appearance and personality, and special
powers is usually enough. If you like, you might make an elaborate
list detailing various Prowess scores, character histories, and so forth
- perhaps even adding illustrations if you're artistically inclined. At
its core, however, the cheat sheet ought to be simple.
go badly. Wants her life back, but has a good heart. Unusually
perceptive (sees auras), but no other special powers.
Rollie - cute fox hero-type dude. Sharp, handsome
features, thick red hair, blazing amber eyes, lean build. Roughly
dressed, always unkempt (in a cute way). Passionate,joking, sexy
voice (great singerl); irresponsible as hell,always wants to play.
Doesn't mean any harm but causes plenty. Is a shapechanging fox ­
can adopt several human faces, turn into a fox, or become fox-man
hybrid. Acute senses, fast reflexes.
 For really detailed records, you'll probably want to use
the rules in Chapter 6 to craft an in-depth character. To
keep track of those various elements, use the character
sheets provided on the Appendix Disc or create your own.
Keystones
In the living world of faerie tales, the setting becomes as vital as any
of the human characters. Think of the Dark Wood of Grimm's faerie
tales, the Bronze in
Bu.fft the Vampire Slayer, or the midnight market
of Neil Gaiman's Neverwhere. Such keystones fire the imagination,
evoking a sense of dreamlike significance. You could see many
different tales taking place in such settings ... and you may even want
to tell a few of them yourself.
In Deliria, a keystone is an important setting. It could be
anything - a bridge, bar, grove, whatever. It probably comes loaded
with symbolic power (like a bridge or hospital), and might include a
supporting cast that adds to its ambiance. Whatever its location, the
keystone is significant. It might not be supernatural, but it will play
a vital part in your adventures.
When setting up a saga, you'll want to establish a few
keystone settings for your tales. Rachel's saga, for instance, has the
garden, the shop, and a few other locations we didn't cover. Your
own saga might include a bookstore, an arcade, a dock, and a fog­
shrouded glen. The exact locations and their details are up to you,
but in any case they should be places you'd want to visit - in your
story, and perhaps even in real life.
See the various FYE sidebars in Chapter I for sample
keystones. Other locations can be found on the
Appendix Disc.
plot Chreods
You know that kid who went missing last week? That girl you broke
up with? That outstanding warrant for your arrest? (Just kidding...)
In game terms, those are plot threads - potential stories that haven't
happened yet but that could become important later. A plot thread
can be a rumor, some unfinished business, a glimpse out of the
comer of your eye. It's the story that never was but might be, given
the right circumstances. It can also be the story that's already in
progress just out of sight. Your players haven't stumbled into it yet,
but they soon will ...
Every saga needs plot threads. To invent a few, just ask
yourself what if? What if that creepy dude in the comer were 100
years old? What if that glow in your back yard were a pixie brawl?
What if someone in your town were selling a designer drug that
included faerie sight as one of its effects? You don't need to answer
those questions immediately; if you drop a plot thread or two into
your saga. chances are the answers will make themselves known
before long.
<1160 ..
See the Not-So-Idle Rumors sidebar in Chapter I for a
handful of potential plot threads.
Just 'Cause: Qule Without Qules
In faerie tales, weird stuff happens all the time. Check out the
bouncing disembodied heads in Spirited Away, the gingerbread
house in "Hansel and Gretel," or the life-draining machine in The
Princess Bride. These things don't have to make sense - they simply
exist, adding an aura of unreality to the story.
Computer and roleplaying games, on the other hand, are
infamously legalistic. Every circumstance must be strictly defined.
In that tradition, the miracles so common in faerie tales demand
elaborate rules to define the details behind each strange event. But
legalism runs totally counter to the spirit of both faeries and faerie
tales. Indeed, the laws of man are the first things to shatter when
the Folk appear.
So don't sweat it.
One rule helps immeasurably when you're trying to evoke the
faerie tale world: just 'cause. Under this rule, specific rules don't matter.
Incredible things happen just 'cause this is a faerie tale. So if you're the
Guide, you can describe the bouncing heads, gingerbread house, or
life-draining machine without defining them with game systems. Just
'cause this is a faerie tale, the nonna! order ofthings is suspended.
Just 'cause is a judgment call. It doesn't mean everything
should be random and arbitrary. Indeed, the story elements covered
by the just 'cause rule ought to make a more exacting kind of sense:
poetic sense. They need to fit the atmosphere and tone of the story
and should symbolize some greater theme as well.
This rule-without-rules allows the Guide to weave mysteries
without working out specific game mechanics. However, it depends
upon fairness, judgment, and balance. A saga in which anything can
happen at any time, without rhyme or reason, isn't a faerie tale -
it's chaos. So before invokingjust 'cause, consider the poetic tone of
what you have in mind. Does it fit the story? Does it fit the events
and characters? If so, let just 'cause warp reality just enough to keep
that sense of wonder alive.
Che Circle-Shored Setting
Places are like people - multi-dimensional, with secrets, quirks,
backstories, and contradictions. Each setting is organic and alive, a
product of many visions and events. A single Guide would be hard­
pressed to design a setting rich enough to reflect the many aspects
of a place; however, a group of Guides working together might create
a setting fIlled with possibilities, secrets, and the occasional surprise.
Your group could create a Circle-shared setting - a town or
dty in which each player has a bit of territory. The group as a whole
decides the basic concept of that setting: where it is, what it's like.
landmarks, history, that sort of thing. From there, the individual
players take portions of the setting as their own: Kelly might prefer
the financial district and fine art community, whereas Marc gets the
bohemian subcultures and underclass, Juli takes Old Town and the
police department, and Rick handles the media outlets and
marketplaces. Each player then creates keystones and plot threads
for his territory. If another player wants to use those elements, she
checks with the player who designed that territory first. This way,
everyone contributes to the setting of their shared adventures, and
though everyone knows a little bit about the overall setting, no one
knows everything.
Within that setting, each player has a handful of characters.
When one person trades the Guide position to another, everyone
else changes characters. Kelly, for example, has three player
characters (Wendy, Ariel. and Scrap), plus the supporting cast she
assumes when she Guides her saga. Marc has three, Juli has three,
and Rick (because he can only game occasionally) has one consistent
�'Ilil '
character and a host of random supporting roles. Essentially, this
one Circle runs three sagas. Rick doesn't have time to be a Guide,
but ifhe ever gets the chance, he might run a one-shot short saga,
then drop back to supporting-character status. Every so often, a
character from one saga can cross over into another (Kelly adding
Wendy into Rachel's saga, for example), giving the Circle even
greater possibilities.
A Circle-shared setting allows your group to develop a rich
background for your different sagas. Each saga could take place
within that setting, just as different stories take place every day in
your own neighborhood. The characters may cross paths, but then
again, they might not. Either way, the setting becomes a character in
its own right... and grows richer with every tale.
 Story elements
In neliria. circumstances that rely on drama rather than rules are
called story elements. A broken leg, perpetual fog, talking cat. and
so forth are story elements; you don't need separate rules to
cover them -the Guide sim ply describes them as part of the
setting. and the players accept them that way.
Story elements might come about as a result of events
(like the broken leg); exist as background color (like the fog); or
provide a sense of Otherness (like the talking cat). In Rachel's
saga, for example, example. story elements include the
nightmares and the key to the merchant's shop. Whatever t h e
reason behind it, a story element comes with the territory.
Essentially part of thejust 'cause rule, it exists for the sake of
drama and needs no further explan at ion . suddenly to carpets of spongy moss and soft shadows." A thunder­
Qotating Gui des
No, no, no... rotating Guides are not players caught in ceiling fans.
They're players who assume Guide duties when the previous Guide
finishes her tale. Kelly, for example, steps down as Guide after
finishing this arc of Rachel's saga, and Marc takes over with a new
plot thread and different characters hut the same Circle of players.
You don't have to use the rotatng Guide approach, but it's got
several benefits. Rotating Guides within a common setting gives
each player a chance to take time out to play as well as the
opportunity to be creative. Combining the rotating Guide idea with a
shared-Circle setting, your group can trade Guides, characters and
sagas without losing the cohesion of the group. This way, the Circle
keeps the Guide(s), characters, and setting fresh but holds the group
together over time and trial.
Assistant Guides
In Rachel's saga, we see one player, Rick, take the role of assistant
Guide. Playing various small parts, he helps Kelly portray the setting
and its supporting cast. Although he may not know everything Kelly
has in mind, he's clued in to certain aspects of the story. His
contributions make the saga richer, adding variety to the game and
saving wear-and-tear on the Guide.
Ideally, an assistant Guide helps the main Guide by checking
rules, playing supporting roles, narrating events while the primary
Guide takes a break handling players whose characters have split ofT
from the main group, changing CDs for the soundtrack, and other
tasks that would distract a single Guide. An excellent position for a
part.time player, the assistant Guide position allows a person with
real-life conflicts to enjoy the game without making a full
commitment to play in each session.
Sensual Splendors
Faerie tales are all about enchantment. The dazzling sensations of
the otherworld are supposedly so intoxicating that people pine away
without them. The Folk themselves make strong impressions, and
magic. .. well, you can tell when magic's in the air!
So how can you get this magical atmosphere across in your
saga? A few suggestions:
• I.et Description Take Center Stage: When your players enter
Faerie, meet its denizens, or stumble into its Mysterium, set those
things apart from the mortal world by describing them vividly. An
aelden isn't just an aelden - he's "an impossibly graceful young
man, with wise old eyes that glitter when the light hits them." A
dearing becomes "a bustle of wild greens and reds giving way
storm becomes "a Viking keg-party in the sky." Don't worry about
being over-the-top. Faerie is all about going over-the-top. Have fun
with your descriptions, and your players will as well.
• Proj ect Your Own Imagination Into the World; I f you can feel this
strange new world, your players will be able to feel it, too. So take
the time to visualize your setting, characters, or events, then pick
out specific details - like the grace and eyes of the tall aelden -
to make those impressions stick.
• Give Everything an Identity: In Deliria, the world itself is a
character, and characters have personality. Personify objects ("a
watchful clock"), places ("a sleepy grove"), and events ("a greedy
heat wave"), and you'll draw your players further into that living
world.
• Speak in Impressions, not Certainties: I.et your players do half the
work for you by telling them, "You think there's someone
following you," rather than "There's a big dude 10 feet behind
you." Or use sensory impressions - "a familiar scent lingers in
the room, but you can't recall what it is" - to stimulate a player's
imagination without actually giving anything away. Tease the
players with "it seems," "you think," "some say," and other
ambiguous comments, and use sensory details in place of
concrete statements.
• Shift the Ground Under Their Feet: Every so often, let your
players know that something's not quite right: "That bird sounds
unusually loud," "Those clouds seem to be following you," "Your
drink tastes... odd." Let the players draw their own conclusions,
but show them that their world is not its usual self.
., Use Symbolic Elements and Omens: In faerie tales, everything
seems significant, even if it isn't. So work in occasional bits of
color - the flock of sparrows gathered on the bench, the
impending blizzard, the printout that stops right after the words
"help me" - to keep your players guessing while evoking the
enchanting atmosphere of Faerie.
For your use, the Appendix Disc boasts several
collections of symbols and omens.
 Faerie 'Cale el ements

If >be bao"'t lookell «t' ,vile" >be oio, Mars/;a woulo "ever bave see" the ma" st'reao {,is wi"fI'.

The Cet1ter's foo3 court was a mob, swanl1w witl; noise al1a bustle ani} cheap foo) soll) OOaY. Nesueb beuveel1 u)ree glass towers,

it SIlt be"eath a sk;gliff;t few folks ever "oticell. Mars/;a was just stretchi"B the kiuks out of (,er Heck after ..other e"oless ,,,eeti"B

with (,er ""fJ"ll boss ("flies i", era,� all over eve'lJthi"� the" leaves") ,vile" fai"t move",e"t ca"iiit (,er ,iff;t.

Tbro"iii the sk;glifl;t.

Hiff) above.

So (,iff) si)e si;o«lo",t bave bee" able ro see it at all.

But >be co«lo. A"O >be oio.

A Itum atilt' the tallest glass tower. Twel1t� stories tip aHO bark agail1St the HooHtime �.

A maw ,vI;o strero(,eo, like Mars/;a.

But {,is stretchi"g bro«f1;t forth wi"ll'

Wille wi"fjS, like a cloak, but alive.

Marsl)a bliukeIJ baro. Tile maw remai"eIl.

A"O the", with a oruer's arc, (,e learot i"ro the sk;g 0"0 soarell, U«See" excet't for the si"Ble aerou"t ret' ,vI;o baPl""eIl ro bave a

stiff Heck 0"0 e'!J"iff)t roo s/;art' for (,er OW" iPJIt·

Nearb�, lu"ci;timers j05tlell for MeDo"al.., tiobi..

Oueti)eOO, a wi. maw flew.

A"O Mars/;a k"et. that somelJa� SOD" >be'o bave ro rille the elevaror ro the rot' of that ",ll glass rower, 0"0 �"O tI)at wi.

Itum's l1est.
 Classic elements/Modern elements nipples i n the Pool
Alt h ough they take pl ace Once upon Q time, faerie tales reflect the One of the oldest, best loved, and most often misunderstood story

times and cultures that produce them. Many themes seem forms, faerie tales have a language of their own. Certain themes and

universal, but the details change between telli ngs. The film Pretty elements set them apart from other tales. The story in question might

Woman differs from Disney's Cinderella. which differs from be traditional European ("Sleeping Beauty"), indigenous ("Sealskin,

Perrault's retelling, which differs from Grimm's "Aschenputtel," Soulskin"), exotic ("The Fox Parade"), modern (Pretty Woman),
which took l i berties with the doze ns of versions that inspired postmodem (Being John Malkovich), surreal ("Wolf"), musical (Into
that account! All ofth ose tales are essen ti ally "C ind erella," but the Woods), sarcastic (The Princess Bride), or what have you. Regard·

the tone and details of each version are very d ifferent ! less of the details, we still recognize elements, sense themes, and

d
Our worl has mythic themes and settings of its own, revel in the trappings we understand on a primal level. The faerie

many of which would have been unimagi na ble 100 yea rs ago. tale speaks the language of dreams, and dreams are universal.

And Deliria. set between our new millennium and ancient Faerie, Carl Jung wrote of the collective unconscious, a pool of

can use ingred ien ts from classical folk sources and modern ones impressions that all people share. Certain symbols, characters, and

Simultaneously! Therefore, for ins piration we've provided sidebars tales dip into this pool, rippling outward with meanings far beyond

with seven faerie tale elements from classical faerie tales and the obvious. We grasp those meanings regardless of era, language,

seven more from current sources or settings. You can use these or culture. They're an elemental part of human heritage. And faerie

examples to in spi re details within your saga or ignore them in tales are part of that archetypal pool.

favor of your own creations. The faerie tale pool is vast and deep. We could fill a book

twice this size detailing its many elements. Certain features, though,

seem especially common and important to the form. To capture the

nature of the faerie tale in your saga, you'll want to work a few of

these elements in when you can. A faerie tale, after all, isn't a mere

action-adventure story - it's a map and metaphor for growing up.

Core Structure
As we mentioned earlier, most faerie tales follow the same structure:

innocence, challenge, and transformation. From apparently simple

beginnings, the ma.in character(s) experiences a sudden change of

fortune - his mother dies. his father goes broke, his brother offers

him part of the kingdom, whatever. His innocence is broken. To

survive, he must change.

Potential 'Chemes This crisis forces the hero to face challenges he would never

7 Classic Themes 7 Modern Themes have chosen otherwise. Those challenges might be physical (being

.. loss of Home/Power/Family/Self .. Alienation/loss of Id ent ity chased by a wolf) , social (losing his identity), spiritual (suffering a

.. Truth vs. Deception • Rea lity Gone Mad loss of faith), or magical (being changed into a frog). Either way, those

.. Consumpt ion/Greed .. Refuge in a Crazy World challenges soon pile up, growing stranger with each new obstacle.

.. High Society vs. low Society ., Rebellious Machines Fortunately, the hero often has help - strange benefactors who

• Budding Sexuality .. Strangeness Next Door might range from cryptic hermits to faerie godmothers to talking

.. True love • Melding of Souls/Bodiesl animals or clueful ghosts. This assistance isn't free, though - the

Cult ures/Realities hero must earn trust, pass tests, and otherwise prove himself. Until

• Pride leading to Disaster • Old World lIS. New World he does, he remains at the mercy of an increasingly bizarre world.

Through time and trial, the hero changes. He might be

transformed physically (from man to swan and back again); mentally

(from a dullard to a visionary). emotionally (from selfishness to

maturity), or whatever fits the story. I n any case, the story brings

about a change. By the climax, the hero grows into someone new . . .

or, i n darker tales , he dies.

Although Deliria remains unscripted, you'l1 want to keep this

core structure in mind. When starting a saga, use hooks to provide a

crisis. Move the action to a dramatic setting and toss in challenges as

needed, and keep some greater goal in

mind. Provide an adversary (wolf, witch,

nightmare merchant, etc.) to keep the story

on track, maybe add some he/pme"'" and let

drama take its course. From there,

transformation is inevitable. Your

characters will change as the story

progresses. How will they change? Ah,

that's the fun part - not even the Guide

knows for sure.

Hooks
Stories begin with a crisis. Something
dramatic happens, and the hero has to deal
with it. Traditionally, the faerie tale begins
with a variation on once upon a time and
then establishes a household in which
something is just about to go wrong.
Modern entertainment, though, demands
more kick. These days, a hook snaps out,
grabbing both the hero and the audience in
one quick shot.
Potential Hooks
7 Classic Hooks
• Hero's Mother or Father Dies
.. Hero Faces Starvation
.. Hero Goes off to Seek. His Fortune
.. Hero Falls in love
.. Someone Steals An Important Thing
.. Hero Meets a Magical Being
.. Curse, Storm, or Other Disaster Strikes
7 Modern Hooks
.. Hero Busted/ Broke
.. Hero Displays Strange new Talent
.. Hero Wakes u p Somewhere Wrong
.. Hero Approached by Strange Personage
.. Hero Witnesses Something Impossible
.. Weird Enemy Attacks
.. A Stranger Needs Help Now!

A common storytelling device called Potential Settings

in media re, ("in the middle of things") 7 Classic Settings 7 Modern Settings
hooks the audience at a dramatic point, • Forest • Bar/Nightclub
then cuts between flashbacks and that • lake • Theatre
timeline to show how things got to that • Hill • Slum
point. If your Guide's feeling adventurous, • Cave .. Mansion
she might start the saga in media res, then .. Crossroads • laboratory
narrate what happened up till then. Or she • Bridge • Studio
might take the safe option and simply start • Castle .. Shopping Center
right at the hook, in real time. Either way,

the hook needs to be sharp, fast, and Potential Challenges

pointed enough to sink in. 7 Classic Challenges 7 Modern Challenges
.. " Identity Stolen/Switched
Tests of courage/Cleverness/Character
Setting .. H unger/Poverty .. Abused by Familyl Loved Ones
The castle-strewn forests of once upon a .. Temptation .. Underage Runaway
time present traditional fantasy settings. But • Abandonment by Family/Loved Ones .. Hunted
if, as the Introduction says, once: upon a time .. lost in Wilderness .. Addiction
is now, the possibilities reach beyond • Changed into Someone/Something Else " Terminal Alienation
tradition. Vou could stage a faerie tale in • Sworn to Some Hideous Mate .. loss of Job/Flunking Out
and around an office building (like Being
john Malkovich) or school (Buffy the Vampire
stayer), set it on the run (the Fearless series

of novellas), or focus it on a family (the

Weettie Bat books) ,

Existing, a s they do, on the edges of

dreams, faerie tale settings are always

symbolic. On top of the obvious physical

symbolism (castles representing royalty,

Helpmeets
If antagonists are our shadows, then helpmeets are our higher

selves. Allies with helpful talents, these mysterious benefactors

reflect the good parent - the mother or father who fed us and loved

us no matter what we did. Traditionally, such helpers hold secrets

the heroes don't know, understand things the heroes can't grasp,

and possess powers the heroes can only marvel at. In short, the hero

would be sunk without the helpmeet. For all her virtue, Cinderella

would still be scrubbing floors without her faerie godmother.

Still, virtue is important. Without it, the helpmeet wouldn't Potential Adversari es
waste her time. Although in some folktales mysterious figures offer 7 Classic Adversaries 7 Modern Adversaries
help to ungrateful heroes, such stories are the exception. In most .. Wicked Witch/Wizard/ Vizier .. law/Government
cases, the helpmeet appears when a good person needs a friend. .. Predator (Wolf, lion, Etc.) • Shadowy Conspiracy
This walking karmic payoff might be a friendly witch, a troop of • Demon lover • Criminals/Terrorists
little men, a flock of birds, or the ghost of some ancestor. In any .. Evil King/Queen .. Former Lover/Friend
case, the helpmeet performs an incredible favor, then vanishes once • Evil Stepmother • Rebel Machines
the hero's needs are met. • Ogre/Giant • Things That Should Not Be
This last point is vitally important to remember in an • Villsprites • Self
ongoing saga: A helpmeet offers temporary assistance. He does not
sit around waiting for the hero to press a celestial speed-diaL With Potential Helpmeets
few exceptions, the helpmeet is a one-shot deaL When the crisis is 7 Classic Helpmeets 7 Modern Helpmeets
past, the ally returns to wherever it is that lesser angels go, leaving .. Faerie Godmother .. Computer Sprite
love and the gift of its assistance. In the end, the hero must face life • Magical Steed .. Mystic Weirdo
on her own. • Talking Cat • Mysterious Stranger
• Parent's Ghost • Faerie lover
• Ancestral Patron Spirit • Best Friends
• Cranky Old Sage • Monster-Gone-Good
• Dji n n • Waitress/Bartender with
Really Good Connections

.�
, "
 Ever After (Happily/Unhappily)
He sl;ivers 1H13er tI}e covers after evc"30l1c's gone to ben. On(e3 �l" ljke a bab:91 f}e fJ�lfJs We pi([ow closer. Eight-Jjear-o(o fiJ19frs

dCl1ch into the Cltsbiol1. Rit'pfes sfitl across bis s{cl1i)ey limbs. Al1ima( SOIHlOS colVer Hear the back of bis ci)rool

He ooes Hot c�.

He will HOl CT,9.

Tremble-bellieo sj/e�ltl Savi burrows bis toe5 il1tn the blanket (0[05. His Mrs sti({ ril19 fro»1 sbOJ.tlil1fj. His .skil1 still StiJ1fJ5 fro»1...

but be lVi[{ not crtl. Out..�jOcI t.be 111011.'iOOJ1 weeps for biH1, its currel1ts washil1g [of10-a['tll1ool1eO toJ)s DOlVl1 the street al10 [JOf1e.

T&e ffoor creaks.

Tf,cre is sofl1ctbil1fj Hetly the bea.

No. No sud, UJil1fJ. savi i.� "(OHC. The bOLL'ie is s(eelJiI19. Tbe rai» fll((S.

There is solltetbil1fJ l1ear tbe bei).

If be were to 0llCI1 Ut' bis cJ)cs, Scmi hlOlVS, be might beholo a dctly curtain rtt.J)il1fJ IUlst bis JVil1001V1 settil1fJ bishlight.5 011 the

bril}tf� cofore3 bfal1k'L If f}e tvere W fisten past tI}e rain an3 ri"lli"ll, &e mil}l a((Ofv &i'"SCf( w &ear the ",stle of fig&l, 3r� doth.

Blit tiJere is nothing, &e te{(s bifltself. Nothing neaT the bea. No ol1e l1ear.

Until the beo creaks bel1eath the HI1»1iswkable wei�)t of growl1-wtJ. Ul1til �)e pre.�el1ce l1ear bim grows too strOl1g W wi.w awa�.

Savi squil1t.5 il1w the gloom.

Blit it's l10t IV&O be expects.

Tt)e fail1t :hil'le from liJe wil100lV outfil1es ber flolVil1g bair. A bare cat-.Wil1e betra�s ()eT e�. A sparkle 011 ber foreheao see»lS W

bolo a orop of .�UH, oimmci'l b;9 tbe H101tSOO11 setiSOl1 but l10t gOtle.

111 tones (ike trick1il19 water, .si)e speaks: "Wbat is it, little chilo of the SUI1?"

Savi sflliles. He wi{( Hot cr;9.

He wi{( not l1eeo to.

Mira t&e Nagiui bas come bome once more.

Ihll
 CHllPTER 5: CHallENGE aNTI CHaNCE

cbarlie cbalkoust lives at scbool.

At l1ight, he slil1ks betweel1 the classrooms or visits the bIAses, Go look il1to the mirror, the� sa�, al1D cover �our e�es, al1D sa�,

�ellow al1D silel1t ill the lot. DlAril1g the Da�, whel1 the other kiDs "Charlie chalkDust, charlie chalk�ust, charlie chalkDlAst look

are sittil1g at their Desks, charlie rlAl1S throlAgh the empt� halls, at me," three times, al1� �ou'll see him over �our shoul�er. The

sl1eakil1g 1A1) 011 teachers al1� makil1g them sl1eeze. girls �are ol1e al10ther to kiss erasers al1� wbisper, "Hi, charlie

charlie chalk�lAst hates the teachers. The other kiDs sa� chalk�ust/, three times. If �ou Do this, the stor� goes, �oli'll get

that 10l1g ago one especiall� meal1 math teacher ma�e charlie ol1e wish. charlie likes girls.

pOlAl1D erasers IAl1til charlie tltrl1e� bOlle-white al1� Diw. He ha� Sometimes, the kiDs pla� crueler games. Ol1e gal1g of blAllies

asthma, the� sa�, al1� the chalk DlAst got il1to his lUl1gs an� just useD to Drag little kiDs to Ol1e COrl1er of the plaMroul1D al1D clap

ma�e them all glopp� il1si�e IAl1til all he coul� breathe was erasen ill their faces, chal1til1g, "choke 011 charlie! choke 011

�ellow Sl10t anD powoore� chalk. The� sa� he fell 011 the floor, his charlie!" This stoppeD whel1 the biggest, meal1est kiD was fOlAl1D

tonglAe hangil1g OlAt al1D his face tUrl1il1g blue, al1D the teacher DeaD b� the swil1g set, his mouth filleD lAp with �ellow DlAst.

jllSt tol� him stop fakil1g, stop fakil1g, IAl1til the ambulal1ce came charlie likes bullies evel1 less thal1 he likes teachers.

al1� took charlie awa�. So whel1 �our school bus rattles al1� the el1gil1e �ies, thal1k

That'S ol1e stor�, blAt it's 110t the 0111� ol1e. Some kiDs sa� charlie. He Di� it. whel1 �olAr teacher'S sick al1� colAghil1g,

that charlie was l1ever a persol1 at all. The� claim he'S a clou� charlie DiD that, too. whel1 �u see fingerpril1ts of �llSt 011 the

of �llSt that oociDeD it wal1tW to be a bo�. Or that he just chalkboarDs, or smell �r� chalk 011 the breeze, leave a little bit of

ap/JCilrw ol1e �a�, formw b� the al1g� wishes of all the ki�s apple or a cookie ul100r the swil1g sets before recess el1�s.

who'D ever ba� to polAI1D erasers after class. The bo�s Dare ol1e charlie'S watchil1g, al1D be wal1ts to be �our friel1�.

al10ther to go il1to the bathroom al1� tUrl1 OlAt all the lights.

"1 11�
 Compact System "Ru les
Why does i t always seem like the most important things i n life are How It ploys Out
the most uncertain? Wouldn't it be nice. for example, to walk into an

aelden banquet without worrying about whether o r not you were the "So, Kell:!)/, sa:!)s Marc, "You lValk il1to a huge �il1il1g hall, iJeck.w
main course? But then , uncertainty is the spice of Hfe, isn't it? Thus,

when things get unpredictable in Deliria's world, we've got rules that lVith hal1gil19 vil1es a110 fillw lVith ilozel1S of veY;9 strange
can help determine whether or not your character winds up at the

head of the aeldens' table or on top of it. people, The Vil1es twist slolVl:!), their bright flolVers al10 bristl:!)
Welcome to the Compact System.

Compact Draws its name from its compactible nature; these thOY11S catcbil1g the cal1Dlelight. Tbe people seem ul1usuall:!)
rules can be collapsed into a simple, easy-to-run form or expanded

into a detailed system. Compact is also the longer form of pact, an graceful, thil1 al10 lovel:!) hut lVith hints of mel1ace. This iSI1't
agreement between allies that lays out actions and expectations. Like

a formal pact. these rules give you an idea of what to expect within (jOil1g to be al1 ea5:!) auoiel1ce. The:!) look at :!)ou lVith hul19Y:9
the game. Unlike a really formal agreement, this Compact allows all

parties lots of room to move. Although it works on three clifTerent

levels of detail, the Compact System is designed to capture the

exaggerated deeds of faerie tales while anchoring the game in "what'S m:!) challel1ge?"
somewhat realistic limitations.

Marc co11Sults the challel1ge Level chart, a110 Wci� that this

Fou r Steps is a Difficult challenge. "Let's sa:!) I5/' he replies.

Compact is simple: Lil1osa:!) checks her traits. Kell:!)'s ProlVess for a performal1ce

is IO. Not high el1ougb. "I'll take a chal1ce/, sa:!)s LiI1Dsa:!).

she makes a DralV...

So what does that mean?

• To succeed, meet the Challenge. If that DralV comes out +5 or better, Kell:!) lVill succeW.
• To do that, use your Prowess.
• Take a Chana. If it comes out less thal1 that, Kell:!) ma:!) be il1 trouble...
• Fail or succeed? That's your Re.sult.

How it Works And that's it. The Compact System is simple. It has optional bells

Lindsay wants her character, Kelly Shockett, to make a good impression at and whistles, but it boils down to fo ur steps: What do you need to do?

that aelden banquet. Her Guide, Marc, doesn't want it to seem too easy. How good are you at doing it? How lucky are you? And did you succeed
Marc decides the Challenge Level; the harder the task, the or not?
higher the Challenge Level.

Lindsay tells Marc what Kelly is doing. Based on that, she

knows Kelly's traits for the task. These traits give Kelly's

Prowess - her base chance of succeeding.

Kelly takes a Chance. In game tenns, Lindsay makes a Draw,

and either adds to or subtracts from Kelly's Prowess. Each step is detailed in the following section, What You're Doing. For
- If it adds to her Prowess, Kelly has a better chance of a collection of all the necessary charts and tables, check out the next
succeeding. several pages.

- If it subtracts from her Prowess, she has less of a chance ...

although she still might succeed ifher Prowess is high

enough to meet the Challenge afterward.

Kelly's failure or success is the Result.


What You Need
With these rules, you can play Deliria in any situation. You can act it
out in live-action, sit around a table and narrate the events, or play
online. All you need is imagination, traits for your characters, and
something to resolve Chances. We call that something a Draw.
Depending on where you're playing, the Draw can use:
• A deck of playing cards with the King of Diamonds, the King of
Clubs, and both Jokers removed .
.. Two Io-sided dice of different colors .
• The probability resolution program included on the enclosed
CD·ROM.
'Chree Levels of Play
For the most part, we like to keep .oe(irials rules fast and
simple. Even so, you might want to have some options
available to handle certain complex situations. Therefore. we've
given the Compact System three levels of play:
How it Works
.. The Narrative level uses a fast and loose set of guidelines in which
description takes center stage (best for live-action) .
• The Basic level uses simple play in which chance decides the
outcome (good for any venue) .
• The Advanced level adds some complexity but reflects important
details (best for table games).
All three levels can be employed within the same game session -
you might use the Narrative rules to handle a series of related tasks,
then jump to the Basic or Advanced level when every move your
character makes becomes important. This combination of Basic and
Advanced rules lets your Circle handle most situations quickly and
simply but leaves options for those times when little things make a
big difference. All your Circle has to do is decide which set of rules
you want to use at a given time.
How it Ploys Out
Narrative: As Kelly begins her show, Lindsay describ<s an elaborate
puppet story. Lindsay really gets into her character; risingfrom the table,
she acts out the puppet show, showing Kelly with imaginary puppets at
herfingertips. Then she becomes the puppets themselves, acting out the
drama. Meanwhile, Marc tells her to make a single Draw to decide the
outcome. If Lindsay's really good, Marc might lower the Challenge by one
Level to reward her roleplaying efforts. If she succeeds, the show ends well
and Kelly is welcomed as an honored �st at thefeast.
Basic: Pretty much the same as Narrative, although Marc might have
Lindsay make more than one Draw ifthe show gets espt:{;ially
wmplicated or ifarn.>ther character does something to distract Kellyfrom
her task.
Advanced: As Kelly begins the show, Marc tells Lindsay to make a Draw
to see how good she is. If thefirst Draw goes poorly, he begins to act out a
distracted audience. People start laughing and heckling Kelly. Marc then
tells Lindsay to make another Draw, this time with a higher Challenge
Level. Perhaps Lindsay tries a new trick, using a different Prowess and
giving her character a better chance ofsuccess. Marc and Lindsay act out
the struggle as Kelly tries to get her show back on track. As they de so,
Marc has Lindsay make more Draws to rrflect the changing circumstances
ofthe peiformance. Ifshe comes out ahead in the end, the show goes well.
If not... well, we'd better hope that Kelly has somefriends nearby!
The rules presented in this book are given in Basic style.
Advanced rules options are provided on the enclosed CD.
Narrative and Basic rules use the Key traits
described in Chapter 6. Advanced rules use an optional set
of sub-traits called Aspects. These traits can also be found on the CD.
 FY€: What Do You Draw?
To play. you can use cards, dice. computers, or simply your imagination.
Here's how each option works:
Cords
Good for Uve-adlon or fable Games: Each player (including the Guide) gets
a deck of playing cards with the Jokers and those two Kings removed. On a
Draw, a player pulls one card to see what happens. After that, the card goes
back to the bottom of the deck. Once you reach the King of Hearts or the
King of Spades, reshuffle your deck.
Hearts and Diamonds represent good luck:, whereas Clubs and
Spades represent misfortune. A red card is added to your Prowess; a black
card is subtracted from it.
Number cards (Ace through 10) either add to or subtract from your
Prowess. Face cards have the following effects:
. The King of Hearts is an automatic Triumph (regardless of
Prowess and Challenge). If you're using Fortune, no further Draws
may be taken. Reshuffle the deck after this card is Drawn.
. The Queen of Hearts and Queen of Diamonds mean an
automatic success (regardless of Prowess and Challenge).
• AnyJack is a zero. The character's Prowess is compared to the
Challenge directly, without adding or subtracting anything.
• The Queen of Clubs and the Queen ofSpades mean an
automatic failure (regardless of Prowess and Challenge).
• The King of Spades is an automatic Disaster (regardless of
Prowess and Challenge). Ifyou're using Fortune, no further Draws
may be taken. Reshuffle the deck after this card is Drawn.
Dice
Good for Table Games: Use two lo-sided dice, each one a different color.
One becomes the suit die, the other the/ace die.
Roll your dice and see what happens:
t lf the suit die comes up 1-4, it means bad luck. Consider the suit
to be either Clubs or Spades, and read the face die as a simple
1-10. The result is subtracted from your Prowess.
* If the suit die comes up 5-8, it means good luck. Consider the
suit to be either Hearts or Diamonds, and read the face die as
1-10. Then add that to your Prowess.
* Ifthe suit die comes up 9 or 10, something special happens.
Read the face die as below:
Face Die
1-4 Jack - even chances. Compare your Prowess against
the Challenge without any pluses or minuses at all.
(No modifiers, either.)
5-6 Black-suit Queen - automatic failure.
7-8 Red-suit Queen - automatic success.
9 King of Spades - automatic Disaster.
10 King of Hearts - automaticTriumph.
Computer nesolution
Good for Online Games: Use the program o n the enclosed CD. Download it
onto your computer or PDA and you're good to go.
Imagination
Good for Advanced Roleplayers: Under the true narrative option
(see Page 187), your Circle might just leave Challenges up to roleplaying
and discretion. In that case, eloquence and judgment are
the only tools your group requires.
 cheat sheet chree Levels of Play
The following terms show up a lot in this chapter. For easy When playing by...
reference. some of them have been capitalized - it makes things
easier if you're trying to explain the difference between Chance as a Narrative Rules
game element and a chance of something happening. • Use Key traits only.
black royal: Bad news - the King of Spades or a Jack or Queen of • Call Challenge by name (Moderate Challenge) rather than number
either Spades or Clubs. (Challenge Level 9)
Challenge: The target you need to equal or beat when your character • Draw only when necessary; use the No Sweat rule, roleplaying,
performs a task. and narration to handle most events.
Chance: An attempt to do something. Most Chances employ a single ., Make a single Draw to cover several related activities.
Draw, but there are exceptions in the Advanced systems. ., Ignore multiple actions; use initiative only when necessary.
Circle: The group of players. • Ignore modifiers or Counterdraws; use contests only when one
Contest: A Challenge pitting one character's Prowess against another's. character actively opposes another.
Counterdraw: An opposing Draw taken to reduce your own odds • Ignore Fortune unless a player wants to fix a bad Draw.
of success.
Disaster: In gamespeak, an absolute failure. Basic Rules
Draw: A single die roll, card draw, or computer roll that adds to or • Use Key traits unless you'd prefer to use Aspects (it's your call).
subtracts to your Prowess when taking a Chance. ., Draw when something seems important; use the No Sweat rule to
even success: Just barely accomplishing your goal; meeting the minimize Draws.
Challenge exactly. ., Make a Draw for each important task or event. No Sweat is an
Fortune: Character trait that lets you make more than one Draw option, not the default.
when taking a Chance. ., Use Grace traits for initiative; allow multiple actions.
Guide: The player narrating the story. ., Ignore modifiers unless a trait or circumstance calls for a certain
initiative: Figuring out who acts first. modifier (like Legacies, Wyrds, weapons, or magic) .
No Sweat: Performing a task successfully without resorting to a ., Use contests and Counterdraws.
Chance; an automatic success. Assumes that your character has a • Allow extra Chance Draws with Fortune.
Prowess that equals or exceeds the Challenge.
Prowess: Your character's base chance of meeting a Challenge. �dvanced Rules
Usually the combination of a Grace trait (a talent) plus a Vocation • Use Aspects, not Keys.
trait (a skill), but sometimes just a Grace. • Draw for each significant action or event. Keep
red royal: Good luck - the King of Hearts or a Jack or Queen of things moving, and emphasize roleplaying
either Diamonds or Hearts. and narration as much as possible.
Result: Success or failure when a Chance has been taken. ., Use whatever initiative option your Circle
score: The number rating of a trait; Spirit 3 , for example, reflects a prefers; allow multiple actions.
Spirit trait with a score of 3- • Use whichever modifiers seem
story element: Something left up to roleplaying rather than rules. appropriate to the situation, but don't
trait: Something that reflects an aspect of your character, sometimes overdo them.
a word or two, other times a score. These are divided into K'}'S • Allow contests, Counterdraws,
(Basic traits) and Aspects (specific elements of the Keys, used in and extra Chance Draws
Advanced rules). with Fortune.
Triumph: In gamespeak, an absolute success. • Use whichever optional rules
you desire.
• Keep the game moving!
Nitpicking a rules system
quicldy gets boring.
 Compact System neference nesults
Challenge: to perform task difficulty of task
� If the combination of Prowess and Draw is:
to resolve contest = opponent's Prowess 10 or more below Challenge Level: Disaster.
Prowess: Grace (and possibly Vocation) score used to Le
== s�
s� �a�n�t�
th e�C�
h= h=ll=
a� en
��ge�=
Le�
ve
=�I, __
____ �=1 os
C= = , but no
e� =.
__
____
____
__ _
__

accomplish task Equal to the Challenge Level: Even success - mission

Chance: Prowess combined with Draw accomplishe d �
"= ba-
:cre,,-
.. Iy !
__
__
_
__
= ,-
Result: under Challenge Level � failure Higher than the Challenge Level: Solid success.
equal to or over Challenge Level = success 10 or more above Challenge Level: Triumph.

Challenge Levels Di saster, 'Criumph, and N o Sweat

Disaster: Painful failure, regardless of Prowess. Challenge missed
Challenge Level Draw Examples by 10 or more.
None 0 0-1 Walking Triumph: Stunning success, regardless of Prowess. Challenge
Simple 3 2-4 Skipping exceeded by 10 or more.
Easy 6 5-7 Standing broad jump No Sweat: If character's Prowess is equal to or greater than
Average 9 8-10 Jumping on top of a pool Challenge Level, success may be automatic, at Guide's
table discretion. (Narrative or Basic Rules only -uses Keys,
Moderate 12 11-13 leaping and rolling not Aspects)
across a car
Difficult 15 14-16 leaping and rolling I nitiative
safely over the roof of a Character with the highest Grace for the contest goes first.
moving car If activity is...
Hard Leaping onto a moving -- Mental (reading, riddling): Mind
car and staying there -- Physical (running, fighting): Body
Extreme 21 20-22 Leaping on top of a fast­ -- Social (bantering) or mystical (speIJcasting): Spirit
moving car and surfing - Combination (video game): lowest Grace involved
on it
Phenomenal 24 Doing handsprings over Mu ltiple Actions/nound
the top of a moving car Character's actions per round based on Grace Prowess in that activity (for
Absurd 27 26-28 Doing handsprings appropriate Grace, see chart above)
across a tight wire Grace Actions per Round
Obscene 30 Doing handsprings all 1-5 One (normal speed)
the way across a high 6-10 Two (fast)
tight wire! 11-15 Three (rapid)
16-20 Four (blur)
Draw 21+ Five (too fast to follow)
If Draw is Hearts or Diamonds = Draw adds to Prowess.
If Draw is Clubs or Spades = Draw subtracted from Prowess. I n juries
Injury Modifiers
noyals (Face Die) Hurt -1 Prowess
� no bonus or penalty
Jack ('-4) Badly Hurt -2 Prowess
Black Queen (5-6) � automatic failure Crippled -3 Prowess
Red Queen (7-8) = automatic success Mortally Hurt/Dying -4 Prowess

King of Spades (9) � automatic Disaster

King of Hearts (IO) � automatic Triumph
 Sample Modifi ers
Modifiers offer suggestions for many circumstances - they are not required.

Situations Challenge Level

Clear, Bright Day ., level
Bad Weather +1 Level
Helpful Terrain -, Level
Rough Terrain +1 Level
Steep Terrain +2 levels
Crumbling Terrain +2 levels
i n'
Steep and Crumbl ing Terracc ____________ +"
" le"
l= v"el:::.
' ..
-
Underwater (for ground-based beings) _________
_ " le"
+ =-
'= v,,
el:::.
' ..
Dim lightl Fogl Moonlight +1 level
'! 'ee __
Darkness (for beings who don.:..:c a__
i n d.:. _
'k_
"-
)______ +-= l"
'c:ev
"e I'
"''_
_ :..::..: c:
Minor Hazard (mud, ice) +1 Level
Major Hazard (fire, landslide) +2 levels
Acting From Horseback +1 Level
Moving (under 20 MPH) +1 Level
Moving (over 20 MPH) +2 levels
Speeding (over 55 MPH) +3 Levels

character
On Very Familiar Ground -1 Level
Blissfui/ in High Spirits -, level
In Awkward Circumstances +1 level
Oistracted +1 level
Severely Depressed +2 levels
Under the Influence
10
�
 Wh at You ' re D oi n g

Tbe due Fail11 is alive anD well anD working ber ass off.

I saw ber the other Da;9, 3eckoo out il1 roller blaDes anD a tigbt sbakira T-shirt. Tbis fat bui)e was gettil1g reab;9 to rul1 al1

il1tersection, ;9apping 011 bis cell pbol1e al1b 110t evel1 100kil1g wbere be was goil1g. 111 the roab, these two Mexical1 gU;9s were arguil1g

with eaeb other, steppil1g out off the curb, oblivious.

suMel1l�;, the due Fair;9 comes zoomil1g up alol1gsiDe the car with a sbil1;9 silver baseball bat. POM! she swings that bat througb

the car al1D the Dui)e together, one shot - BAMI Bat goes wil1gil1g through the car al1D Driver like the;9 fvere smoke. Fat Dui)e looks up,

sees the Mexical1S, al1b slams 011 the brakes.

due Fail11 isn't ool1e ;get, though. POM! POM! she belts those two gU;9s il1 the street without even slowing OOWI1, just keeps 011

going right past the car, througb the Mexicans, al1D straigbt on Dowl1 the street. Tbose vatos, the;9 look up just il1 time to see the car

slam 011 the brakes, the;9 jump out of the wa;9, look at eacb other, al1D stop arguil1g.

I keep expectil1g the Driver al1D the other gU;9s to start ;gellil1g at eacb other. But be;9, the;9 all got bit b;9 the due Fair;9, so the;9

just shut the bell up, thankoo Goo for being alive, al1D wel1t off 011 their separate wa;9s just a little more carefull;9.

We keep ber bUS;9, this due Fail11. GoOO thil1g she'S out there watching...

H ow Do
the nu les work?
Whether your Circle meets around a table, in
costume, or over the Internet, the style of play is
the same: decide what your character can do,
check his chances of succeeding at it, see if he
does, and find out what happens when he does
(or doesn't) succeed.
The steps are simple, the resolution of
them almost as simple. During
See Dick game.
See Diek use I'ules.
See lJiek use I'ules to
events in motion. Everything your character
does is an action. Autumn reads a book? Action.
Fires a gun? Action. Plucks a sprig of
belladonna from a tangled garden at midnight?
That's an action too, though she probably
needed to perform other actions to get there in
the first place.
Because Deliria'S meant to be played
fast and loose, you won't want to take Chances

make .Jane & Spot l'1'}'.

a game. however. there are certain questions every time your character performs an action.
you might ask and certain answers you might Draws slow the game down, and though it's
need. The following section covers each step of good to leave the really dramatic events up to
the system in detail. fate, a saga wherein everybody makes a Draw
See game end. for <Vt:rything gets jammed up. So just assume
Che Action that most actions succeed automatically unless
How it Works: Before assessing Challenges and they're really difficult or significant to the plot.
OIances, you have to figure out whafs happening. IJon't be a Ili(:k. (See No Sweat below.) No matter which level of
This starts with the action, the feat that sets complexity you prefer, keep the saga moving.
Cime
Speaking of keeping things moving...
Time, according to legend, moves oddly in Faerie; what
seems like a day can span years in mortal reckoning. Experiences,
too, alter OUf usual sense of time: an hour in a lover's arms seems
shorter than an hour at work, and a moment of violence can last an
eternity. Therefore, in Deliria, we measure time in different
increments, measurements more tied to what's going on than to
what the clock says.
., An action defines one act. Some characters may be able to
perform several actions in a single round (see below), but even
they can do only one thing at a time. Chronologically, an action
can last anywhere from five seconds to five hours, depending on
who's doing what. If Brimstone Green cracks a whip. that's an
action; if Autumn paints a picture, that's an action, too. In most
cases, though, an action takes a minute or less.
• A round reflects a group of people taking actions. In the Circle.
one round marks the time it takes for everyone to have their turn;
essentially, the actions go around the circle, and when the players
are done a new round begins. When the characters stop doing
things to one another, rounds end. In story terms, the round
covers a bunch of people acting and reacting to one another. Say
Brimstone cracks his whip at Autumn, and she retaliates by
throwing her painting at him - that's a round. Chronologically,
this works out to roughly five to 15 seconds of game time,
depending on the intensity of the action. People tend to act faster
in groups, especially if there's a fight going on, and a lot can
happen in a very short time.
.. A scene measures a dramatic episode, a series of related events
occurring in more or less the same time or place. Brimstone visits
Autumn's studio to bully her; she throws him out and calls the
cops; Detective Reverte shows up and chases Brimstone into an
alley, where he gets away - that's a scene. In game time, a scene
can last several hours but rarely more than a day.
.. A session covers one meeting of the Circle, a game session in
which certain things play out. Brimstone tries to get Autumn to
craft a talisman for him but fails; now she's on guard, and she and
Reverte have a major bone to pick with Brimstone's coven. Bryce,
meanwhile, steals the Bramble Fire from Brimstone's associate
Terlyn and drops it off with Autumn. That's a session.
Chronologically, this could last anywhere from a few hours to a
few days of game time, depending on who does what and where.
.. A saga tells a whole series of related tales, from Autumn's arrival
in Riverford to the rise and fall of Brimstone's influence and the
strange ascension of Inkboy and the Raven Chick. Each Circle has
its own saga, which could last for months or years in real time and
span decades in the game world.
.. Downtime occurs off the record, between sessions or adventures.
It's a great time to handle things that your characters do in their
daily lives, like painting or running a shop. When something that
matters ocrurs, the tales begin again. Till then, downtime reflects
the world in its everyday state - wondrous, perhaps, but not
especially exciting.
l n i tiotive
Who acts first? In gamespeak, that's initiative, the system that deter·
mines the first - and last - folks to jump when the shit hits the fan.
How it Works: Initiative is simple: the character with the
highest Grace for the contest goes first. And that Grace Prowess
depends on what the characters are doing:
- If they're using their minds (a battle of wits), the initiative
is Mind.
- If they're taking physical actions (a sport, a fight).
initiative is Body.
- If the contest is social (an argument) or mystical (a spell).
initiative is Spirit.
- If the characters are doing different things, then the one
with the highest score in the appropriate Prowess goes
first. This way, a smart person can get the drop on a fast
one... if the smart one's using his head instead of his fists!
When the Circle figures out the action order, the players with
the highest initiative announce their actions fust. Everyone else reacts
to what the fastest folks are doing. If two characters have the same
Grace score, you can either draw to see who goes first or simply
announce both actions at the same
time and see what happens.
If a character
gets several actions
per round,
everyone else (Option)
goes before Drawing for l niti otive
her second "Rolling in ish" is a time-honored roleplaying ritual. It also
action is slows things down a lot- so we ditched it in favor of the
performed. system described above. Ifyou prefer the traditional method,
If she's got however, try this:
more than At the beginning of each new round, every player
two actions draws for initiative using Prowess as usual. The Draw
per round. that adds or subtracts from Prowess normally, and the
player alternates highest total goes first. When the next round
her extra activities comes, repeat as necessary.
with the actions of the
slower characters. If several
characters get multiple actions, the
same rules apply and the fast guys alternate their extra actions with
the deeds of their slower companions.
How fast and far can your character move? See the
Movement Chart under Other Stuff, Pages ,85·,86, '9J.
An Advanced rule lets you add an appropriate Vocation to
your initiative Prowess - see the Advanced rules section of the Disc.
Grace Actions per Round Challenge
' -5 One (normal speed) How it Works: The Guide decides how hard, or challenging,

6-10 Two (fast) a feat will be_ The harder the feat, the greater the Challenge Level.

11-15 Three (rapid) If something makes the task in question easier or more difficult,

,6-20 four (blur) the Challenge Level adjusts accordingly.

20+ Five (too fast to follow) Obviously, some circumstances skew the curve. Picking a

flower is easy; picking a four-leaf dover at midnight while a troll's

Speed and Multiple Actions swinging his club at your head is another deal entirely!

So how many actions can your character perform in • Under Narrative rules, the Guide simply shifts the Challenge
a round? In most cases, one, though certain magics, Legacies, or Level to suit the situation as he sees fit. Picking that dover? No

phenomenal talents can give a character two to five actions per turn. problem - Simp", (Challenge 3). Spotting that clover in the dark

Five is pretty much the upper limit, however - you might be fast, while frustrating a bloodthirsty troll? That's preny Hard
but the rest of the world moves at a certain pace. (Challenge 18), perhaps even Extreme (2 1) 1 Arbitrary, but quick.

How it Works: Action and initiative are both based on Graces. • Under Basic or Advanced rules, the Guide sets a Challenge Level
A high Grace score reflects extraordinary ability, so the higher your say Moderate (12). But if something happens to make the task

character's Grace is, the more actions he can perform per round and easier (like having good night vision) or more difficult (the troll

the more quickly he can perform them. taking a swing at you), the Guide might add a modifier to that

Which Grace do you use? That depends on what the Challenge Level. This either lowers the Challenge Level (making

character's doing. If the activity is: the task easier) or raises it (making the task more difficult) for a

- Mental (reading, riddling): Mind moment, but be sure to keep the basic Challenge Level intact.

- Physical (running, fighting) : Body For complex situations, the Sample Modifiers chart on

- Social (bantering, arguing) : Spirit Page 177 offers a selection of modifiers that cover a range of
- A combination (playing a video game): the lowest Grace possibilities. The Guide selects the Challenge Level that fits the

involved, because you're only as fast as the coordination situation, then adds or subtracts whichever modifiers seem appropriate.

of both. To emphasize imagination over mathematics and to accom­

Generally, three or more actions per turn render social tasks modate the variables of Prowess and Draws, each Challenge Level

meaningless; at that point, you're talking too fast for anyone to has a name (Average, Hard, Phenomenal. and so on). The Draw

understand... which will hUrl your cause rather than help it! numbers next to each Level cover the range of Chance Draws within

A character who wants to jump from one form of action to that Level. If you choose to refer to a Challenge by number rather

another can perform only two actions per round, regardless of Grace.
You need a certain amount of focus to shift concentration this way.

Magic is slow; no matter how fast a character is, she can cast Challenge Level Draw Examples
only one spell per round. A really quick character (three or more N on e 0 0-' Walking
actions per round) might be able to act and cast a single spell in a Simple 3 2-4 Skipping
single round if the tools she employs lend themselves to fast spellcasting. Easy 6 5-7 Standing broad jump
Some items, Legacies, or enchantments grant multiple Average 9 8-10 Jumping on top of a pool table
actions. I n this case, simply go by what the description of that spell Moderate 12 11-' 3 leaping and rolling across a car
or item says and override the Grace. This obviously applies only Difficult '5 14-,6 leaping and rolling safely over the
when that bonus is in use; if your character loses his Quicksilver roof of a movi ng car
sneakers, he's back to his old speed again. Hard ,8 17-19 leaping onto a moving ca r and
Oh, and as a side note: many mechanical devices break if staying there
they're pushed beyond the three-actions-per-round point. Unless a Extre me 21 20-22 leaping on top of a fast-moving car
device is either very simple or built for stress, it jams or buckles and surfing on it
after three or four rounds of high-speed abuse. Phenomenal 24 23-25 DOing handsprings over the top of
Multiple actions are really intended for Basic or Advanced a moving car

play. If an especially fast character is doing something at the Absurd 27 26-28 Doing handsprings across a
Narrative level, simply say, "He's really ripping through that (fill in tight wire
the blank): and leave it at that_ O bscene 30 29+ Doing handsprings all the way
across a high tight wire!
For details on magic and fast casting, see Chapter 7.
than name, we've used the number at the middle of the range; a
Difficult Challenge, for example, would be Challenge Level IS.
Challenge Levels can be found below. For easy reference, they're
also featured with the other charts at the beginning of this section.
Blind Challenges
Once he's decided what the Challenge Level will be, the Guide tells
the player to take a Chance and try to reach the goal. Although the
Guide will probably let the player know what she needs to meet that
Challenge, he might decide instead to make it a blind Challenge,
keeping the target number to himself until the player either
succeeds or fails. This adds a bit of extra drama to the Chance, but
be warned: the Guide who overdoes the blind Challenge risks some
serious backlash from his players!
o Sweat: Automatic Success
As you can see, some things are virtually impossible without taking
a Chance. I fyou're skillful or talented enough, though, you may not
have to take Chances very often. The No Sweat rule lets a character
accomplish things by default. The logic goes: if you're good at
something, certain tasks aren't worth worrying about.
How it Works: When your character takes an action, check
her Prowess for that action. If the Prowess equals or exceeds the
Challenge, it's a No Sweat deal - she accomplishes the task
automatically and doesn't need to take a Chance.
The No Sweat rule applies only to simple, uncontested
actions; ifhe desires , the Guide may restrict it to Narrative or Basic
rules only. Either way, the No Sweat rule is to be used only with the
Keys, not with Aspects. (The logic here is that if the task is
important enough to require Advanced rules, it's important enough
to require a Draw, too.) Even in Narrative situations, however, the
Guide can always force you to take a Chance, even if your Prowess is
high enough to make the task a No Sweat deal. Essentially, you're
skillful enough to do this under most circumstances, but if
something vital is on the line you'll want to make extra certain.
Contests
When one character gets in another's face, the conflict becomes a
contest. The first person's Prowess is pitted against the other's, and
the Challenge reflects the skill of the opponent, not the difficulty of
the task, the logic being that it's harder to beat someone who's really
good at what he does.
How it Works: A contest doesn't have to be physical; a riddle
game, an argument, and an evasion all count as contests. One
character (the aggressor) wants to do something that the other
character (the defender) doesn't want done. To succeed, she'll have
to be better or more fortunate than her opponent.
In a contest, the aggressor's Challenge Level is Easy (6) plus
the defender's Prowess in the appropriate area. (Prowess 10, for
example, would raise the Challenge from 6 to 16, making
something Easy into something Difficult.) If the defender doesn't
have any Prowess in that area, the Challenge is Easy by default.
Which scores you use to determine Prowess depend on
what's being done. I n a fight, the Prowess would be the defender's
Body plus any Combat Vocations she might have; the riddle game
would use Mind plus the Vocation most suited to the subject of the
riddle. The argument could employ any combination of social
Graces and Vocations (there are plenty of ways to win an
argument!), whereas the evasion pits a watcher's Perception against
the Mind & Martial of a defender who doesn't want to be seen.
Because Body is a combination of agility, beauty,
brawn, and endurance, many players may want to use
Advanced rules for physical combat. In this case,
physical fights use Agility, an Aspect of the Body trait. See the disc
and the Violence section for details.
Winning a contest doesn't mean you automatically defeat
your opponent. I n the case in which a single victory decides the
whole deal - say, an arm-wrestling match - then the winner takes
all. If the contest is more complicated - like a debate - then your
opponent can come back at you; this time, she becomes the
aggressor and you become the defender. Most fights work this way.
Oh, for clarification: Adding Prowess raises the Draw; that,
in turn, raises the Challenge Level. So if the defender's Prowess is
la, the Draw becomes 16 - a Difficult Challenge Level. That 10
Prowess does not add 10 to the initial Challenge. If it did, no one
would ever be able to harm anyone... not a bad state of affairs,
perhaps, but sadly not a very realistic one, either.
I n short, then: I n a contest.. .
• Challenge Level � Easy Challenge (6) + defender's Prowess
Once the Challenge Level is set, the Challenge goes on as
usual. . and we'll see how good you are.
The Activities and Tasks section features a selection of
contests and Prowess choices. The Violence section
covers all manner of struggle.
Prowess
How it Works: So how good are you? That's what Prowess
measures. When your character faces a Challenge, this step sets her
basic chance of success.
I n most cases, Prowess comes from the combination of a
Grace and a Vocation. In certain circumstances, though, you might
simply rely on god-given abilities, especially when your character
lacks the proper skills. If a task demands a Vocation that your
character doesn't possess, you'll have to base Prowess off the Grace
alone - leaving things up to grace, as it were.
Some actions don't require a Vocation at all - you don't
need a particular skill to notice someone from across a room.
 Chance
How it Works: When something vital i s at stake. you might have
to risk failure in order to succeed. This Chance uses cards or dice
to represent the whims of fate. That Draw will either help you or

hurt you.
As mentioned above, your base chance of success is the
character's Prowess score. By taking a Chance in the system sense,
though, you bring uncertainty into play.
b=====;;:.. Chance works like this:
• When taking a Chance, make one Draw.
• If the Draw comes up Hearts or Diamonds, luck is good
and the Draw is added to the character's Prowess, helping
her meet the Challenge.

• If the Draw comes up Clubs or Spades, luck is bad and

the Draw is subtracted from Prowess, hurting her chances
at success.
The final total gives the Result. Less than the Challenge?
Failure. Equal to it or higher? Success!
Under the Narrative rules, simplicity is golden - a Chance
begins and ends with a single Draw. In the Basic and Advanced
systems, however, other rules come into play:

Fortune
Luck is a powerful force, especially in faerie tales. With the Fortune
trait (described in Chapter 6), you can push your luck a bit, drawing
additional cards to help your Chance. But be careful! Fortune can
tum on you, too, and your new Draw might subtract from your
Prowess rather than add to it.
How it Works: Each character begins with a few points of
Fortune. (Ibis amount can go up and down - see below.) For each
point you currently possess, you can make one additional new Draw
when taking a Chance. Once you do so, however, you're stuck with
the result. A Fortune Draw might cancel out a failure, but it could
also wreck a success.
• You may choose to make a Fortune Draw after the basic
Chance Draw has been taken. If you want to push your
luck and take another Fortune Draw, make each Draw
consecutively, as if you were playing blackjack. You may

In this case, simply use the appropriate Grace as your Prowess score. stop at any time, but you may not Draw more than three
Examples ofVocationless feats would be spotting something (Mind times total in a single Challenge.

or its Aspect: Perception), lifting something (Body or its Aspect: • By spending one Fortune point, you can get an even
Strength), getting someone to smile (Spirit or its Aspect: Chann). success, as if your Draw equaled the Challenge Level. You

Naturally, certain skills might help you - a bodybuilder can add her may cancel out a black royal the same way. A point of

Athletic Vocation to her Strength when lifting something - but Fortune cannot overrule an automatic Disaster. however.

they aren't necessary. If your character has a helpful Vocation, add Even the luckiest folk have bad days.

that to the Grace to find your Prowess; otherwise, simply let it be. Using Fortune involves strategy as well as luck. And
sometimes the best strategy is knowing when to stop ... or not to
For more details about Prowess, Graces, and Vocations, push at all.
see Chapter 6. For a selection of feats and their Prowess

types, see Activities and Tasks, Pages 188-194.

 For more details about Fortune, see Chapter 6, Pages
255"256.
Counterdraw
Some folks enjoy making life Wlpleasant. They might not decide to
go up against you head-to-head, but that doesn't mean they'll miss an
opportunity to screw you up. Heckling, distractions, a nasty look. ..
lots of things can mess up your concentration. And so we have
the Counterdraw: an attempt by a rival character
to make you fail.
A Counterdraw differs from a contest.
The contest sets two forces against one another,
whereas the Counterdraw misdirects without
actual contact. It's the difference between a punch and a dodge, and
in the Violence section, that's the system that defines them. The
punch (contest) is two guys trying to hit each other; the dodge
(CoWlterdraw) is a guy trying to make the other one miss - without
striking back at him.
How it Works: Before a Draw is made. a player whose
character wants to disrupt the Chance annOWlces "Counterdraw,"
describes what he's doing to foul the main character up, and pulls a
single Draw. (No Fortune allowed.) A black Draw is subtracted from
the main character's Prowess; a red Draw is ignored.
Think of the Counterdraw as a reversal of Fortune. Uke
Fortune, this Draw affects your Prowess before it's compared to the
Challenge Level. Unlike Fortune, a Counterdraw comes from
outside, it subtracts, and it can be done only once per Challenge. A
Counterdraw counts as an action and uses only one card or die roll.
It comes from only one character at a time, and that character must
actually do something in story terms to screw you up.
Counterdraws work best in social situations, when distraction
or innuendo works better than an assault. In physical conflicts, a
Counterdraw is still just a distraction or a dodge. not an attack. On
Page 206, you'll see how a Counterdraw can still literally be a life­
saver; even then, though, that reversal of Fortune does not harm the
person on the receiving end in any way... unless, of course, it leads
to a Disaster. But that's another story...
"Result
How it Works: So what happened? Did you get that dover, or did the
troll get your head? The Result resolves a Challenge with either
failure or success:
Failure
Nice try, but no. If the Draw faUs below the Challenge Level of the
task, your character's action does not succeed. You didn't get what
you wanted this time, though if you're lucky you can try again later.
Success
Yes!!! If the Draw comes
out equal to or better than
the Challenge Level, your
character is victorious.
Whatever it was that you were trying
to accomplish, it's done.
But failure and success have degrees...
"Results
If the combination of Prowess and Chance is:
- 10 or more below the Challenge Level: Disaster.
- Less than the Challenge Level: Close, but no.
- Equal to the Challenge Level: An even success; you
got what you wanted, but it's a near thing.
- Higher than the Challenge Level: Solid success.
- 10 or more above the Challenge Level: Triumph.
501 50?
Wait a minute! If my Chance can go good or
bad on an almost even basis, doesn't that give me 50/50
odds of success or failure?
Actually, n o. Alt hou gh a Draw can go against you on an
almost 50% chance, your basic odds of success are based on your
character's Prowess, not on blind luck. That way,you might have to
subtract three from your Prowess, but you could still succeed at the task
if your Prowess was high enough to begin with.
And then there's the Fortune trait. Ifyou want to push your luck,
you might still take a re-Draw. Granted, this could hurt your chances
too, but it may shift the odds in your favor instead. favor. Bad
fortune might be just around the corner, but you'll probably
prevail in the end. After all, this is a faerie tale.
Yes, luck is fickle, but the odds are still in
your character's favor.
 It's been said that close only matters in grenades and
horseshoes. Add magic to that list, too - in faerie tales, a near
miss or close victory can become very important, in story terms if
nothing else.

Disaster or 'Criumph?
How it Works: If you're using Narrative rules, the Result probably
ends there. But if your Circle prefers, you can judge the final fallout
by Disaster or Triumph - extremely bad or good Results.
• Disaster mirrors some catastrophe; reaching for the clover, you
tripped over a root and landed face-first in the faerie ring of some
impatient shimmerling who doesn't care much for mortal folk.
In gamespeak, a Chance that misses the Challenge Level Draw by
10 or more or that invokes the King of Spades is considered a
Disaster. This is bad luck squared, and though it probably won't
cause immediate bodily harm, it certainly puts your character at
a disadvantage.
• Triumph marks some magnificent success; you didn't just catch
the clover and elude the club, you noticed a faerie ring that could
provide some much-needed aid as well. In gamespeak, a Chance
that exceeds the Challenge Level Draw by 10 or more or that
invokes the King of Hearts is considered a Triumph - a lucky
break. Although this Triumph won't suddenly turn your world to
gold, it makes you look good and grants you an edge.
• A Disaster marks an automatic failure. regardless of Challenge
Level or Prowess. A Triumph marks immediate success the same
way, even if the task seemed impossible. This rule may seem
obvious with the +10/-10 element. but it really proves important if
you draw the King of Hearts or the King of Spades. This way. even
the greatest master can fail miserably and even the lowliest child
has a hope of victory.
And isn't that the point in faerie tales?

Sometimes you just can't pick up the pieces. An automatic

Oth er Stu ff
Faerie tales are notorious for throwing unexpected complications
into a simple game. Can you try again ifyou blow your Chance? Is it
easier to climb a beanstalk in barefeet or heels? Howfast can a six-inch­
tall man cross the room? And how easily can that same man dodge a
giant's club? Although the Advanced Rules section on the disc covers
most of those circumstances, a few situations are worth addressing
here among the Basic rules:
Crying Again
How it Works: So what happens when you screw up? Can your
character try again? Well, yes, but things get harder after
misadventure - failure's frustrating. Each subsequent attempt after
a failed one adds I to the Challenge Level; the first re-try is +I, the
second +2, the next +3. and so on.
Disaster ruins your chances of trying again, at least for a while. (You
could always come back later, of course ...) And some defeats don't
offer second chances; if you blow your audience with the Lady
Ekovia, you'll be lucky to get out with your life!
Modifiers
How it Works: Is your beanstalk-climber better off wearing her mules
or just pitching the damn things? And what if it's raining when she
starts her climb? For those times when little things make a
difference, the Guide can use a modiHer to shift the Challenge Level
a little bit up or down. Did the task get harder? Add to the Challenge
Level. Did it get easier' Subtract from the Challenge Level.
Sometimes, a modifier may raise or lower your Prowess
rather than the Challenge. If the character has an edge that makes
her task easier, she can add to her Prowess and have a better base
chance of success. Many Legacies work this way. giving an extra
boost to a character's Prowess when that Legacy comes into play.
Weapons and combat maneuvers work in similar fashion.
So which is it, then - Challenge or Prowess? As a rule,
assume that:
• If a modifier is based on the environment or situation, it
affects Challenge Level.
• If it's based on some power or tool the character possesses,
it affects Prowess.
Modifiers are easy to overdo. If you're not careful, your Circle
might suddenly find itself awash in +3S and -4S to every conceivable
task. They can quickly stack up to absurd levels, too, leaving the
Guide with a long string of pluses or minuses to compile before the
Challenge gets resolved. So take it easy with modifiers - don't use
them unless the situation demands them.
As a general rule, modifiers should not adjust a Challenge or
Prowess by more than +5 or -5. After that, things start getting silly.
A generous slide up or down the Challenge scale seems more
"
appropriate than a string of +1 for this, +2 for that." If you wind up
with a long series of modifiers to add and subtract, simply add the
largest bonus modifier, subtract the largest penalty modifier, and
use the result.
The sections covering Sample Tasks and Violence boast
a range of potential situations and modifiers, as well as
details about weapons and combat. See Chapter 6 for
details about Legacies.
Movement
Whether you're wearing sandals or seven-league boots, you've got to
get from one place to another somehow. So how fast can your
character move? Most times, that answer's simple: asfast as he needs
to. Books and movies don't spend time figuring the relative velocity
of a running character and the pursuing hounds - they let drama
decide the speed of the chase.
 Sometimes, though, you may want rules for those "did I
make it?" moments. And so, in a flash:
How it Works: Generally, your ground speed depends on your
character's Body Grace. (Or, for Advanced rules, its Agility ASpect.)
If you've got the Athletics Vocation, add that to your Grace as
well. The higher your Prowess, the faster you go.
How might a character move? He could...
• Crawl: Pull himself along on hands and knees.
• Walk: Stride in a leisurely way.
• Run: Dash at high speed.
• Bolt: Give it all he's got.
The Ground Movement chart shows how quickly a person could
move across normal terrain. Hard ground or bad circumstances will
reduce those speeds to half that rate or less.
Other Ways of Getting Around
This being a faerie tale world, of course, our hero might choose
some other way of getting from place to place:
• Leaping: rumping through the air.
• Levitating: Hovering around slowly.
• Flying: Moving through the air with a purpose.
• Riding: Getting around on something else.
• Slipping: The annoying habit of popping from one place to
another in no time at all.
• Swimming: Moving through water at a decent speed.
Most of those methods demand a little something extra -wings, a
mount, or the ability to swim. Assuming that you've got what you
require, use the Other Travels chart to detemrine both your travel
speed and the Prowess you'd use to find it.
Both charts are based on a human-sized character. Creatures
smaller than a dog or cat (Size I) move down one Prowess category.
(A Size 0 pixie with Prowess 5, for example, would move like
someone with Prowess l) Creatures of Monster size or higher (Size
4+) move one step up the Prowess chart for each Size category above
4. Moral: Don't challenge the giant to a foot race.
Unless there's some obstacle or impediment, assume that
movement is a No Sweat deal. Don't bother taking a Chance if
you're jogging down the sidewalk unless that sidewalk suddenly
turns to ice or hot coals. Of course, if circumstances do get nasty, the
Guide might demand a Chance or two before your character reaches
her destination. So watch your step.
Both movement charts can be found on
Page '93-
Si ze M atters
Ah, faerie tales! Where else could you wind up six inches tall with a
r2-foot ogre trying to use you as a toothpick? Although the magical
constraints of the mortal world fall considerably short ofIegendry,
twilight folk do occasionally run into (or tum into!) beings far larger
or smaller than we. And though narration can handle the obvious
differences in size and mass (can a pixie outrun a dragon? Or lift an
ogre? Silly question!), certain optional rules can help when and if
things come down to numbers.
How it Works: A creature's Size is determined by its height
or length (whichever is bigger) in yards, rounded up. The trait
begins at roughly three feet, then doubles with each +1. That way, an
average six-foot or thereabouts human would be Size 2, the 12-foot
ogre would be Size 3, and the poor six·inch guy would be Size o.
Little Guy vs, Big Guy
Under most circumstances, Size isn't going to matter. Ifyou're
dealing with someone who's roughly your size, the difference isn't
going to be worth mentioning. But if he's 12 feet tall and you're six
inches tall, you're in trouble. He's going to be faster than you,
stronger than you, and if he hits you, you're creamed spinach.
Fortunately, he has to find you first, and in that regard you've got an
advantage:
., For every Size difference between characters, the larger
character adds I to the Challenge Level for any physical
attacks or attempts to notice the smaller one.
• The smaller character subtracts I from the Challenge Level
to notice or attack the larger one.
• But - the smaller character inflicts one injury level less
for each Size difference. The larger one inflicts one injury
level more.
• I n either case, a Triumph always inflicts a Mortal injury,
no matter how great the Size difference. And an automatic
success always scores whatever injury the attacker wanted
to inflict; ifyou score an automatic success with a Mortal
blow, it's still a Mortal blow even if you're much smaller
than your opponent.
Also: Attempts to move, wrestle, or otherwise budge a
smaller opponent are likewise -I Challenge Level for every Size
difference, whereas attempts to do the same to larger ones add +1
per Size difference. So don't try to arm-wrestle a troll.
Corry a Big Stick
There is a way to get around this disadvantage. though: a weapon
that's at least the size of the small attacker makes him one Size
larger for the purposes of inflicting that damage. If Rolhe turns into
his human guise, he raises his Size by I; uhe then picks up a two­
handed sword, he raises it one more level. Now he and Garhu are on
fairly equal terms... which explains why greatswords and pikes
outshine daggers when a knight fights a dragon.
Size difference modifiers matter only when you're trying to
find someone, hit him, or resolve some other physical conflict. In
the case of mental, social, or magical Challenges, the little guy and
the big guy have roughly even chances of success. Hence, if you're FVE:
the little guy, it's wise to play up your other strengths. Dollie vs. the Cree­
Creature
See the Size Matters chart on Page 192 for the various Garhu the Lasher, a massive tree-creature. tries to grasp and devour
Size categories; also see the Huge weapons chart on Rollie. a shape-shifting fox. Garhu is over 12 feet high (Size 3); Rollie's
Page 208 for details about really large weaponry. about three feet long (Size 1). Thus, Garhu adds 2 to its Challenge level
when trying to grab the little guy. Rollie, on the other hand, sees the
'Crue Narrative: tree-beast just fine - he reduces his Challenge by 2.
'Che U ltimate Advanced Option If Garhu swats Rollie, though, the poor fox-man is dead meat.
The easiest yet most advanced rule system is simple: There is no The least Garhu can do if it successfully hits Rollie is a Wounding blow,
spoon... er, system. and the beast might very well deal out a Mortal injury instead.
How it Works: In true narrative roleplaying, nothing is left to Rollie has a harder time harm ing the tree-ogre; sure, he can hit
random chance. You meet a Challenge with only your character's Garhu all day, but is he hurting it ? Not really. Any attack he makes is
Prowess and your own gift of gab. The Guide determines whether or going to be two degrees of injury lower than he would normally inflict;
not your effort is good enough (possibly with some input from the what would normally be a Wounding blow wouldn't even faze Garhu,
rest of the Circle), and her decision determines failure or success. and it would take a Mortal strike to even Wound the beast. So unless
Essentially, this is the Narrative rules without cards or dice. our fox gets a Triumph or an automatic success on a Mortal or Fatal
When playing, roleplay as usual When a player encounters a blow, he's going to be doing a lot of nothing.
Challenge, the guide refers to it by name - "That's a Difficult
Challenge," for example. The player describes the character's Grace
Prowess ("He's got a Fiery temper," or whatever), and adds a remark
about the appropriate Vocation as well. If the Challenge is crucial or
if the Guide isn't convinced the character is good enough to meet
she might still insist, "Take a Chance. n

In this case, though, no cards or dice come out; instead, the

player tries to convince the Guide why this time his character can
make the grade. As cleverly and eloquently as possible, the player
describes his character's efforts, his determination to succeed. At that
poiot, the Guide decides whether or not the Chance equaled the
Challenge. If she's feeling generous, she might ask the rest of the
Circle for a vote. If the decision is in the character's favor, the
character succeeds.

For a contest. the two opponents describe or act out the completely ignored.
conflict. (No, they don'tjightfor real, unless you've got a group of Although it's ideal for live-action venues, the true narrative
qualified reenactors in your Circle) Each one makes a case for why option isn't for everyone. It's very arbitrary and demands a lot of

his or her character should win. Again, the Guide makes the final cleverness, trust, and fairness from the whole Circle. For
decision, probably with some help from players who aren't iovolved imaginative players who don't like charts or Draws, however, this
in the fight. may be the best system of them all.

Other elements, like Fortune or initiative, are

 Activities and Casks

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tltli} wiD, "It's mit1e./I Ever�JI1e kllelV not to a'g«e; Bob trnsteb Bwt 110t eve�;9 was so im/Jressw wirh ber worknumsbi".

(,or HOt to wreck. til' 0"17' car, bllt eveH be WIISH't reall� 'lire AH� certlliH ,.",,.1, lif �. caH call ti)e'" that) ",nile it a ,.oiHt to

what Marial1l1tl ball il1 miJ1o. lock iHto thi, lV,ir� girl" life aH� fillllre 'lit i"'t bow il)e

HUUW9fb to be .so 001111100 0000 witi') macl}il1es...

"How Does My character Do Chat?" Arts, Science, and Cechnology
For the characters we create, life is an endless dance of activity and A guaranteed way to make an impression, this category covers the

adventure. Generally, you can handle your character's activities design, creation, evaluation, and performance of the greatest human

through imagination and roleplaying; as we've said, you don't need achievements. In most cases, you can simply roleplay or narrate

to take a Chance every time your character walks down the street. such events: if your character is a scientist, she should be able to do

But when you can't act out or envision the task your character scientific things without effort. Sometimes. though, you'll need to

performs. Prowess takes over. jury-rig a stalled

So which traits suit which circumstances? That's what we're helicopter or charm a

about to cover. hag with your

The following optional section offers a range of tasks, the magnificent singing

Graces and Vocations your character might use to handle them, and voice. For those

other important system details. Again, you don't have to Drawfor every occasions, systems

task. Many of the following descriptions are offered so that you can see come in handy.

how the various traits work, not because you have to take a Chance Creation deals with the
whenever your character does something. Please note, too, that obvious: making a

these entries are not commandments. The following charts present work of art or

the Prowess combinations you might use, not the ones you must use. technology. Data Entry
helps you whip data

What Do 1 Do with All Chese Charts? through a keyboard

You could just ignore them. They're not essential. We've simply with minimal error.

provided them as a guide in case you're wondering which traits your Composition covers the
character would use to ftx a car, win a riddle contest, or charm her planning, research, and

way into a sold-out show. trial-and-error process

Whenever possible, role-playing beats roll-playing. If you can, that precedes the

act out or describe what your character is doing to meet her needs. creation step. and

When you need to use a rule or trait, check here. Otherwise, just Evaluate lets you judge the quality of existing work. Gamesmanship
skip this section. is a catch-all for strategy entertainment from chess to Age of Empires.

Even when you do use the rules, try not to let the Draw Jury-rigging covers the quick-fix, whereas Performance reflects your
eclipse the drama. The real pleasure of the game comes not from ability to impress your audience. Puzzling unlocks enigmas (a

looking up tasks on a chart but from roleplaying your character's useful task in faerie tales!), and Repair redeems broken machinery.

struggle to meet the challenge and succeed. Imagination, not traits, Research Draws data from libraries or computer screens, and

provides the drama. Imagination holds the key. Teaching lets you pass your knowledge on to others.
Each task on the following charts has several features: Finally, Video Reflexes shows how good you are with video

• Action refers to what your character is trying to games ... and if you think that's not a useful skill, you're not paying

accomplish. much attention to the world .

• Prowess refers to the Grace and potential Vocation involved

in the feat. If you don't have the appropriate Vocation, Dirty Work
Grace is the only trait used. Depending on what you do, Where would witches and Bluebeards be without their arrays of dirty

there may be several traits that can accomplish the same tricks? (Probably alive, but that's a moot point.)
Conceal helps you stash
feat. that bit of gryphon's wing where no one else will see it. Cryptography

� Draw refers to the type of Chance you take: a standard makes and breaks secret codes. Data Hacking filches information from

Draw, a contest, or an Extended Chance. This is an IT systems, and Disable puts them out of commission. To Evade a Trap,
Advanced rule, and you can ignore it if you want. you've got to be clever and perceptive, but setting a social trap (possibly

� Challenge refers to the Challenge Level you'd have to with the media's assistance) involves a bit of successful Misinfonnation.
overcome in order to succeed. If in doubt, base that Pick Lock does exactly what it says, as does the traditional bad-witch

Challenge on the relative difficulty of that task - playing trick, Poisoning. Sabotage spreads a different kind of weakness through
Beethoven's 9th, for example, is far more difficult than a mechanical system, whereas Spotting a Sneak helps you notice

playing "Mary Had a Uttle Lamb." someone doing it. Torture inflicts pain, and Virus Spinning deals out
� The Notes, marked by (*number), suggest optional traits another sort of pain: the pain of a tainted computer system. Just

for Prowess or offer exceptions to the usual rule. remember what happens to bad little boys and girls in faerie tales...
 Basic 'Craits or Advanced Ones?
Although we're using Basic rules for the most part, you may want to
use Advanced rules for certain specific tasks or to reflect d ifferent ways
of doin g t he sam e t h i ng. These Advanced rules use sub-traits called
Aspects, which are described on the Appendix disc. Rather than create
two different sets of charts (one for Basic rules, one for Advanced). the
fol lowing examples feature the Aspect traits instead of the Basic, or
Key. traits.
The Key Graces are: Mind. Body. and Spirit.
Their Aspects a re:
Mind: I magi n ation, Intellect. Perception, and Wisdom.
Body: Agility, Bea uty. H ea lt h, a nd St rengt h .
Spirit: Belief, Charm, Passion, and Will.
Vocations have Aspects, too. Those Aspects, t hough , are
mentioned with t he Key Vocation, like this: Athletics: Riding.
If you have questions about the Grace in question, j ust check this
note to find the Key Grace. Ifyou don't want to use the Advanced rules,
just use the Key Grace rather than the one mentioned on the chart.
Who's " You"?
Because your character is essentially your imaginary counterpart,
the following sections often uses the word "you" to refer to the player,
the character, or both at once.
physical Feats
Contrary to stereotype, the average faerie tale hero is not a beefcake
slab. Still, there are times when physical prowess (and Prowess)
character without looking like you were trying to do so. Meanwhile,
heady deeds of Seduction help you tum heads and break hearts.
Survival
When misfortune strands you in the wilderness, i�s helpful if you
know how to start a fire or Build a Shelter. Once you've obtained
something to eat or drink, Cook/Brew helps you prepare it in a form
that you can digest without suffering; if you're really resourceful,
you might Fann your own food, too. Field Medicine helps you patch
together an injury or treat sickness in the wilderness. Foraging
gathers sustenance when you have none, whereas Hunting lets you
stalk fresher game. Anyone stuck out away from supplies must
Improvise or perish; this includes fashioning tools, fIxing shelters,
or repairing gear when you have virtually nothing to work with.
Major Medicine covers many complex medical practices and focuses
on long-term healing rather than short-term lifesaving. Stress can
kill, too, so Meditation helps you focus and calm down. Navigation
and Pathfinding let you fInd out where you're going; the first guides
you on a long journey, and the second bushwhacks a crude trail
through the wilderness.
'Crave!
Once you know where you're going, these feats help you get there.
Bicycling sets you on two wheels, whereas Biking lets you drive a
motorcycle. Coach-handling covers the old horse-and-buggy ride; its
modem equivalent, Driving, puts you in control of a larger motor
vehicle. (The larger the vehicle, the higher the Challenge to drive it.)
Parasail/Parachute lets you ride the winds, and Pilot denotes control
of a far more sophisticated flying machine. Riding, an essential skill

comes in handy. Most of these feats are self-explanatory, aside from in Deliria, reflects your ability to handle a living mount. Sailing
the foUowing exceptions: Endwance reflects your ability to reflects hoatcraft. In urban environments, an
withstand torture or other hardship, Fine Balance helps you step ability to Skate lets you glide on in·lines
carefully on treacherous footing, leaping covers anything from or conventional rollers; the next step
standing broad jumps to skydiving, and Pursuit allows you to chase up, a Skateboard, gets you from
someone... or get away! Dancing helps you wow the crowd, and a place to place while irritating the
successful Stunt lets you pull off all kinds of extreme·spor! neighbors. Finally,
craziness, then walk away intact. Steering covers
the handling
Social Occasions of a truly
For many folks, the social battleground is far more common - and large vehicle
devastating - than the physical one. This i s especially true in faerie - a ship,
tales, in which amusement or displeasure can be literally life-or·death tank, or
matters. Even when the stakes aren't quite 50 high, though, social aircraft - that
feats can be pretty important. .. and fun! Debate allows you to get the requires a trained
upper hand in an argument; Deception helps you pull the wool over crew to maneuver.
another character's eyes. Eloquence is a vital virtue in faerie tales,
especially when you're dealing with aelden and immortals. When all

else fails, a Facedown intimidates your rivals. A good Fake-out lets

you distract people, and Impressing them makes you the center of
attention. A really powerful impression helps you Outshine a rival
 Sample Casks
Arts, Science, and Cechnology
Action Prowess Draw Challenge Notes
Composition Imagination & (appropriate Vocation) Standard (varies) ('" ',)
Creation Imagination & (appropriate Vocation) Extended (varies) ('" ,) '

Data Entry Agifity & Tech, In/orech Standard (varies) (' ,)

Evaluate Perception & (appropriate Vocation) Standard 12 (',)
Gamesmanship Imagination & Academia: Mindgomes Contest (varies) ('" '3, '4)
Jury-rigging Imagination & (appropriate Tech) Extended '5
Performance (appropriate Grace/Aspect & Vocation) Standard 12 ( " '5)
'

Puzzling (Mind Grace/appropriate Aspect) & (appropriate Vocation) Standard (varies) ('" ' ,)
Repair Perception & (Tech Vocation) Standard (varies) ('6)
Research Intellect & Academia: Research Standard (varies) ('7)
Teaching Charm & Academia: Teaching Standard (varies) ('8)
Video Games Agility & Tech: Entertainment Standard 6 ('4)
Notes:
-,: This could be any Art, Craftsmanship, or Technology Vocation -depends on what you're trying to work with.
-2: Challenge depends on the difficulty of the task at hand; ranges from 9-24.
-3: Could also be Tech: Entertainment (computer strategy games).
-4: Challenge based on opponent's (Mind Grace) & Academia or Tech: Entertainment or on machine's setting
(6-18).
-5: Grace Aspect could be Imagination,Agility, Beauty, Fortitude, Belief, Charm, or Passion. Imagination ", unique vision; Agility - impressive speed and
precision; Beauty ", winning looks; Fortitude '" sheer stamina; Belief '" winning devotion; Charm impressive charisma; Passion raw spirit and energy.
= =

-6: Almost always an Extended Chance; Challenge depends on tools, damage, and circumstances.
-7: Vocation could also be any Appreciation Aspect.
-8: Grace could also be Imagination or Passion; Imagination unique approaCh; Passion :: inspiring example. Challenge level depends on classroom
=

materials and students' willingness to learn.

Dirty Work
Action Prowess Draw Challenge Notes
Conceal Imagination & Martial: Evasion Standard (varies) ( ,,)
Cryptography Imagination & Academia: Mindgames Standard ,8 ( ,,)
Hacking Imagination & Tech: Inforech Standard (varies) ('3)
Disable Perception & Tech: Security Standard (varies) ('3, '4)
Evade Trap Perception & Martial: Evasion Standard (varies)
Misinformation Charm & (Influence Vocation) Standard (varies) ('5)
Pick Lock Agility & Tech: Security Standard (varies)
Poisoning Imagination & Art: Magician Contest (varies) ('6)
Sabotage Imagination & (Tech Vocation) Standard 12 ('4)
Spotting Sneak Perception & Martial: Evasion Contest (varies) (',)
Torture Imagination & Domestic: Medicine Contest (varies) ('8)
Virus Spinning Imagination & Tech: Inforech Standard 12 ('3)
Notes:
-,: Challenge level depends upon terrain and si2e of object to be concealed. Hider's Prowess becomes Challenge level for characters trying to find hidden object.
-2: Vocation could also be Tech: Mathematics or a language Aspect.
-
3: Almost always an Extended Chance; Challenge depends on complexity of safeguards.
-4: Depending on the system, Vocation Aspect could be In/orech, Electronics, Mechanics·or even languages: Computer Languages. Inforech = disable

computer systems; Electronics :: cut power; Mechanics :: disable mechanical device; Computer Languages ", program system out of what it would
normally do.
-5: Challenge and Draw depend on what you're doing - see Social Warfare under Violence.
-6: Contest - Challenge is victim's Perception (pOSSibly with a Vocation like Domestic Cooking or Medicine, or Metaphysical: Occult Lore) as Challenge level.
..,: Contest - pits sneaker and spotter in contest: sneaker's Agility against spotter's Perception.
-8: Contest - pits torturer against victim's Wifl. Vocation could also be Influence: Manipulation.
 Physical Feats
Adion Prowess Draw Challenge Notes
Climbing Agility & Athletics: Climbing Extended (varies)
Dancing Agility & Art: Dance Standard (varies) ('1)
Endurance Health, Wilt, or Passion Contest (varies) ('2)
Fine Balance Agility & Athletics: Gymnastics Standard 12
Juggling Agility & Art: Magician Standard 12
Leaping Agility & Athletics: Track Standard (varies) up: i/success,
across: 4'/success
lifting Strength & Athletics: Bodybuilding Standard 15 ('3)
Pursuit Agility & Athletics: Track Contest (varies) ('4)
Sneaking Agility & Martial: Evasion Contest (varies) ('5)
Stunt Agility & Athletics; Extreme Standard 18+ ('6)
Swimming Health & Athletics: Swimming Extended (varies)
Notes:
.,: Grace Aspect could also be Imagination, Beauty, Charm or Passion as the Grace. Imagination = display unusual moves; Beauty or Charm = looks i n place of
talent; Passion = vigor and intensity over gracefulness.
·2: Could add Domestic Survival to attempts to withstand bad weather or Metaphysics: Meditation to enter trance.
·3: See Feats of Strength. Challenge based on a Difficult lift.
·4: Pits pursuer and pursued i n contest of Prowess. Might also involve Athletics: Riding or Technology: Driving.
·5: Pits sneaker and spotter i n contest: sneaker's Agility against spotter's Perception.
·6: Could also use Gymnastics, Riding, or Skating instead of Extreme. Challenge based on Hard stunt - could be higher for really wild stunts.

Feats of Strength
Strength Dead lift (Ibs) Feat
0 5 Stand up.
10 Toss a football.
2 25 Swing a sword.
3 50 Carry a child.
4 100 Carry a man.

5 1 50 Throw a man.
6 200 Play football professionally.
7 300 Wrestle professionally.
8 400 Be an Olympic bodybuilder.
9 500 Shatter world's record for weightlifting.
10 600 Beat u p Conan.
11 800 Wrestle an ogre - and maybe win.
12 1000 Throw a Harley.
13 1500 Punch through a brick wall.

'4 2000 Dump a Lexus.

15 3000 lipa bus.

Size Matters
Charader Size Charader Size
Pixie (6") 0 Giant (50') 5
Cat or Dog (1'-3') Dragon (100') 6
Person (6') 2 Titan (200') 7
Ogre (12') 3 And so on
Monster (24') 4
 Ground M ovement (in yards/second)
Prowess Crawl Walk Run Bolt
o very. very, slowly...

·5 2 3
2-3 2 2 4
4-5 2 3 5
6-7 2 2 3 6
8-g 2 3 4 7
10-11 2 3 4 8
12-1 3 2 3 5 9

'4-15 3 4 6 '0
,6-17 3 4 6 "

18-19 3 4 7 '2
20+ 3 4 7 ' 3 or more...

Other 'Crove1s (yards/5-second action)

Prowess Leap Levitate Fly Swim
0 very, very. slowly...
' -3 2 2 5 4
4-6 2 3 8 5
7- 10 3 4 '0 6
11-14 3 4 '5 7
1 5-18 4 4 20 8
'9-21 5 5 25 9
22+ very, very fast...
Prowess is...
• Leaping: Agility & Athletics; Track
• Levitating and flying: Agility (plus Athletics: Riding, if riding a broom or flying mount.)
• Swimming: Health & Athletics: Swimming
Riding speed depends on whatyou're riding; assume it's probablyfaster than a man, at leastfor short distances. Slipping demands magic; see Chapter 7.

Social Occasions
(also see Social Warfare under Vio1ence)
Action Prowess Draw Challenge Notes
Debate Intelfed & Academia: Debate Contest (varies) (0" ·2, · 3)
Deception Charm & Influence: Manipula.::
tio n
:::-'---
___________
Co
--= n:.:
:::
c: st
te:::
'---
_____
(varies)
= = "--- ___
(0" ·3, ·4)
'--"
� .:". ___

Eloquence Charm & Influence: Conversation Standard '2 (" , '4)

Facedown Passion & Influence: Leadership Contest Contest (varies) ('4)
Fake-out Imagination & Influence: M
_ n...
Q_ IQ
u_
ip_ _ io_
t_ n C_ t_
on_est (varies) ('4:5)
___________ _ _ _____
-'
Impressing Charm & Influence: Celebrity Standard '2 (" . "4)
Outshine Charm & Influence: Manipulation Contest (varies) (" , '4)
Seduction Charm & Influence: Seduction Contest (varies) (" , '4, '6)
Notes:
.,: Could use Intellect, Perception, Wisdom, Beauty, Charm, or Passion as the Grace Aspect. Intellect display able mind; Perception noticing weakness;
= =

Wisdom = demonstrate sound thinking; Beauty using good looks; Charm using personality; Passion using vigor and stubbornness; or Strength
= = = =

showing off.
·1: Could also use any Vocation that's the subject of debate: Academia: Mindgames, Field ofStudy, or any Appreciation is good for this, but any Vocation may
apply.
·3: Contest pits rivals' Prowess against one another.
·4: Many ways to do this - could also use any of the following as Vocation: Influence: Celebrity. Conversation, Leadership, SeductiOn, Street Smarts, Style, or
Academia: Mindgames.

·5: Challenge level is your rival's Perception & Art: Magician.

·6: Could also use any Athletics Aspect, Metaphysics: Bodywork for physical seduction or any Vocation the subject finds appealing.
 Survival (* 1 )
Action Prowess Draw Challenge Notes
Build Shelter Wisdom & Domestic: Survival Standard 6 ('2)
Cook/Brew Intellect & Domestic: Cooking Standard 6 ('3)
Farm Wisdom & Domestic: Farming Standard 12 ('3, '4)
Field Medicine Wisdom & Domestic: Medicine Standard 12 ('5)
Foraging Perception & Domestic: Survival Standard 15
Hunting Perception & Domestic: Hunting Standard 15
Improvise Imagination & Domestic: Survival Standard 12 (' 2, '6)
Major Medicine Intellect & Domestic:Medicine Extended (varies) ('5)
Meditation Befief & MetaphYSical: Meditation Standard 9
Navigation Perception & Domestic: Survival Extended 9 ('6)
Pathfinding Perception & Domestic: Survival Standard 15 ('6)
Notes:
·1: Challenges may rise considerably under poor circumstances (bad weather, harsh terrain, no gear, severe injury. etc.).
·2: Vocation could also be Craftsmanship: Stonework or Woodwork or Athletics: Outdoors.
·3: Grace Aspect could also be Imagination or Wisdom. Imagination = creative approach; Wisdom = plain common sense.
·4: Domestic: Gardening and Husbandry work, too.
·5: To heal some illnesses or hurts, Vocation could also be MetaphYSical: Bodywork or Religion or Domestic: Gardening (for herbal cures).
·6: Could also use Athletics: Outdoors.

Cravel (* 1 )
(Draws unnecessary under normal circumstances)
Action Prowess Draw Challenge Notes
Bicycling Agility & Athletics: Appreciation Standard 6 ('2)
Biking Agility & Tech: Motorbike Standard 9 ('2)
Coach-Handling Wisdom & Tech: Coachman Standard 9
Driving Perception & Tech: Driving Standard 6
Parasail/Parachute Will & Athletics: Extreme Standard 15
Pilot Wisdom & Tech: Pitot Standard 12
Riding Agility & Athletics: Riding Standard (varies) ('3)
Sailing Wisdom & Tech: Sailing Standard 12
Skateboard Agility & Athletics: Extreme Standard 12
Skate Agility & Athletics: Skating Standard 9
Steering Wisdom & (appropriate Tech) Standard 12
Notes:
·1: Extreme hazards, stunts, or pursuits raise Challenge level (well, duhl).
·2: Vocation could also be Athletics: Extreme for stunts; Challenge rises for difficult tricks or terrain.
-3: Challenge depends on stubbornness of mount and circumstances of travel.
 Vi olence

TfJere are ashes in t/;e cr(l(er r.btlt use{) to be bey boUle. Sometimes all errmlt breeze Ul� them [ike til1� fMves. It's sai� tbllt fi �u

listel1 close(�, 30U Clln sti{( {)ear them screililt

Tbe� l1ever sI)OtI{� {)flve COllIe here.

In Hm<rso", folk f,lt V" trembling of the earti}. In Fllrllage, V"� salV V" fire.< III SI�nlJer, far below v" IP'OII1W, trolls stirrw

utteasil,!l ill their shaOOJ) be& whel1 tbe Lao,!} tHvakcmw. AU the {alia (eft her o;sfJfeaSllrc, lIl1D matt,!) were tJ;,e voices that il1v0ke3 the

fi'Zlc mll'tes of comfort as V)e ormmu bel1Mth the�)1 thrasheil I11t0 boilcil.

Hiae ,9Ollr.se{lles/ cyicil tJ.,e d)il3rel1 of ,be wil1o. Ekovia rises! Flee u)e Lao,9 of UJC. Stomll

AII� /Jeer ill the groll"O, v" tr�\I'as."rs bowlw. TI,eir t�ice.l eci;oe.l lo.g after their limbs ha� floil'''; the Laill1 breav;ea their
a.J}CS, (lut slJe Il'a.� Hot cotttetH.

h1 hrokcl1 sI}ef s, {JeT chilorel1 {Jao

l beett slain. Tf;e lilO,!} wept tears of fire, but ti)e batcMillfJS were 110 "wre.

si)e rose rl;at l1i�Jt 011 si,iIHmcrea wit1fJi Beneath {}eT, ae[Oett !CTombfoo, pYll,'7ittg to avom {JeT wrath. But the LaO,y Ekovia boo

other emm�s, otber tasks besi/)es /)estrnctioH. A� her wings crackw rainbows itt the ,mxmlidJt, si)e le� her sI,atterro home helJitt� att�

SOll�)t the wizaros of v" shear. The� bao be," rifl;t, she Wo"fht The oV"r1vorl� bero»te.l !nO close, it.s 1""1,1, !nO fa»riliar.

The tethers Imt$t be cut. The trespas,o;cr$ HUtst be oestro,yro.

h1 tJ)C embers of her home, u)e La�;9's cJ)i{�ret1 bHrt1eO, cntmbleO, tlirl1eO to ashes like lbe men w(JO'� Ulttri)erw theUL

lA�;9 Ekovia has risen.

Her cavem� f,ave fallel1, bHt the a.sbes remailt

III �
Poisoned Apples, Deadly Seeds If he knows about your assault, your opponent could also try a
War isn't common in faerie tales. Violence, however, is. Wolves and Counterdraw to hurt your chances.
wyrds and poisoned apples, barrels studded with nails, and red·hot .. If you succeed, the amount of damage you inflict upon her is
shoes for the witch to dance upon... and folks used to call these based o n how well you succeed. It's easy to hurt someone, harder
bedtime stories? Faerie tale villains don't just conspire against their to do real harm, and fairly difficult to do serious damage.
heroes - they cook them, vilify them. or lay curses so ferocious that .. If you don't succeed, your victim shrugs ofT the attack... or you
whole kingdoms tremble. And the heroes aren't much better, as hurt yourselfinstead of your opponent.
many an evil stepmother could attest. The genteel illusion of the .. Damage is measured in both story elements nike broken hearts or
faerie tale cloaks nasty deeds; not even Walt Disney could broken bones) and Vitality, the reflection of a character's will to
completely sanitize them. Such stories reward virtue, of course, hut live. Any kind of assault can hurt someone both ways.
justice and injustice alike are borne in heavy iron gauntlets.
Faerie tale violence is swift and terrible, not the clash of
broadswords hut the slash of talons. Nor is combat just a swords­
and-bucklers affair - words can be more deadly than a blade, and
they're far easier to employ. The following rules reflect the many
faces of violence, but though most of these systems can be
considered Advanced rules only, the story elements surrounding
violence are important to any saga. You don't need to memorize
combat tables to play Deliria, but you should know the forms
violence can take.
Why? In a faerie tale, violence is everywhere. Being on your
guard is half the battle.

'Cypes of Violence
So how might I hurt thee? Let me count the ways ... The following
sections describe the following methods of violence and recovery
from same:
Physical Violence: Brute force.
Social Warfare: Betrayal and one-upsmanship.

Psychic Assault: Duels ofwill and soul.

Game Systems
When bullets or blades start flying in Deliria, the violence is sharp
and sudden. An assault has results, and pain is a part of life.
Under these rules, the Challenge Level is based on
harming your enemy, not hitting him. Attacking someone is
easy; inflicting damage is the tricky part.
Despite the options described below, the system
remains simple:
Figure out how you're trying to hurt your opponent.
Decide what you want to do and how you want to do it.
Take a Chance.
See what happens.

How it Works
To attack another character, make an assault Draw against your target.

* Both your Challenge Level and your Prowess for this Draw
depend on your plan of attack. (See below.)
 How it ploys Out
"Come back bere, ;<)Ou little bastar�t" Kell� is Mot haviMg a 0000
lViseass ki�s, aM� cheap pareMts, she lVatches her prize� sbiva
ItJarioMette �isappear �01V1t the halllVa� iM the balt�s of alt imp
resembliltg a �valkiltg bult�le of tlVigs. Her patieMce sltappiltg,
System Details
Whether you want to break your opponent's legs, heart, or
reputation, the game systems are the same. The differences between
attacks and injuries are expressed more in story elements than in
rules. Whatever you do, a successful assault inflicts a certain degree
of pain. Details are handled below.
Prowess and Challenge
• Ifyour target can't see the attack coming or cannot prevent it (he's
tied, stunned, etc.), the Challenge Level is Easy (Challenge Level 6).
If he can see you or otherwise defend against an attack, your
base Challenge is your target's defensive Prowess. Like your attack
Prowess, this defense Prowess depends on what you're doing - and
what he's doing to counter you. (Again, see below.)

"oka�," sa�s Marc. "Yow're close eltowgb to grab the bristl�
little bastar�. what'S �owr Prmvess?"
Kell�'s pla:90r, LiM�sa�, cbecks her cI,aracter sheet Kell�'s
Physical attacks at range (Le., throwing something at him)
are based on the distance between you both.
You cannot use Fortune to get a re-Draw on an attack. You
may spend one Fortune point to increase the attack by one level of
injury (from Wound to Crippling, for example), up to a maximum of
three levels of injury (and three Fortune points) in a single attack.

BO�� Grace is 6. No Martial VocatioM, sc ber Prowess is 6.

"J Mee� to take a cbaltce," she sa�s. "wba s We'CballeMge � f

Attock an d Defensive Graces
here are many way to hurt someone ... or to avoid being hurt!
Therefore, both the attacker and her victim base their Prowess on
Tbe imp'S Bo�� Grace is 8. their actions during the fight:
The assailant's Prowess Grace depends on the attack:
"what �o ;<)Ow waitt to 00 if �ow catcb him?" Physical hand-Io-hand (slap, stab, etc.) - Body (Agility in
Advanced rules)
"Break his legs." Physical attack al range (thrown object, gun, etc.) � Mind
(Perception in Advanced rules)
"That'� be a Crippliltg attack." sucb aM

*.p- �l�ltge Level.

Social assault = Mind or Spirit (Perception or Charm in
attac Advanced rules)

"Go fW Is/,'Marc replies.

Kell� takes ber cbaItce. ,A

J ) f
Psychological or spiritual assault
Advanced rules)
= Spirit ( Will or

Ifthe e� a choice between Graces (say, Mind and Spirit),

Passion in

assu e that YOJl'll use the higher one or the one most suited to your
sbe �ralVs a roo 10. "Got 'iltl ' specific attack.
If Ihe attacker has a Vocation skill that will help (Martial for
The sltap of IVoOO puts physical fights, Influence for social ones, etc.), she may add that
onto her Grace to figure the Prowess she uses when attacking.
alt elt� to the chase... The defender's Prowess Grace depends on what he's doing to avoid it:
Dodge a physical blow � Body (Agility in Advanced rules)
Dodge a flying object or gunshot � Mind (Perception in
Advanced rules)

Bluffhis way out of getting hurt � Mind or Spirit

(Perception or Charm in Advanced rules)

Resisting a psychic attack through stubbornness = Spirit Physical wounds are
(Will or Passion in Advanced rules) obvious; social and psychic ones
Again, the higher or more appropriate Grace applies, and come across through story
Vocations may come into play. All scores are rounded up to the next elements, not as bodies on the
Challenge or Prowess level. floor. Both can reduce the
wounded character's Vitality...
Attock and Defensive Vocations which points out an important
I
FVE: No Sweat?
Is inflicting harm a No Sweat action
when your Prowess is high enough?
That depends: if the aggressor
attacks a minor character or tosses
out some casual act of cruelty
(catty rem ark sl ap in the face),
,

There are many ways to fight - or to defend yourself Thus, the
skills you use to attack or defend vary. The tactics you employ will
decide which Vocations you add to your Grace when attacking.. , and
which one your opponent adds to his Grace when deciding your
Challenge Level.
Physical attacks (at any range) � Martial (unless you're
throwing a ball or other sport-like object; in that case, you
might use Athletics instead).
Social attacks and defenses often use Influence (to
command the opinions of others); in certain situations,
however, you might use Academics (to confound), Athletics
(to impress), Martial (to intimidate), or other Vocations.
Attacks upon mind and soul often use Metaphysics as a
Vocation; other assaults could employ Domestic (to hurt
someone where he lives), Martial (for torture), Influence, or
even Technology (for high-tech struggles).
If you don't have a helpful Vocation, your Prowess is
Grace only.
Check out the Social Warfare Pages 212-216 and Psychic
Assault Pages 218-221 sections for details about
different Vocations and their potential uses.
lnjury
A successful attack at base Challenge Level inflicts Suffering damage
only.
• If you really want to hurt your opponent, add I Challenge Level fOI
every increment of damage you want to inflict.
Wound +1 Challenge
Crippling +2 Challenge
Mortal +3 Challenge
Fatal +4 Challenge
Your maximum Challenge Level is 30 (Obscene) .
., A very successful attack Draw inflicts more damage:
Wound Draw is two Levels higher than Challenge
Crippling Red royal
Mortal Red 10
Fatal Triumph
Depending on the nature of the attack, the harm might take
time to appear: a slap is quick, whereas slander takes its time. In the
case of social or psychic assaults, both the attack and its aftermath
occur in the space of hours, days, or perhaps even longer.
fact about violence: Sticks and cons id er it an automatic success. If
stones can break your bones, but the aggressor's trying to do some
names can hurt even worse. Social major damage, has attacked a
and psychic injuries can be at significant character, or both, she
least as bad as physical ones, ought to take a Chance before her
and it may be harder to recover attack can strike home.
from them afterward. A
fractured arm, after all, heals
more quickly than a shattered heart.
See Story Elements: Repercussions of Violence for
many examples of social or psychic injury.
Bottle is Joined
Of course, if your rival is still left standing, he'll probably retaliate...
and ifhe isn't, other parties may do it instead. The stroke of
violence becomes a fight - in gamespeak, a contest. (See that
listing under Challenges.)
How it Works: To fight...
., Decide who goes first by using the initiative rules. Decide
multiple actions the same way.
• Have the aggressor describe what she's doing; decide her
Challenge and her Chance .
., Ifthe defender can dodge the assault, make his Counterdraw.
• Find out the Result.
• Let the next character attack.
., Repeat as necessary.
One character attacks, the other defends; then the defender
attacks and the first attacker becomes the defender. A fight ends
when one or both parties decide to let it stop... or die trying. Violence
runs in cycles, especially in faerie tales, and justice is never far behind.
Di sasters and 'Criumphs i n combat
Violence is the proverbial double-edged blade. It cuts deeply, but it
can harm its wielder as easily as its target. Many an assailant has
been wrecked by his own schemes, and many a chance blow hits
true enough to turn a desperate fight into victory.
How it Works: You've already seen the rules for Disasters
and Triumphs. Violent situations, though, yield dramatic results:
., A Disaster harms the attacker, not the defender. In gamespeak,
she takes a Suffering level of injury - a cut, numbed wrist,
twisted ankle, or some other painful disadvantage.
• A Triumph inflicts a Fatal injury.
 "
" 0OpS. . .
That Fatal injury, by the way, might not always be in the attacker's best
interests. If Lady Raven, for example, simply wants Monica to suffer
embarrassment, a rumor-spiral that drives Monica to suicide might be
a bit more than Raven bargained for. Outside the literal battlefield,
most assaults are meant to hurt, not to cripple or kill. In such cases, a
Triumph can be a mixed blessing - a master stroke that harms
your rival far worse than you had planned. So be careful when you
lash out. The cycle of violence has a way of speeding up unexpectedly
- especially in faerie tales - and getting away from you.
effects of Violence:
Six Degrees of lnjury
So how do the sufferings of an imaginary being shake out in
numbers and plot points? Under Compact, there are six levels of
injury. All of them apply, in some way, to each type ofviolence:
• None: No real damage. The assault might sting, but it doesn't
have lingering effects.
• Suffering: Pain; the assault doesn't inflict major
damage, but it leaves the victim
hurting.
• Wound: Major pain and
impairment - lingering
damage.
• Crippling: A serious helping of
pain and injury; the assault
impairs the victim significantly,
leaving him open for further harm.
• Mortal: Grievous harm; the victim could
literally die (or suffer permanent impairment) from his wounds.
• Fatal: The kill; the victim either dies or falls to a permanent loss of
sanity, status, or soul.
In gamespeak, an injury impairs the victim, reduces his
Prowess, and costs him a certain amount of Vitality. As the Story
Elements of Injuries charts show, serious injuries cause damage
that goes beyond simple game systems.
• The Prowess reduction shows the demoralizing effects of damage;
after all, you're not exactly in top form when you're in pain. This
penalty adds up - a number of Suffering blows or Wounds make
the victim an easy target for new assaults. Prowess cannot,
however, be reduced below o. That's as far as you can go.
t The impairment depends on what was done to the victim - a
physical Wound might yield a broken arm, whereas a social
Wound could ruin his reputation. The particular effects of an
attack are covered in Effects of Injury, below.
t The Vitality loss reflects the victim's waning life-force. Pain
reduces the will to live, and enough pain can destroy it
completely. This way, a crippling jest can have serious
consequences. Which is as it should be - in faerie tales, you
might suffer literally mortal disgrace.
The six degrees of harm system also acts as a major balancing
factor in the saga. Under these rules. an ice-eyed princess can devastate
a warrior with only cold words as her weapon. Violence has a thousand
faces, after all, and there are many ways to win (or lose) a fight.
Vito1ity
Everyone has something to lose. And at the most elemental level, a
combatant can lose his Vitality, the life-force that keeps mind, body,
and spirit together.
How it Works: As Chapter 6 explains, the Vitality trait
reflects the force of will, strength, and spirit your character
possesses. Damage - physical and otherwise - drains Vitality. As
the Effects of Injury chart shows, the amount of Vitality lost depends
on the injury. Lesser hurts - Suffering and Wounding - impair
your character, but they don't take away Vitality... yet. A Crippling
blow, however, reduces your Vitality to half its original amount; a
Mortal one cuts your Vitality to 1/4
its original amount; three of them
will kill you outright. A Fatal
attack, of course, takes it all. You
might not die immediately, but
you're on your way to the boneyard.
Physical assaults aren't the only way to
lose Vitality: psychic attacks rip mind and
soul, whereas social attacks devastate
emotions, and though it's difficult to kill
someone outright this way, you might drive him to
self-destruction. Environmental hazards wear the victim down until
the body and spirit simply give up. (Or get squashed, burned to
cinders... you get the idea.) The obvious effects of injury appear as
story elements, and they depend on the nature of the attack, not on
the amount of Vitality lost - a Crippling social blow won't smash
someone's ribs the way a Crippling physical blow might. The victim
of either blow feels pain, though, and his life-force dims either way.
See the Appendix disc for Advanced Rules about Pain
and Harm for details about attacks that hurt but do
not kill.
Pain
In faerie tales, anguish comes with the territory. Snow White,
Cinderella, The Beast. .. they certainly suffered, even though none
of them went into battle. But by overcoming her suffering, a hero
moves through her Dark Woods and comes out on the other side
better and stronger than before.
Not that this is always the most comforting fact in the world.
Pain hurts. Even legends and immortals feel pain, and though that
which does not kill you makes you stronger, it still pretty much sucks.
How it Works: In Deliria, pain manifests through roleplaying
and story elements, not in numbers. So if your character has been
hurt, play it up - don't be a ham, ofcourse, but act out the effects.
Describe how her ankle drags limply when she walks or how she
weeps when no one is looking. If you can, imagine what your
character has suffered... and imagine the force of will she uses to
move beyond that pain. This way, conflict changes the flow of the
story, introducing new elements and altering the old... which, in
both life and fiction, is what violence really does.
Again, see Story Elements for suggestions about
roleplaying and storytelling the aftermath of violence.
Impairment
A bird with a broken wing cannot fly. A man with a broken heart cannot
love. Impairment follows injury, and though there are many different
forms of disability, all of them restrict the injured person somehow.
How it Works: Like injury, impairment is a matter of degree.
Slight impairment, like a headache or a lost job, causes distress and
inconvenience... it's not exactly painless, but the injury fades with
time. Major impairment (a con·
cussion, shame) takes longer to heal
and makes life noticeably difficult. " " :Never 50 it1 �5�it1st � Sicili�t1 whet1 ;'e�th is Ot1 the lit1e,'"
Those difficulties multiply with
significant impairment (skull He was still q\.lite checr\j \.It1til the ioc�it1e pow;,cr tool, effect,
fracture, ostracism); the effects
linger even after the injuries have .. " ,YO\.l lIil1e;, him," she whisl'cre;' fit1�II\j,
healed. Permanent impairment is
just what it says; long after the
original trauma passes, the scars
(blurred vision, blacklisting) remain. J11\.1ch fOf' \jO\.l,"
Like pain, impairment
comes through in story elements
and roleplaying. It might have some
game system consequences, like a penalty on your Prowess, but it's
really tied more to the circumstances of the saga than to numbers. If
Brimstone Green winds up with a shattered ribcage or a broken
heart, he'll be weakened for a long time to come.
'Che Qeaper
The ultimate impairment. Even the most determined mortals are
stillffi well, mortaL and for mortals, death is inevitable.
This isn't always a terrible thing. The happy ending is a recent
development. In many faerie stories, a horrific demise becomes the
most memorable element of the tale (stay away from that oven,
Grandma!), and a tragic death scene adds a bittersweet flavor (sea
foam, anyone?). So, as long as death comes in a memorable way, a
Del;r;a character can meet his end without disgrace.
How it Works: There are different kinds of death. In most
cases, death is just what it says - the end of earthly existence. But
some dooms leave the body breathing, even if the mind and spirit
wish otherwise:
.. Social death, in which the victim's status is irrevocably demolished.
(See the end of the film Dangerous Liaisons.) A Fatal social or
political attack devastates a character so badly that he's effectively
dead to the world. Rare in this day and age but still possible for
people in high society, social death often drives a person to
suicide. You can survive it, but many folks do not.
� Brain death, in which the soul and body remain tethered to a
comatose husk. A possible outcome of a Fatal physical or psychic
assault, brain death leaves hope for resurrection but keeps the
mind and body apart,
� Soul death, in which the soul is ripped from the body and either
imprisoned or destroyed while the body walks (often rotting) with
its consciousness intact. This is the zombie's doom, and it's the
worst form of earthly damnation. The fruit of a Fatal possession
or curse, soul·death may be reversed if someone can find and free
the caged soul; otherwise, the victim is bound to walk until the
flesh falls from his living bones, Brrrr!
Compared to these fates, physical death is easy.
'Che Dramatic Death Scene
Even in the case of physical death, a major character shouldn't die
immediately from a simple loss of Vitality. Instead, her death ought
to be caused by some dramatic story element linked to that loss of
Vitality. If Autumn is fatally shot. for example, it's not going to be
going to 0 Vitality that kills her - it's going to be the gaping hole in
her chest. So until the right moment comes, the character who has
fallen to 0 Vitality ought to ding to a semblance of lire, possibly
choking out some last words before expiring. Until she's had a
chance to have her dramatic death scene, the 0 Vitality character is
dying but not completely dead. (Unless, of course, she's a minor
character, in which case, call in the vultures.)
Qesuscitation and Qesurrection
The Reaper may be inevitable, but in both faerie tales and real life, it
is possible to put his call on hold for a while. With magic at your
fingertips, a dead character may be returned to life before spirit and
consciousness part company forever.
 How it Works: Resurrection is a story element, not a rules Story Elements:
decision. Assuming a character with some remarkable power of magic "Repercussions of Viol ence
or medicine is nearby, and assuming the deceased wasn't blown to Whether he's got a busted leg or a broken spirit, your character's

ribbons or otherwise annihilated, the dead party may be resuscitated injuries are more than just slashes o n a character sheet. Those

within five minutes of time in the game world (a handful of injuries become story elements - plot points that linger long after

rounds), at the Guide's discretion. The formerly-deceased will, of lost Vitality returns ...

course, be barely alive for quite some time - in games peak, he will

have only half his Vitality until he is fully healed by other means - Physical Injury
and may suffer some long-term effects from his recent demise. Physical damage is ... well, physical. Black eyes, torn muscles, broken

A truly powerful non-player character - and only a non­ bones, corpses - severity may vary, but the effects are similar.

player character! - might also step in and perform a deus ex Many RPGs or computer games use life levels to record wounds, but

machina resurrection after the five-minute limit. That miracle, under the Compact System an injury or disease is a story element,

however, is entirely at the Guide's discretion. It ought to be earned not a number on a chart. If your wayfarer breaks her leg, it's a

by some grand act of heroism, not simply expected, and it'll broken bone, not three life levels. A magical healer might be able to

probably carry some heavy price tag, one far beyond earthly cash, repair that damage quickly, but otherwise your worldwalker won't be

that will appear as the saga moves on. doing much walking for a while.

(For good examples of this device in action, see the climaxes In gamespeak, a physical wound causes pain and

of many faerie tales, films like Dogma or The Princess Bride, or the impairment, subtracts Vitality points as per the Story Elements of

USA Network season of B ullY the Vampire Slayer. Oh, yeah - deus Injury chart, and becomes a story element. The nature of that

ex machina means "god from the machine" and refers to the ancient damage depends on the attack, and the details are left to the

(lame) device of having some divine figure miraculously show up at discretion of the Guide.

just the right time and set things right. So how does your wayfarer heal that leg? Pretty much the

same way anybody else does - bonesetting and time. Unless magic

" It's Only a Flesh wound:" Che Close Call is involved, healing time can be measured in weeks, not days.

Heroes and villains exist to cheat death. The close call is a venerable Recovery is slow and often painful no matter what your Vitality

fixture in both adventure fantasy and more serious literature. Call it might be; a character who's been badly injured is considered to be

our denial of death through the power of art... or just a device to Suffering (in pain, if not diminished in story terms) until that injury

keep a good character around. Either way, the close call cheats death has been healed.

- at least for now. Ah, but there often is magic to be had in faerie tales.

How it Works: At the moment of a fatal injury, a player can Miraculous healings (see Chapter 7) can bring a mortal back from

use a Fortune point to avert death. (Of course, if she's spent it all the brink of death, close gaping wounds, o r soothe a plague. Such

beforehand, she is quite literally out of luck.) Somehow, despite all gifts are never truly free, of course, but if you're desperate enough,
appearances, the gunshotj fallj decapitationj explosionj whatever there'll probably be someone with a cure for sale. And though the

did not kill the character. Instead, the otherwise-fatal stroke becomes cost of that miraculous cure might be measured strangely (some

a Crippling injury rather than a deadly one. The character winds up healers insist on grand ransoms for their services, and others take

stunned for a few rounds, then either makes a mysterious exit odd recompense like five perfect autumn leaves, or nothing but a
("Where'd she go? I could have sworn she was dead... ") or rallies to promise for later favors), no mortal argues with results.

finish the job.

All tales, even happy ones, have an ending. But though this Social or Mental Injury
thought seems morbid, it's actually encouraging. After all, Social or psychological injuries aren't as obvious as broken bones,

something fleeting becomes more precious. When you accept the but their effects can be far more insidious. Heartbreak, addiction,

inevitability of death, you're more inclined to enjoy a well-lived life. psychosis - the effects of a mental breakdown can be severe. And a

social one? Well, being an outcast sucks. Ever been fired?

Humiliated? Shamed by loved ones? Hell, that can drive a person to

insanity... Worst of all, no one sees that kind of hurt; all they see is

your behavior. If your leg's in a cast, folks offer sympathy; if you're

being erratic, they think you're a pain in the ass.

Unlike broken bones, a cracked mind or shattered status

doesn't heal quickly on its own. Time can mend either one, but the

latter take a lot longer to restore. Here's where story elements really
 healing takes time unless there's some spell or quest involved. As

for social healing, the afllicted character should probably do

something to make up for his disgrace. A powerful favor performed

for someone of high standing often heals a social rift ... and it

provides a wonderful hook for future tales, besides - many heroic

quests begin with someone mending his heart or reputation.

("Hello, King Eurystheus? Your new stable·deaner is reportingfor duty .. )

"

Spiritual I njury
In faerie tales, perils to the soul outweigh hazards to the flesh.

Temptations, possessions, curses... they can sear a person's spirit in

ways no physician can heal. Spiritual wounds are neither as obvious

as physical harm nor as recognizable as censure; indeed, the

symptoms and the cause often become one and the same.

Like social or mental ruin, spiritual injuries involve

roleplaying and story elements. A person whose soul has been

seared acts irrationally, cowering in terror at unseen visitors or

screaming through nightmares each time he tries to sleep. His aura

frays and blackens - folks who can see such things notice the

spiritual poison in his life-force, and even people who can't see that

still feel creeped out in the amicted one's presence. He might

become obsessed by death or blasphemy ... or, conversely, cry out to

all that's holy for salvation. Ifhe's been Mortally or Fatally stricken,

things begin to go wrong around the poor soul; docks stop, children

cry, animals avoid him, and bad luck torments him. Such injuries

come into play often lead people to crossways or goblin markets in search of help;

- nightmares, indeed, a spiritual wound might provide a good story hook for your

shame, poverty, character, either in the beginning of the saga or as the backdrop to a

hallucinations, new set of tales.

fears, addiction, Many people don't even believe a soul exists, And so, healing
and that mainstay of a soul-wound often requires a compassionate friend, dedicated

both faerie tales and healer, or spiritual guide who intercedes in some miraculous way.

modern life, depression. Such people are harder to find than simple doctors; besides, many

A character whose mind or social standing has been hurt finds folks avoid asking for spiritual aid even when they need it. And so,

himself staggered from the mental or emotional shock; he might recovery's lonely road often winds straight through Hell... literally.

flee in terror, weep in shame, or do even more irrational things. As When a soul is Crippled, Mortally harmed, or Fatally wounded, the

the original blow fades, the injured party will recover pretty quickly damage can last lifetimes.

from Suffering or Wounding, but those Crippling, Mortal, or Fatal Fortunately, some healers specialize in ravaged souls.

blows to pride or sanity are another matter. A Mortal or Fatal shock Physicians set bones, psychiatrists soothe minds, and holy folk and

will linger as neurosis or exile for quite some time until some kindly faeries can heal a poisoned soul. Religious inteIVention,

outside character or story elements help your character recover. energy healing, magic, or just plain sympathy can calm a desolate

That recovery process can he helped along by friends with heart. I f you look to the turning points of many faerie tales, you'll

skills or status. The Influence Vocation: Counseling can help one see a wounded soul comforted by a fairy grandmother or spirit

character heal another's mental wounds. like bodily medicine, this healer. In many ways, that's what faerie tale journeys exist for: to

help a ravaged soul find solace... and to guide him on the path out of

the Darkest Wood.

 Story elements of lnjuries
Physical Injury or Disease
.. None: You're fine, a bit winded perhaps, but functioning.
.. Suffering: You hurt. The pain isn't stopping you, but it's bad enough to be distracting. Examples: headache, twisted ankle, bad burn, serious bruise, flu, and
so forth.
.. Wound: Something's broken. This won't kill you, but it hurts like hell and definitely impairs your quality of life. Examples: concussion, sprained ankle.
serious burn, cracked rib, pneumonia .
.. Crippling: Something's broken so badly that it might kill you jf you're not careful. Without medical assistance, you'll be impaired for a while to comej
even with assistance, the effects will linger for weeks or months. Examples: fractured skull, shattered leg, third-degree burns, organ damage, diabetes.
• Mortal: Very badly hurt, probably dying. Without help it's only a matter of time, and even with help things will be dicey for quite a while. Examples: brain
damage, severed limb, extensive burns, major organ damage, cancer.
• Dead or Dying: Figure it out.

Social or Emotional Damage

• None: You're happy, healthy, and popular as ever.
• Suffering: A bit depressed; out-of favor with your peers. Examples: hangover, embarrassment, dark moods, fight with a lover, nasty remarks behind your
back, reprimand by authorities.
• Wound: Badly shaken; erratic and humiliated. Examples: shame, quirky behavior, breakup with lover, rumors behind your back, getting fired.
• Crippling: Staggered; people wonder what the hell happened to the you they used to know. Examples: addiction, an embarrassment to loved ones,
episodes of dementia, vicious break-up, insults to your face, arrest, ostracism.
• Mortal: Broken; no one even wants to admit they know you. Examples: gone junkie, forsaken by loved ones, hallucinations and irrational behavior, ex­
lover hates you, vile reputation, exile, imprisonment.
• Fatal: Devastated, suicidal, or utterly demented; outcast from society.

Spiritual wounding
• None: Fulfilled, secure, and fairly healthy.
• Suffering: Stunned and doubting, questioning things you've always held sacred. Examples and signs: nightmares, bursts of fear, violation, simmering rage,
desire to sin, uncanny perceptions.
• Wound: Traumatized; you're sickened by things you used to revere... and sacred things begin to seem sickened by you. Examples and signs; night terrors,
panic attacks, real or symbolic rape, seething fury, immoral behavior, visions of angels or demons.
• Crippling: Haunted; holy people and places begin to terrify you. Examples and signs; horrific dreams, phobias, systematic degradation, explosions of
violence, blatant wickedness, plagued by unearthly beings.
• Mortal: Ravaged; filled with hatred and apparently forsaken by your God. Examples and Signs: inability to sleep without terror, withdrawal. desolation of
the soul, psychotic outbursts, constant blasphemy, possession.
• Fatal: You've convinced you're either possessed or damned, and you may be right on both counts.
 Vi olence System s
Co Attack Make it Hurt More
Base Chance ", aggressor's Prowess Injury Challenge Needed
Challenge level: defender's Prowess Wound +1 Challenge
Damage 0: Challenge level + degree of Wound desired C i n:!1
l�
ripr!p� g Challenge
=� _______
- ..:+2
Fight '" contest between both parties Mortal +3 Challenge
Fatal +4 Challenge
Assailant's Prowess Grace
Physical hand·ta-hand '" Body (Agility in Advanced rutes) Six Degrees of Injury
Physical attack at range = Mind (Perception in Advanced rules) .. None: No real damage. The assault stings a bit but doesn't have
Social assault = Mind or Spirit (Perception or Charm in Advanced rules) lingering effects.
Psychological or spiritual assault ", Spirit (Will or Passion in Advanced rules) • Suffering: Pain; the assault doesn't inflict major damage, but it leaves its
victim hurting.
Defender's Prowess Grace .. Wound: Major paln and impairment - lingering damage that hurts for
Dodge physical blow :: Body (Agility in Advanced rules) a while.
Dodge flying objectl gunshot '" Mind (Perception in Advanced rules) .. Crippling: A serious helping of pain and injury; the assault impairs its
Bluff/Charm = Mind or Spirit (Perception or Charm in Adva nced rules) victim significantly, leaving h i m open for further harm.
Resist with Willpower = Spirit (Will or Passion in Advanced rules) .. Mortal: Grievous harm; the victim suffers a great deal of trauma and
could literally die (or suffer permanent impairment) from his wounds.
Challenge Levels for "Ranged Attacks .. Fatal: The kill; the victim either dies literally or falls to a permanent loss
Injury Point-Blank Close Short Medium Long of sanity, status, or soul.
('0') ( So') (200') ('000') (1000'+)

Suffering 6 9 12 '5 ,8 effects of In jury

Wound 9 12 '5 ,8 21 Injury Prowess Vitality Penalty
Crippling 12 '5 ,8 21 24 None 0 nta
Mortal '5 ,8 2' 24 30 Suffering -
, o
Fatal 2' 24 30 30 Wound -2 0
,8 .:.:::=� _ � _______

Crippling -3 reduced to 1/2 original Vitality

Does it Hurt? Mortal -4 reduced to 1/4 original Vitality
Injury Aggressor's Draw (drops to Fatal after three Morlal injuries)
Aggressor Suffering Disaster Fatal Gone - dying or dead all Vitality
None Below Challenge Level
Suffering Challenge level "Recovering Vitality
Wound Two higher than Challenge .. Each day of rest: 1 point of lost Vitality regained for each point in
Crippling Red royal Spirit score
Mortal Red 10 .. Every day of stress: half the usual amount. rounded down.
Fatal Triumph
----
 Physi cal
Viol en ce

There are �rago�s be�eath his ski�, Hlrappe� i�

There's fur o� the fla�s of his e�e.n.\}, goat-

stink anb gloating lips pu((eb back. to sneer.

A rowan stake lies on the groun�

between tbe,n.

Birbs wait, silenl

Anb the soil grofllS thirst.\}...

Zen and the Art of Beating ASS

Whether it comes from red-hot shoes or a .357
Magnum, physical violence provides an obvious
disturbance of the peace. Called everything from
"the argument of kings" to "the last resort of fools,"
force drives characters to both heroism and
atrocity. Social and psychological violence wound
over time. but physical violence is immediate.
When it's over, everyone kMWS there's been a fight.
Grave bodily harm offers the most satisfying
resolution to a problem. It's also the most difficult
to ignore; the authorities might not care if you've
hurt someone's feelings, but if there's blood on
your doorstep. expect a knock at your door.
Unlike social combat, physical fights cannot
be acted out by the players without risk. (If only the

risk of embarrassment because your character

fights better than you can!) So if this section seems
to hold a lot of rules, it's just because a knock-down
drag-out fight can be so hard to play out without
them.

Hand-to-Hand Fighting
How it Works: If the adversaries are dose enough
to touch (even if that touch includes the proverbial
IO-foot pole) , they square off in hand-to-hand
combat. Said combat might include fists, shock
batons, or instruments of torture. The most
elemental confrontation, hand·to-hand fighting is quite literally in your
face. Irs risky, too - anything you deal out can be dealt back to you.
Hitting the Target: To hit an opponent, describe what your
character is doing, then take a Chance. In nearly all cases, you'll be
attacking with Body (or its Agility Aspect, under Advanced rules).
Attacking at a Distance
How it Works: From thrown mugs to firefights, a ranged attack
starts when someone assaults his rival from a distance. Unlike
hand-to-hand combat. this requires some kind of weaponry - it's
hard to hit someone from a distance if you don't have anything to
hit him with.
Hitting the Target: like a hand·to·hand strike, you take a
Chance. This time, though, you use Mind (or Perception, under
Advanced rules) as your Prowess. The Martial Vocation (or its
Aspects like Firearms or Hurled Weapons) or the Athletic Vocation
(ASpect: Ballgame) can add to that Prowess, and the weapon itself
has a Strike score that adds to your Prowess as well. (Or, if it's a
really awkward weapon, subtracts from it.)
t The Challenge Level for a ranged shot is based on distance. The
further you are from your target, the harder it is to hit him.
Naturally, objects and circumstances can block your shot, too (see
Cover and Concealment under Advanced Rules Options), but in
general it's still far simpler and deadlier to shoot someone than to
clobber him.
.. Ifhe knows a shot is coming, the defender's Perct:ption Prowess
adds to your Challenge Level - it's harder to shoot someone who
sees you pointing a gun at him! And then, of course, he could
always try to dodge your shot, too.
Basic and Advanced
Options for Physical Combat
Combat, however, is rarely a simple matter. Although the Narrative
approach to physical violence is straightforward - "Did I hurt him
or not?" - you might want more involved rules for those life�or­
death moments.
In a fight, any variable can and probably will matter. But if
this chapter were to address the dozens of ways in which a laser
sight or troll·sized club could shift the tide of battle, it would
probably take up half this book. In order to keep physical combat
from dominating this chapter, we've included many Advanced
combat systems and environmental hazards (fire, poison, etc.) on
the CD·Rom Appendix.
Dodging
Because very few people will stand still and just wait to get nailed, a
defending character may take a Counterdraw to reduce your Chance
of harming her. She'll need a free action to do this, so that player
needs to either make a Fortune Draw or have an action that she
hasn't taken yet. If she has already made a Fortune Draw this round,
she cannot Counterdraw. As always, only one card or die can be
used on the Counterdraw.
Weapons
A weapon adds to your Prowess when you attack, the logic being
that you're more likely to injure someone with a weapon than
without one. If your character doesn't have a weapon, she'll have to
rely on her Prowess alone, assuming she can attack at all.
How it Works: Each hand-to-hand weapon has three ratings:
.. Strike: Your chance of harming someone with the weapon, either
through acruracy, size, or sheer nastiness. The Strike score gets
added to your Prowess when you attack your foe.
t Parry: Your chance of diverting someone else's attack with the
weapon. In this case, the Parry adds to your Prowess when
someone else is trying to hit you ... assuming, of course, that
you're using the weapon to block that attack.
• Size: All weapons are considered Tiny, One-Handed, Two­
Handed, or Huge. Tiny weapons can be hidden easily; One­
Handed ones are fairly obvious but can still be hidden; Two­
Handed ones cannot be hidden without some major effort. Huge
ones are bulky and are not concealable, but they increase your
reach and power greatly. Ifyou employ the Size Matters rules, a
Huge weapon adds I to your own Size. Big weapons hurt bad, and
if you're fighting something larger than yourself, that can be a
vital edge.
• Ranged weapons have no Parry; they also feature a maximum
effective range and number of shots.
To use a weapon, you've got to have it in hand at the moment
of attack. This sounds obvious, but it's worth noting anyway; just
because your musician carries a switchblade, that doesn't mean he
automatically stabs people with it. Readying a weapon takes an
action and a statement that you're preparing to use it.
A selection of weapons can be found on Pages 208-209_
For details about size differences and combat, see Pages
186'187, 192.
Shields you get hit, but you get hit more often. This isn't as true with the

Like armor, shields are archaic protections that still show up from newer Kevlar models (which have the bulk and weight of a heavy

time to time in modern slugfests. If you happen to use one, you can coat instead of a personal Sherman tank), but even the lightest

try to block incoming attacks. forms of effective armor can be awkward. As for the full plate

How it Works: Assuming your character has a shield at the favored by faerie-tale knights, trust me on this: it takes forever to get

ready and can use it in the fight. a shield adds an automatic bonus into, and it weighs a ton. (Aelden have their own magical styles of

to his Counterdraw against hand-ta-hand or missile attacks . annor that weigh significantly less, of course, but mortal protection

• Shields come in five basic types: Crappy (trash can lid), Light is pretty bulky stuff.)
(wooden shield), Sturdy (heavy wood) , Heavy (metal or plastic How it Works: Armor adds to a defender's Prowess against

riot), and Pmona! Watt (big metal shield). The bonuses for each certain attacks. The exceptions?
can be found on the Weaponry Tables . .. Most forms of armor cover only certain areas, and a strike against

• A shield can stop incoming objects and arrows, but only the metal a different location goes right past the armor. (A breastplate
and riot gear plastic models can deflect bullets. These two types doesn't do a thing for a head shot.)

still offer their bonus against gunshots, but bullets go right .. Few forms of classical armor work well against bullets. Unless a
through the other, weaker models. form of armor is specifically designated bullet-resistant, the
Prowess does not count against gunshots or heavy weapons fire.

Armor Armor can be cumbersome, and it often reduces the

The knight in shining armor provides one of the faerie tale's most defender's Agility when he's wearing it. Most helmets reduce

memorable figures. And even though armor isn't particularly Peraption, too. These penalties apply whenever you've got the armor

common in the in the current era, plenty of folks - from riot cops on; take it off and the penalty goes away.
to Renfaire weirdoes - strap some on when going into action.

Perhaps it would be more accurate to say those people strap Several basic armor types can be found on the
themselves into armor - it takes time and effort to don or shed Combat Reference charts. Details about those types
armor, and the more protective the armor is, the harder it is to put and a variety of other kinds of protection can be found

on and take off. Armor involves a trade-off: you get hurt less when on the CD-ROM Appendix .
 Weaponry 'Cables
Hand-to-Hand Weapons, Ciny H u ge (adds + 1 \0 your Size, +1 injury lev el)
Weapon Strike Parry Notes Weapon Strike Parry Notes
Brass Knuckles +1 0 ('I) Chainsaw +3 -1 ('I)
Chain +1 +1 ('2) Great Axe +3 +2 ('2)
Pepper Spray +1 0 ('3) Greatsword +4 +3 ('3)
Small Claws +1 0 ('4) Polearm +2 +3 ('4)
Small Knife +1 0 ( '5) Spear +3 +2 ('5)
Taser -I 0 ('6) Qua rterstaff +3 +3 ('6)
Whip +1 +1 ('2) Table +2 +3 ('7)
Notes: Troll Club +4 +2 ('8)
',: Includes fist·load, rock in hand. sap, keys, or telephone. Notes:
'2: Can snatch things out of foe's hand with Grab maneuver. -,: Disaster inflicts Crippling injury on wielder!
'3: Can Stun opponent on Wound or better. -
2 : Huge, double-bladed hewer of souls.

'4: Includes strap-on metal claws or real claws growing from hand.
'5: Includes razor, flip-knife, stiletto, switchblade. high heeled shoe.
'6: Can Stun opponent on Wound or better.
One-Handed
'3: Includes no-dachi, large claymore, two-handed greatsword.
'4: Includes poleaxe, halberd, war hammer; Strike -2 in close quarters.
'
5: Can be thrown.
-6: Can be disguised as a walking stick.
'1: Includes other pieces of furniture that might be hefted and used to

Weapon Strike Parry Notes whack people.

'8: Big-ass spike-flanged Frank Frazetta-esque mass of death.
Baton +1 +1 ('I)
Broadsword +2 +2 ('2)
Bullwhip +2 +1 ('3) Shields
(laws +2 +0 (see above) Bonus Sh ield
Dagger +1 +2 ('4) +1 Crappy Shield (trash can lid, buckler)
Fencing Sword +3 +3 ('5) +2 light Shield (small soft wood shield, chair)
Power Tool +3 +0 ('6) +3 Sturdy Shield (tough wood, light metal)
Small Axe +1 +0 ('7) +4 Heavy Shield (metal, riot gear)
Small Club +2 +1 ('8) +5 Personal Wall (shoulder-to-shin metal)
Small Sword +2 +1 ( '9)
Notes: Missile Weapons
',: Includes billy club. candlestick, desk lamp. pool cue, walking stick, frying pan. CHALLENGE LEVElS FOR RANGED ATIACKS
'2: Includes machete. broadsword, saber, falchion, hook sword, SCimitar,
Injury Point-Blank (lose Short Medium long
h u nga-munga. (10') (so') ('00') (500') (500+)
-3: Can snatch objects or grapple with a Difficult Challenge.
-4: Includes large fighting knives, butcher knife, main-gauche. Suffering 6 (Easy) 9 12 15 18
-5: Includes rapier, foil, epee, fencing saber, sword-cane. Wound 9 (Average) 12 15 18 21
-6: Includes power saw, drill, belt sander. Crippling 12 (Moderate) 15 18 21 24
-7: Includes hatchet, cleaver, tomahawk, hand axe. Mortal 15 (Difficult) 18 21 24 30
'8: Includes fireplace poker, baseball bat, table lamp, nunchaku.
Fatal 18 (Hard) 21 24 30 30
'9: Includes gladius, dirk, sea x, wakizashi, ninja-to.

Cwo-H anded
Weapon Strike Parry Notes
Battle Axe +3 +1 ('I)
large Club +3 +2 ('2)
large Sword +3 +3 ('3)
Spiked Club +3 +2 ('4)
Notes:
.,: Includes fireman's axe, war cleaver, battle axe, pick.
- 2: Includes war club, mace, staff, crowbar.

-3: Includes katana, hand-and-a-half, claymore.

-4: Includes nail-studded bat, spiked 2X4, battle flail, morning star.
 Weaponry 'Cables
'5: .22 caliber, Ruger Mini-14, and other commercial-grade rifles. Long range max.
'Ciny
'6: Springfield M21, M14, M1, Remington 700, and other military-grade rifles.
Weapon Strike Notes
Long range max.
Hard Ball +2 ,., ) '1: AK-47, M-16, H&K G3, etc. Medium range max.
Dart 0 '·2) '8: Uzi, H&K MPSSD6, Colt gmm, etc. Short range max.
'
Derrin g� +1 '·3) 9: Winchester Defender, Remington 12 gauge, Mossberg 500, and other single­

Mug +1 '·4) shot or pump shotguns. Medium range max. Strike +3 at medium range.
" 0: Daewoo USAS-12, Pancor Jackhammer, and other full-auto shotguns.
Throwing Blade +2 '·5)
Short range max.
Notes:
.,; Baseball, puck, etc.
*2: Blowgun variety; does n o damage but injects poison jf target Wounded. H u ge (adds + 1 to your Size when you're attacking)
Close range only.
Weapon Strike Notes
-3: One or two shots. Point-blank only.

*4: Includes other blunt objects that might be hurled during barroom brawls.
Arbalest +4 ,.,)
-5: Includes shuriken, small knife, sharpened card, large dart. Close range only. Longbow +5 '·2)
Sniper Rifle +6 '·3)
One-Handed Machine Gun +6 ' ·4)
Weapon Strike Notes Notes:
Small Crossbow + 1 ,., ) ',: Heavy winch crossbow - four actions to reload. Long range max.
'2: Massive bow - s'-6'tall unstrung. Long range max.
Small Pistol +2 '·2)
'3: Barrett .so caliber rifle with stand & scope. Long range max.
Large Pistol +3 '·3)
'4: HK 21 E, Colt M16A2, and other light military-grade machine guns.
Huge Pistol +4 '·4)
Medium range max.
Small SMG +5 '·5)
Sawed-Off +6 ,·6) Armor
Notes: Type Bonus ( ,)" Penalty '·2) Notes
.,: Pistol-sized; also includes heavy slingshot. Short range max. Costume +1 0 Decorative; biker jacket, fetish armor.
*2: Walther PPK, SIG-Sauer PZ30, Makarov PM. Medium range max. Padding +1 Bulky; training suit or foam armor.
-2
*3: -38 Special, Colt AS. Colt Python, Beretta 92FS. Long range max.
Light Armor +1 -1 Awkward; leather or light chain
*4: ·357 Magnum, Desert Eagle,.44 Magnum. Long range max.
armor.
'5: Mini-Uzi, Mac-la, Skorpion, Tek-g. Short range max.
'6: Sawed-off 12 gauge. Short range max. Kevlar Vest +2 -1 Awkward; bullet-resistant; torso only.
Riot Gear +3 -2 Bulky; bullet-resistant; also features
'Cwo-Handed riot helmet.
Weapon Strike Notes Battle Mai l +2 -2 Very heavy; also features helm.
Bow + 2 ,. ,) Plate +3 -2 Bulky; also features helm.
War Bow +3 '· 2) Full Plate +3 -3 Very heavy, awkward; also features
Crossbow +3 '· 3) helm.
AelfShot +4 '· 4) Aelden Mail +4 0 Very light; bullet-resistant.
Rifle +3 '· 5) Trollkiller +4 -2 Super riot gear; bulky; bullet-
Heavy Rifle +4 '· 6) resistant; includes riot helmet.
Assault Rifle +5 '· 7) Riot Helmet +2 -1 " 3)
SMG +4 ,· 8) Metal Cap +1 0 '·3)
Shotgun +6 '· 9 ) Helm +2 -2 '·3)
Assault Shotgun +8 '·10) Notes:
Notes: ',: Bonus = Bonus to defensive Prowess.
'
',: 301b. - 601b. sporting model. Short range max. 2: Penalty minus to Agility Prowess (or Perception, for helmets).
=

'3: Head only.

'2: Compound hunting model or typical medieval bow. Medium range max.
'3: Typical medieval model. Medium range max. For more armor descriptions and details, see Appendix.
'4: Small but magical arrows or stones; injuries from them never heal
without magical cures - victim cannot naturally recover beyond the
Wounded level. Exceedingly rare - used only by aelden and their closest
companions. Short range max.
 Social Warfare Adjustments Che La\v i s Not Mocked
Situation Assailant's Challenge level Adventurers are outlaws by vocation. Even so, there are outlaws and
Attacker's rep good -, there are Outlaws. The first stir shit up occasionally; the second
Attackers rep spotless
'-- _______
-=-
---'2 - ____
rampage across the land.
Defender's rep poor -, The latter aren't tolerated for long. anywhere. Especially not
Defender's hated -2 in Deliria.
Attack fits defender'S rep -, Characters who go off on killing sprees soon find themselves
Attacker has evidence
� ------------
-2 --
� --­ called to account for their sins. In mortal lands. cops, vigilantes, and
Attacker's friends present -2 overlords keep the peace (or something like it); in Faerie. regents.
Impressive gesture -, merchants, and beasts watch over their protectorates ... which makes
Setting suits attacker -1 outlawry a major hazard to one's health.
-------
Attacker's rep poor +, In most adventure tales. the authorities are out of sight when
Attacker known for deceit +2 the fun begins. Soon aftelWard. though. the local constables show
Defender's rep good +, up - either in the middle of a scrap or when the bodies all seem
Defender very popular +2 buried. but have begun to rot. And gods help anyone who fights back
Implausible accusation +, against them once they show up! Agents of authority. whether
Hearsay only +, they're aelden knights or urban cops, do not take kindly to folks who
Defender's friends present +2 try to kill them. A character who takes down - or even attempts to
Attacker not impre=
c� ss
�iv
�=
e -- _______
+�
�, ____
take down - an agent of authority becomes Public Enemy #I.
Distracting surroundings +2 That's no small thing. In the wake of 9/11. people who cause
mayhem become terrorists. Full legal, political. financial, and even
Psychi c Assault Ad justments military resources are brought to bear upon such people, and not
Situation Attacker's Challenge level even a wizard can dodge such power for long. Bank accounts may be
Offering t emptation -, frozen, newspapers and websites post the fugitive's likeness
Feeding addiction -2 everywhere, and video cameras and computer databases keep eternal
Impressive surroundings
--� -----------, --
-- ---- vigilance. Even civilians get into the act, especially with shows like
Threat of physical pain
� ________ _____
-,
..: America's Most Wanted or Silver Bullet offering bounties for juicy
Threat of damnation -2 tips. The cliched "you can run, but you can't hide" rings very true in
In a dream -, the media age.
Target warded -, Hiding seems easier in the otherworlds... until you consider
Protected by friends -2 saying mirrors. tracking spells. talking beasts. and ghostly infonnants.
On sacred ground -3 There might be more room to move and less central authority, but
Target blessed bY
c.ho IY bei ng 5 grudges in the otherworld last hundreds of years, often growing
_�,--__ " ____________ -,,-
keener with the passage of time. Witches and dragons and faerie
queens tend to get rather passionate in their hatreds; someone who
crosses them might be chased to the doors of Eternity itself.
In neliria, the consequences ofviolence are as inevitable as
violence itself. So if you plan to take up the blade. be prepared to pay
the piper.
 Social Warfare
Tbe� lockell e1J<S across rhe rel}Cllrsal s"ace. "I can't ""iN< :gon
sle"t with ber/, AlI1ber ras"eIl, ber ci)aagelino e1J<S oone
t/;nnrerdono 9'a�.
"It's not like :go» woulD bave noticeil." l\/I� was oon. of aU
,,,,,,,Ie, Amber boo rhe k,,,' rirJ;r. to be raOlJino bim about bis
se..xwl( escapaOOs. "ls I.bere @;9<lI1e it1 l,J.,e "',"3 ;90" Mvt:n't slept
with 1)ttl"
Amber'S tnOHrJ" �ro/1'JOO optm, o�ltr�. "ab..." Her &wa
tilteil bock; she ,lJOli ber rell mime. "OH, nol DIxiJ, "'l we're not
even goil19 to start IJla;gil19 moralist bere, Mr. HaPlT,9 FiMle Bol}!
You""" oot 'eon linell »1' li!(e a kissino wend" on crack, anD
evertPoo'9 in ti;is rOOIll kl10ws itl"
"Leave nre out of thi;," Mark. orumpeiJ.
"Leave all of US D«t of it," Jetmi sec0I1l1e3.
Amber lowerell ber bass (l" i"'r to rhe floor. Tbe fuzz on ber
muscular al'l!15 bristlell. l\/I� fielD bis violin with ileceptive cal»!.
No movement bnt rhe fu'!l flas/)ino in bis e1)tS.
II Ub, 9"�/' Sliver il1terrnl)teO, "rowi/) we Hot 00 this HOW?
Better �tl coulo we l10t 00 tbis at aU aHi) just pretel111 we oia?"
Tbe� ionoreil ber.
A raw I10te t.xrveroo i11 the air like a �l1e-umoo fenDer
that's j"'t sna",,,, a few stril1f)S.
"Yon blew nre off for that little ""I"
l\/I� ret»mell ber rage ,vith colo compos»r. "If I recoU
correcu;t)I the geJ1tlemltJ1 il1 black dJaiHttUlil baa lJ-ntr atteJ1tiol1
aU last we.!(enD." Tbe �Ier resteil bis brown cbin on rhe
iHStnnnel1t aHi) raise3 the bow as if to arolVn Amber OIit
Amber set tI)f bass at an OI,*waro a"fJI� it feU over.
Eve'l)One winceil at tI)f feelllrark. crash.
ItNOIV, Amber/, Ra;9 sootl;oo, mockittgl:91 IIi.s U)tIt tll1:9 waJl lO
treat a ".�ectl� 0000 ll5 i trunrent/"
''ruck JIOti, Cross. FlJCk ;t)OHI"
"I think 've""" alreaO� beeH rher. Your pointl"
Mark set bis ornlll5tirk.s a.sire, sirhin� "Dammit, rhere rhe�
go aoaiH..!'
 When to Use
Chese Qules
For the most part, the following
rules are Advanced options,
using the Grace and Vocation
Aspects found on the Appendix
disc. It can be a bit cumbersome to
pull out rules and traits every time your
characters have an argument. Occasionally. though,
the stakes are high enough to demand a contest and a
cost offallure:
.. When your character's back is against the wall in a new
and hostile social setting (see the riddle contest in Dangerous
Beauty).
.. When she's facing off against a rival in front of an important
audience (see most scenes in Ridicule).
.. When there's a revelation so devastating that it could change people's lives
(see any soap opera),
.. When your character's heart is on the line (see the interplay in Romeo and Juliet).
• When you're playing for keeps in a vicious social arena (see the whole film
Dangerous Liaisons).
� When she needs to make a do-or-die impression (see the ending of
The Princess Bride).
• When she wants to take someone down, hard, fast. and permanently (see the
climax of Crue/ lntentions).
.. When she's trying to trick information out of someone who doesn't want to give
it up (watch Henry, Eleanor, and Philip in The Lion in Winter) .
• When she needs to use someone to get to someone else (see any James Bond film) .
• When your character should be able to do any of the above, but you're not feeling
eloquent enough to play the scene yourself.
When possible, banter and roleplay. Save these rules for dramatic moments, and
they'll serve you well.
 Heartstruck
"[ wish you were dead!" The malediction is as common as it is
venomous, and though few people would act on the thought
physically, the violence beneath such words is violence nonetheless.
In faerie tales, such sentiments can make plants wither or tum
rivals into swans; in our world, the results of social violence may not
be quite so spectacular, but they're no less painful.
Thankfully, few of us will ever have guns shoved in our faces.
Everyone, however, has had those moments when a word hits with
magnum force and it seems as though death would feel better than
the pain. Chances are, you've done the blade-dance of one­
upsmanship, in which the winners do the keeping and the losers do
the weeping. So although the stakes of an emotional duel may be
higher in Deliria, the battlefield itself is one we all know.
Social Attack
Wounding with words is harder than bashing someone's skull. It's
usually a match of wit and strategy, pitting your best attributes against
your victim's worst. As usual, a successful attack isn't one that hits,
it's one that hurts. You could insult Britney Spears all day, but that
won't affect her popularity ... although a really good shot might hurt
her feelings if you were close or influential enough to matter.
How it Works: A character who has issues with another
character decides to make those issues stick. Normally, this would
simply be a matter of name-calling and roleplaying. This time,
however, the attacker wants to cause real and lasting damage
through shame, shock, or social ostracism. The battle lines have
been drawn...
Hitting the Target: Like any other attack, you describe what
you're doing, then take a Chance, The base Challenge remains the
defender's Prowess.
Which Graces do you base those attack and defense Prowess
scores upon? That depends ...
Surprise!
The nastiest trick in the book; also the most effective.
Gather a handful of dirt. When your target has his guard
down (usually among peers) , let fly: oh, and by the way, Ijust cleaned
out your bank account...
Daytime talk shows revolve around this sort of thing - the
set-up and ambush. In faerie tales, such moments provide a
dramatic turning point (Cinderella) or climax (Rumpelstiltslcin) ,
wherein one party gets the drop on a rival - often dropping him in
the process, too!
• In a sudden attack (surprise revelation or betrayal) , the attacker
uses the Prowess that suits her attack (see below) .
• The victim's defensive Prowess is the highest Grace among the
following:
- The Body Aspect: Beauty (it's harder to trash someone
people find attractive...)
- The Spirit Aspect: Charm ( ...or someone people like...)
- The Mind Aspect: Perception (...or someone who can see
your attack coming).
Because the attacker uses both Grace and Vocation, whereas
the defender gets Grace only, the chances of scoring a direct hit are
far greater in an ambush than in a dance.
Che Donce
And then there's that game beloved by courtiers everywhere: the
snake- and- mongoose duel in which each word becomes important.
This could be anything from a street corner rip-fest to a rondo that
would make Voltaire's head spin.
• In a skirmish in which both opponents know what they're doing,
each one chooses a Grace and Vocation that suits their tactics.
This choice becomes the characters' Prowess for that round, both
for attack and defense.
In social fighting, those Prowess scores can change from
round to round, reflecting the thrust-and-parry style of witty repartee.
There are plenty of ways to fight dirty in a social situation, and most
of them depend on your strengths, your opponent's weaknesses, and
the status that each of you holds within the battleground.
The interplay between Grace and Vocation, between your
choices and your rival's choices, can become a game unto itself. Like
a duel of chess or Magic: The Gathering, the selections you and your
opponent make become critical.
Social Graces
As the Social Occasions chart on Page 193 shows, there are all kinds
of social tactics at your disposal. But social combat isn't nearly as
straightforward as physical fighting. You could use looks, charisma,
status, or wit to eviscerate an opponent. So which Prowess should
you employ? That depends:
• If you're gorgeous, you might use Beauty.
• I f people naturally like you, you could employ Charm.
• I f you're exceptionally witty, you might employ Imagination
for barbed comments.
• If you can outwit people easily, you may favor Intellect.
• I f you've got a fiery heart, Passion may be your trump card.
• I f you're good at noticing details and flaws, Perception may
give you an edge.
• If you want to impress someone through sheer force, you
could use Strength.
• If your opponent seems just plain stupid, you might use
Wisdom to show the error of his ways.
Combine whichever Grace works best for you with an
appropriate Vocation (below) , and sharpen those knives,
A\nd Social Vocations
The point! counterpoint nature of social rivalry makes swordplay
look simple. If you're smart, however, and play your cards right
(perhaps literally), you can take someone down with little trouble.
Most social attack and defense Prowess scores are based
on Influence Aspects. Under Narrative and Basic rules, you can
simply rely upon Influence as a whole; if you choose to go the
Advanced rules route, though, you might employ any number of
Influence Aspects:
* Celebrity helps you condescend to someone and look good
doing it.
t Conversation makes you everybody's friend.
• Counseling lets you tie someone into knots while making
everything that goes wrong look like his fault.
.. Leadership is good for dominating someone and making
him love you for it.
.. Manipulation pushes your target's buttons.
.. Mass Media lets you smear someone publicly.
* Politics - the West Wing approach - helps you trade treat
for threat while making it look like you're serving the
common good.
.. Seduction wraps the rival around your finger (or other parts
of your anatomy) .
• Street 5nwrts is great for making an outlaw impression (or
making an outlaw impressed).
* Style lets you down someone else through force of fashion.
Other potential social-fight Vocations include:
* Academia: Debal< (to win an argument with style).
* Academia: Field of Study (to drown your opponent in facts).
* Academia: Mindgames (to out-maneuver your rival).
* Athletics (to impress).
* Domestic (to assert parental control).
* Martial (to intimidate).
* Metaphysics (to awe).
* Or even Technology (to dazzle 'em with your technological
brilliance).
Which choice is best? That'll depend on the talents of both
opponents, circumstances, and the tactics you employ.
Playing to the Crowd: M odifiers
The more public the setting, the greater the humiliation. Trashing
someone in private has nothing on taking him down in front of an
audience. Timing and setting lie at the heart of a skillful social
attack; by choosing the right moment, in front of the right people,
you can goad a usually calm victim into a mortifying hissy-fit.
On Page ZIO , you can find an optional chart featuring
modifiers that can reflect the difference between a crowd that favors
you, one that favors your rival, and one that doesn't care either way.
Smear 'Cactics:
Soci al Maneuvers
Like daggers, sharp words must be skillfully employed. "You suck!"
is the verbal equivalent of hitting someone in the head with a
banana. To truly wound someone, the words, timing, placement,
and method of attack should be carefully plotted. Some people excel
at this sort of thing, and no one wants to piss them off. The cutting
you'll receive isn't often worth the risk.
like masters of the martial arts, these word-slinging masters
of social affront have special tactics they employ.
Social attacks and injuries come through best as story
elements, rather than game systems. For details about
those effects, see Pages 199-203.
Betrayal
"Et tu, Brute?" Your victim trusts you, lets you get close, takes you
into his heart. Suddenly, THUNK! One dagger, straight through. Few
social attacks can match this one for impact and sheer viciousness.
Betrayal takes time to set up - without trust, it's
meaningless. The trust could come through a love affair, close
friendship, business partnership, or other shared endeavor. Once
you get something you can use against the victim, tum it against
him: fuck his best friend, steal his wallet, leak his secrets to
competitors. Then choose a good time, tell him (often publicly) what
you've done, and watch the fireworks.
What Happens: Betrayal shows immediate results, especially
if it's revealed in front of lots of people who already hate your victim.
This attack can go sour quickly, though - the immediate meltdown
can bum you as well.
Goodi n g
The boomerang. By subtly taunting your victim, you drive him to
explode - hopefully in front of embarrassing numbers of people.
Best if you can do it without looking bad yourself.
It's a playground favorite, refined for adult use by people who
love to watch a target make a raving fool of himself. Properly
executed, the goad can bring out the absolute worst in someone,
expose it publicly, and leave the victim's dignity in tatters.
What Happens: A stream of small taunts and revelations,
couched in faux innocence, infuriates the victim. Depending on the
target's temper, this could be a remarkably short process or a long,
involved one. A Mortal wound sends your victim into tenninal
meltdown, whereas a Fatal strike sends him straight over the edge.
Gossip
The serpent's whisper. Rather than staging a direct assault, you leak
some bit of infonnation (real or imagined) to a few contacts. They tell
their friends, the friends tell their friends ... and the whispers begin.
 A common court tactic, gossip creates a maze of
misdirection. Once word gets out, it's hard to trace the rumor back
to its source. In the Internet age, gossip is damnably easy to start -
there's always someone who'll believe anything!
What Happens: A gossip network takes time to establish.
The whispering campaign itself takes even more time to run its
course, although with a few magical spells it can carry a lot further
and go a lot faster. The results appear as remarks behind the
victim's back and end up eroding his reputation. Gossip is the least
reliable way to shame a person, though, as very few people truly
believe what they hear. Rumors have more stock in Faerie, where
folk haven't grown quite so jaded.
Insult
The direct approach. You say something degrading about your
victim and hope it's clever enough to hurt.
Although ridicule is a prized method of social combat, it's
really hard to wound someone seriously with insults alone. Your
insult had better be A) damnably clever, B ) true, C) a common
sentiment among your audience, or D) all of the above. Otherwise,
it'll be amusing but ineffective.
What Happens: You say something; they either react or
don't. Even if the victim does react, however, the wound won't go
too deep. Unless you're in one of those courts that prize wit above
all else, you cannot Mortally or Fatally injure someone with insults
alone, though you can goad him to a fury. (See above.)
I ntimidation
"Drop. Your. Sword." Clank! Never underestimate the power ofa
good implied threat. If your victim believes that you might carry it
out, you can win a fight without striking a blow.
What Happens: With a well-delivered soliloquy and a small
yet meaningful action, you send the message: cross me and suffir
horribly. The better the set-up, the harder the blow. This one usually
pays off immediately, although some threats take longer to manifest
than others.
Revelation
"You mean you didn't know Mom was a hooker?" Yanking open a
skeleton-laden closet, you let some bones crash to the floor. Jerry
Springer is the master at this sort of attack.
Another sudden ambush, this shocker pays off quickly and
in a big way. Most effective if it's true, the revelation has a nasty
blast radius. Mortal or Fatal blows tend to set people off in
spectacular fashion.
What Happens: Like betrayal, only worse - the attacker doesn't
need to be close to her target. She just needs to know some devastating
secret about him, preferably one he didn't already know himself.
Ideal for telepaths, detectives, and mysterious old Gypsy women.
Shame
"Boo! Boo! Boo!" Like the dream-crone in The Princess Bride, you
invoke the wrath of society, heaping contempt upon your victim by
pointing out (rightly or wrongly) some sin he's committed. Like
revelation, shame works best if the charge is true; if the attack is
public; and if you've got a bunch of allies on your side to rub it in.
What Happens: After digging out an embarrassing secret,
you and your co-conspirators drag it out in the open amid lots of
shocked condemnation. The effects of shame are immediate, but
can last for years if the attack succeeds well enough.
Slander
Like gossip, only louder. In some public forum, you accuse your rival
of a terrible misdeed and hopefully avoid getting sued in the process.
What Happens: This attack requires a soapbox (usually TV or
the press), a damaging charge (true or otherwise), and an audience.
Slander takes a while to cirrulate and take effect, but the results can
be very satisfying - if you escape retribution. Of all social attacks,
this one's the most risky.
"1 Don ' t Chink So: " �estoration
Are we helpless in the face of social violence? Nope. Just as Cinderella
triumphed over scorn, so too might the victim of public abuse resist
the assault or recover from embarrassment. The following defensive
tactics can be used as Counterdraws to reduce the effectiveness of a
social attack, as a means of recovering from social injury, or as the
results of a Disaster drawn during a social assault.
Backlash
You blew it; now your would-be victim winds up looking better than
you do.
What Happens: Your assault didn't work; now he has
sympathy and you look like an asshole. A typical result for a Disaster
drawn during social attack, backlash turns your assault back against
you. What you had tried to inflict upon the victim nails you instead.
Faerie tales feature such marvelously poetic justice.
Benediction
Absolution. A powerful friend forgives your victim on behalf of
society or acts as his advocate in the court of public opinion. This is
one of those reasons that friends in high places come in handy.
What Happens: An influential character (probably an NPC)
intercedes in favor of the injured party. This can come back around
and bite the attacker in the ass if she's not careful (see Backlash) .
Conscience
You thought you were a cold bastard. Wrong. Like Valmont in
Dangerous Liaisons, you succeed in your attack only to be brought
down by guilt, affection, or other unexpected feelings.
 What Happens: A neat trick for Guides to play: a social attack Respect is vital in a faerie tale.
- successful or otherwise - breeds confusion in the attacker. A person who's been stripped of it has a
Suddenly, she finds herself trying to atone for the rotten things she's hard time gaining friends. The wind itself
done. Ideal for faerie tales, where virtue hides in strange places. seems to know his name, and folk he's

never met might spit at the ground when

Favor he passes. There's a reason for the saying

oops... you attacked someone with friends in all the right places. "death before dishonor;" many folk would
He's fine and you're in trouble. rather be crippled than humiliated.
What Happens: Your attack is blunted or totally undone Ironically, this concern grows as you rise

because you went out of your league. This often happens if you set up the social ladder. A king may be more

your sights on people with more friends or influence than you powerful than a beggar, but guess which
possess yourself. one's most touchy about his honor!
Humiliation undermines the self

Flair as well. We reflect ourselves in one

The "I'm too cool for this" defense; your attacks just slide off. another's eyes, and a social blow leaves a
What Happens: People either ignore the attack entirely or crack across that mirror. No matter how

mock the attacker for being petty, weak, or just plain uncool. aloof someone might seem, no matter his
power or position, he's got a little kid

Stoicism inside going "Don't you like me?" Scorn

"Just ignore them and they'll go away." Although this advice rarely wounds that child. cracks the mirror of
worked in school, it dots occasionally work in polite society. A the self. You might not see the break, but

person who stands firm and your target might still shatter inside.

blameless in the face of attack "'A nd Ihnllp!'!'tiink' su ITersl" Social attacks provide a great way

quickly wins sympathy from ofleveling the playing field. Parties

other people. Soon the attacker "Humiliations galo!'!'\" too powerful to harm physically can

looks like a bully and the suffer incalculable damage from a

defender comes off better for good gossip campaign. Uke termites,

his stoicism. skillful slanders can eat away at the

What Happens: Your power base - and confidence - of
target simply ignores your efforts, potent as they might be. He never someone who's otherwise untouchable.
lets anyone see him sweat, never breaks, just endures. This one can And at a lower level, it can be just plain

boomerang on slanderers and conspirators, making a hero of the satisfying to watch someone get what's

victim and villains of his enemies. coming to him... so long as that someone
isn't you, of course.

Vindication Social violence usually takes time

The verdict is in, and your target is proven not guilty. Something to sink in. You might be able to wound a
happens that turns the assault inside out; the defender looks good, rival to the core with a well-placed phrase,

and his enemies wind up on the run. but that level of repartee and sudden
What Happens: The one takes a while, but it's sweet revenge. consequence is rare, especially in the

The court of public opinion weighs the matter, forgives the slander, modern era. Some otherworldly courts

and sometimes goes after the parties responsible. A perfect story might have exaggerated ideas of status
element for a lawsuit or counteraction that turns the tables on a and etiquette allowing you to destroy a
social assailant. victim with quick words; most of the time,
however, a social attack - and its aftermath - take time to sink in.
H itting the Mark The Repercussions of Violence section (Pages 201-203) shows what
Why should they care? Because, in the mortal world and Faerie, happens when a social attack hits the mark. Those effects may not

respect is often more precious than blood. It's commonly said of show up for hours, days, or even weeks, but over time, they will tell.
heroes that they're "well spoken-or." Take that acclaim away, and In the meantime, keep your head low or risk 10sLng it! Folks

even a hero trembles. get touchy about their pride.

 Psych i c Assau It:
We Al l Go a Little
Mod Sometimes . . .
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Not By
wi ll Alone
Under most circumstances,
a battle of wills is just that - a contest
of Spirit vs. Spirit. (Or, under Advanced
rules, Will vs. Will. ) Certain tactics, though,
work better with the Spirit Aspects of Passion,
Charm,or Wisdom... or even Intelligence and its
Aspect: Imagination.
• Forthe Assailant:
- Charm entices your prey with a pretense of trust.
- Imagination lets you get creative.
- Po55ion helps you convince the mark that she's in for a good time jf
she goes along with you.
- Wisdom helps you work around her defenses or lets you assume a
mask of doing the right thing.
Ifyou prefer one ofthese tactics over a simple struggle ofwills,
substitute the appropriate Grace for the Will trait.
Helpful Vocations include: Academia: Teacher (for harsh
mentors), Domestic: Childrearing (for rotten siblings and step-parents),
Domestic: Medicine or Martial: Bladecraft (for torture), Metaphysics:
Bodywork (torture or seduction), Religion (for scaring the Devil out of­
or into -your prey), or Weird Science (deathtraps!); or any kind of
Influence. You could also use appropriate Technology Aspects if you
employ elaborate gadgets in your excruciations.
., For the Defender:
- Spirit: Belief gives you strength.
- Body: H ealt h lets you outlast whatever they throw at you.
- Spirit: Passion keeps you going through sheer intensity.
You could also add th e Deliria trait to your Grace i n order to assimilate
the experience with a flexible state of mind.
Helpful Vocations include: Domestic: Survival (for endurance),
Metaphysics: Meditation or Religion (to rise above it all). or all kinds
of Influences.
Again. use what works for you. Spirit vs. Spirit is a simpler
option, but these other choices offer you flexibility and may give your
Shards and 'Crials
Whereas social violence cracks the mirror of the self, psychic assault
tries to shatter it, steal it, or warp it beyond recognition. In Greek
myth, Psyche was a princess who offended Aphrodite. As punish­
ment, the goddess sent her son Eros to bewitch the girl. Eros and the
princess fell in love instead; when Psyche discovered his godhood.
Eros fled, forcing Psyche to perform great tasks and journey to the
underworld in search of beauty's essence. Her courage won pity from
the gods and the elements; she eventually triumphed and won Eros'
love forever. Psyche's bravery mirrors the trials of a mortal soul and
the determination and purity required
to succeed.
like Aphrodite's jealousy and the trials of Hades, a psychic
assault tests the soul, dragging it down to hell. Unlike other forms of
violence, though, this attack has a moral center: the victim can with­
stand incredible punishment uher soul is dear and her will is strong.
An insidious violation - made worse by modem man's doubt that
he has a soul - the psychic attack has a long history in faerie lore.
Evil faeries besiege heroes, evil people torment innocent victims, and
evil tempters offer poisoned morsels to people who may not be strong
or virtuous enough to resist. Those who fail Psyche's tests spiral into
perdition, go mad, or die. Those who pass the tests prosper.
Psychi c Attack
Slower than either physical or social violence, a soul-attack requires
patience. In gamespeak, the assault plays out as an Extended
Contest, with one Draw per visit. The visit in question may take one
night (such attacks always seem to take place at night) or several.
Each session pits you against your adversary. Whoever wins gets his
way... for now.
How it Works: lhrough devious or dreadful means, the assailant
lays siege to the defender's will in an Extended Chance.
Hitting the Target: like all other assaults, describe the deeds,
figure Prowess, and take the Chance.
For both parties, the Prowess is usually Spirit (or its Aspects:
Passion or Will). A handful of Vocations can help, but because few
people have the proper expertise, many opponents simply use
Will alone.
Sadly, a psychic attack is rarely a one-shot deal. When he can
manage to do so, a soul-shredder isolates his victim. sets
circumstances in his favor, and then uses solitude, fear, and the
defender's own weaknesses against her. Over time, many characters
wear down from the strain. (Or, in gamespeak, the Vitality loss).
Fortunately, heroes are made of sterner stuff; sooner or later, they
break free and Triumph.
For those who don't, the road is grim. The Story Elements
section shows what happens when a psyche breaks down: despair,
hallucinations, strange manifestations, and a sense that all that was
once sacred is now tainted... such wounds haunt a ravaged soul. As
Vitality wears down, these terrors creep in.
" 1 Must Break You . . . "

Why would anyone do such a thing? Everybody's got their reasons: a

wicked witch might need a slave, an evil spirit might need a host, a

craver might simply need to survive. Some people feel that the ends

justify the means, and others simply love to cause pain.

Whatever justification you prefer, a psychic attack generally

has one (or more) of the following intentions:

Adversity
Some teachers teach through adversity. Reasoning by Nietzsche's
maxim (uThat which does not kill me makes me stronger'), these
mentors make a pupil's life as difficult and contrary as possible. If
the student can withstand the assault, the theory goes, she's worthy
of instruction. I f not, she never was.
Breaking will
Someone who's gibbering on the floor doesn't present much of a
threat. He does what you tell him to do. And so slavers, rulers,
agents of order, and even sometimes parents drill straight to the
Pushing
'Cowards Deliria
The spiral out of san ity and into something
else can be marked by the Deliria trait. The
higher this trait goes, the further your
character drifts from mortal perceptions.
Although this drift is amusing - even helpful -
at first, it can overwhelm your ability to function in the human
world .. or in Faerie, for that matter!
Madness and the Deliria trait are intertwined.

core of a person, crack it open, and try to fit the pieces together in a • A Crippling psychic injury adds one degree to your
pattern more to their liking. Deliria score.
• A Mortal injury adds three.
Corruption • A Fatal strike doubles it.
Evil's so much more fun when you can make new playmates. A

favorite pastime of malignant faeries and devious mortals.
corruption leads your horse to poisonous waters. convinces him to
drink of his own free will, then sits back and watches the fun.
Draining Vitality
Some entities cannot survive without drawing life-essence from
other, healthier beings. Cravers. howlers. and whisperlings feed on
the vitality of living things, whereas vampiric mortals just enjoy the
rush that life-theft gives them.
Driving Someone Mad
Insanity can be fun! Certain mindfuckers enjoy driving people crazy,
either for revenge, profit, entertainment, or even to demonstrate a
This state of dementia lasts until you can recover from the
injury, and it could very well get worse before it gets better.
But ali's not lost - Deliria ca n help you, too. During a psychic
assault, you can add your Deliria score to your Will to get your
defensive Prowess. Ifyou win, your tormentor fails; ifyou lose,you
get crazier. Draw a Disaster, and your Deliria score doubles.
Not pretty...
The victim of a psychic attack can also spend one point of
Deliria to stay sane throughout one session . That point is lost until
something raises the score again. Yes, it's true -you could go crazy
trying to remain sane, and then get sane by using your craziness to
escape. Strange world, ain't it?

bizarre kind of enlightenment. A specialty of faerie beings, this For details about the Deliria trait, see Pages 252-255.
sinister pastime finds its spokesman in Carroll's Cat: "I'm mad,
you're mad, we're all mad here!"

Methods
What hammers do such folk apply to the psyche's mirror' How

might they play out in story terms? And what Vocations might you

add to your Will, either to harm someone or to resist injury?

Degradation
A favorite of evil step-mothers and siblings everywhere. By treating

the victim like trash, you hope to make him feel as though he is
trash. Nagging, foul chores, lack of food or sleep, and a total
disregard for the subject's dignity make up the tools in this What Happens: With the Legacy: Mindcasting, the attacker simply
psychic arsenal. Despite the triumphs of characters like Harry floods his rival with psychic venom. This works best if you've got

Potter or Cinderella. this remains a popular assault. a really high Will, powerful Legacies, magic, or all three. Unlike

What Happens: Degradation requires time, power, and other soul-attacks, this one yields immediate results and usually

security. The victim must be barred from outside influences, takes the victim by surprise.

robbed of pride, and threatened with even worse ifhe doesn't

cooperate. His ebbing Vitality reflects encroaching despair and Possession

misery. If set free, he may recover eventually, but he will probably Evil spirits and astral perverts love to creep into a soul, burrow in,

have lifetime issues about dominance and control. and take over. Most mortals are strong enough to resist, but some

aren't so fortunate.

Enticement What Happens: The Legacy: Mindcasting allows a powerful

Sweet lies the serpent tells. With illusions, promises, and astral traveler to sift herself into a victim's dreams. If you're that

rewards you lead your prey down the road to hell. Offering traveler, you can lay siege to the soul, whittling it down through

simple temptations for simple sins (drugs, carnality, violent video nightly visits or - with a Triumph - simply taking over. Fatal

games), you draw her further and further away from virtue's injury means the possession is complete: your prey suffers

path. By the time the pain sets in, she's done all the damage to blackouts, stumbles around in a haze, and struggles to remember

herself. (See the vignette at the beginning of this section.) just who he is. Meanwhile, you guide him through paces he can

What Happens: A seductive assailant can play Big Bad only half-recall ...

Wolf to a willing Red Riding Hood. Small wickedness grows into

self-destruction. The victim eventually spirals into addiction, 'Corment

depression, alienation, or a combination of them all. Her aura The cruelest fate. Through mental or physical torture, you slowly

blackens; her faith falters. And the fact that it's partiy her own rip your rival's soul to tatters. A specialty of wicked kings,

fault makes the violation even worse. enforcers, monsters, and darkling fey, torment takes degradation

to the next low leveL A victim violated this way suffers not only

Hogging psychic pain but physical injury as well.

A fearsome astral assault. In the middle of the night, a sleeping What Happens: We don't need to go into details. Let's just

victim feels an invisible presence, suffocating weight, and say that torment is an especially nasty business. The defender can

numbing terror. This visitation drives him into nightmares or use Health to endure the physical privations, but her injuries may

keeps him awake until dawn. Either way, the hagging crushes the be physical as well as psychic, and she'll probably be hurting for a

victim's spirit, drains his energy, and leaves him wondering if he's good long while.

gone mad.

What Happens: Malevolent faeries are infamous for this Desistance!

trick - so much so that folklore links certain faerie creatures like Psyche, the soul i s resilient. A strong hero can resist her

(hags, nightmares, incubi, succubae) with midnight visitations. tormentor, rendering his assaults useless. In gamespeak, the

To hag a victim, an assailant needs the Legacy: Mindcasting, following dodges can be considered Counterdraw actions, spent

invisibility, or some illusionary disguise. Creeping into the Fortune points, or victories for the defender in a Will vs. Will
victim's room, the hag (who can be male or female) crouches contest:

down on his chest and begins her evil work...

Like degradation, hagging takes time. The effects are Defiance

gradual (in gamespeak, one Draw per night) , but eerily effective... "FUCK YOU!!!" Sometimes, raw defiance is enough.

especially in the modern era, when mortals rarely believe in such What Happens: The victim digs in her heels and refuses

things. Dismissing the hag as a bad dream, the victim goes back to budge. She might use Will alone, substitute Health instead, or
to sleep the next night... and the next... and the next... or worse, combine her Grace with an Athletics, Martial or Metaphysical

stops sleeping altogether. Either way, the attack succeeds. Vocation. Either way, sheer determination keeps her strong.

Mindcrush Devotion
Nothing subtle about this assault. A blast of raw malice flays your Purity of soul means more in a faerie tale than all of Midas' gold.

rival's soul. Powerful entities like howlers and celestials are Faith, meditation, or just plain goodwill turns the pain aside. No

notorious for shredding mortal minds like tissue; some evil queen or wolf can shake the pillars of this heart; through it

malignant aelders and human psychics can do it, too. all, the victim remains devoted to his cause.
 What Happens: An ideal opportunity to use Beli<:jinstead
of Wil/ - or reflect a Triumph drawn by the defender. We
recommend that this method, combined with Beliefand a
Triumph, ends the psychic assault for good. The attacker admits
defeat and goes screaming off toward the hills in frustration... or
perhaps to search for redemption.

Help
The Faerie Godmother option. Some outside entity takes pity on
the victim and helps her weather the storm. The helper might
offer aid on a quest, give advice, or bestow gifts. The Faerie
Godmother won't end the pain, but she'll open an escape route
and hold the door.

What Happens: The Guide steps in and offers aid to a

deserving victim. usually as a story element or supporting character
linked to the saga's backstory. The helper won't just come busting
down the doors - her aid appears as tame animals, spirit companions,
feats of magic, or small miracles that lead from darkness into dawn.

Che SOU I �estored

A tortured soul descends on a path of her own sorrows to the
edge of the Dark Wood and beyond. Yet, like Psyche, she may
emerge from the darkness clutching the essence ofbeauty and
soon awaken in the arms of love.
Aphrodite had one last trick for Psyche. In the jeweled box
regained from the center of Hades, the princess found spell.
shadow that lulled her to sleep. But smitten Eros flew down and
roused her from that enchanted sleep. like a mortal prince, he
lifted Psyche in his arms and took her to be his lover. Thus,
Psyche was restored from the underworld and trickery.
In Deliria, a hero stumbles. She suffers. She bleeds. Yet for
all of her trials - the violence committed and the violence endured
- like Psyche, she ascends from the underworld with treasure.
There may not be riches in the bottom of that box; she might wind
up poor, bespeUed, and alone. Yet if she has searched with pure
heart and courage, her travels may lead her to the lap of the gods.
This might not always be happily ever after. But it'll do for a start.

Wei rdness: A Corol l ary

One of the fIrst rules of faerie tales is that rules usually go out the
window. Although game systems are useful, they're no match for
imagination. Quite the opposite, really - a tight rules system
strangles imagination in its cradle. Firm laws certainly don't fit
the freewheeling world of faerie tales!
Therefore, knowing how to use the rules in this chapter and
the following one becomes secondary to knowing how not to use
them. Keep things simple when you can, use the options when you

please, and don't get hung up looking for that man behind the curtain.
 CHAPTER B: MASK' AND MIRROR

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 'Cwist of
b. the quirks, drives, and backstory that make your mask into a fantasy

Strangeness version of yourself.

The greatest heroes are ordinary people doing Memorable stories feature vivid characters. Keep that in
extraordinary things. Faerie tale tradition recognizes this mind when you craft your character. Put at least as much thought

fact: "the most beautiful princess i n the world" is still just a girl, into his needs and desires as you do into the system traits that

not a killing machine who races griffins in her spare time. reflect his powers. In the long run, it'll be personality quirks, not

And so, i n that tradition, start with an everyday concept when you power traits, that will make your saga live.

craft your character; think bank teller, not vamp-elven battle cyborg. From

H ow I t ' s Done
there, twist that concept ever-so-slightly until you have the makings of a mortal
hero; the bank teller can read auras, and one day she spots someone who doesn't
seem quite human...
For extra fun, start with yourselfas a character concept. Chances are, you've Creating a character is easy:
already got skills or interests outside the mainstream, so you won't need to reach far
for that extra touch of faerie dust! Ta ke some element of your real life, then
exaggerate it slightly and run with the results. (Bit of trivia: many of the places and
Vignettes featu red throughout this book began as actual locations or incidents that
were t hen peppered with dramatic license.)
Deliria'S world features subtle strangeness, not epic chaos. So when you Tell me a story.

craft your hero, look for someone you might know - someone you might be
- and let that person be your gUide. Tell me who you are.

Who is " You?" Tell me what you can do.

Through out this chapter, "you" often refers to both the
character and the player. Just take your cues from
context and have a good time.
Each step suggests elements of your fictional persona. Steps 2 and 3

feature traits, elements of the game system that determine what the
persona can and cannot do. The final step sums up all that went before.
Although there are three power levels you can use when

Who M atters? you're building a character (more about that later), the process of

It all begins with the tale: "Once upon a time, there was a..." A fashioning your mask is the same: Decide who you want to be, jot

what? A princess? A programmer? A raver with a sweet tooth? Who down some stats to reflect your abilities, then polish up the details.

are we talking about here? And more importantly, why should we The rest is play.
care about him or her? Without heroes or heroines, a story has no
center and a setting has no meaning. Craits
The character gives the tale focus and flavor. Robbed of Snow Deliria's characters are point-based, yet freeform; you create the

White's presence, we're left with a bitchy queen and a bunch of little persona you want to play without worrying about character classes,

guys hanging out in the woods. Heroes (and I use the term experience levels, or affiliations that define who your character is

generically) are the protagonists of our dramas. They're catalysts, and what he does.
motivators. They make things happen. They drive the story forward. Creativity, not calculation, is the most important element in

So who's driving your story? What face do you wear in the character creation. Even so, certain game systems come in handy.

l
imaginary world ofne iria? What does the character want? What can These traits define your character in abstract terms and numbers.
he do? Is he a daring self-portrait? Or a stranger whose motivations During gameplay, traits help decide whether or not your character

seem familiar but whose methods, personality, even gender are meets the challenges of the tale.

nothing like your own? Some traits offer simple descriptive phrases; others come

That's the fun of roleplaying: cobbling up a mask and through as scores - numbers and adjectives that define how poor or

wearing it to the party. The materials you'll use include Graces, powerful the character is in a given area .

Hearts, and other abstract ratings that define what your character • Descriptive trait: Compulsive
can do in this imaginary world. The most important elements of • Score: Mind 5
your character, though, can't be defined with numbers - they're
 Step 2 uses descriptive traits like Backstory and Stumbling
Blocks. Step J uses scores like Agility and Influence. Step 4 puts
them all together in a clean package. And Step I? No defined traits
necessary - just your ima ginatio n .
Purchasing Power
How do you select those traits? With trait points. What are trait
points? They're the dollars in a budget that helps you select the
talents. skills and other gifts that make your character her the
person she is.
Each trait has a base value. usually 0; raising it above that
base value requires trait points;
., In the beginning. when you're putting your character together,
each Grace, Vocation, or Heart trait (except Fortune - see below)
costs one point per level. or degree. Buying a Martial Vocation of 3.
for example, would cost three points, whereas buying Martial 4
would cost four points.
Each degree in a Favor costs three points; if you wanted the
Accord of Witchcraft at 3, for example, it would cost you nine points.
.. Later, you can raise that trait with experience points, trait points
that you earn during the course of the saga. Since it's difficult to
get really good at something, raising traits is a bit more expensive
than buying them at the outset. Raising a Grace or Vocation Key
with experience costs eight points for each degree ofthe new trait;
raising Martial 4 to Martial 5, for instance, would cost you 40 trait
points. Raising a Favor costs six points for each degree; taking
Witchcraft 3 to Witchcraft 4 would cost 24 points.
� Exceptional traits can be exceptionally expensive. Buying a Grace
trait above 10 costs double the usual amount of points, and it may
well not be possible at all. The Guide is well within her rights to
limit player characters to certain power levels, reserving the
highest levels for supporting characters only.
.. The Heart Trait: Fortune is more expensive than other Heart traits.
Uke a Favor, it costs three points per level above its base level of 3.
Why? Because really good luck is so useful yet unusual that it
counts as a Favor instead of a normal Heart trait.
Advanced Rules Note: Raising Aspects costs less than
raising Keys - see Page 228. When you raise a Key,
you also raise Aspects within that Key at the same time.
(You could raise an Aspect within a Key for only two points per
degree... but we're getting ahead of ourselves. You'll understand
more as we go on.) See Pages 279-280 for more details about
experience points.
I've:
Simple Keys
and Detailed Aspects
Like the rules in the previous chapter, the
Grace and Vocation traits feature an optional
level of complexity:
.. The Basic level gives you a handful of Keytraits.
Those traits are exceedingly broad and abstract, but
they work just fine for Narrative and Basic Rule sagas.
.. The Advanced level takes those simple Key traits and breaks them
down into specific Aspects. If you don't mind a little extra effort,
those Aspects offer dozens of possibiliti es.
Because the Advanced level is optional and might prove too
complex for some players, you'll be crafting your character with Key
traits, then breaking them down into separate Aspects if you so
desire. Those Aspects are listed in this chapter; more about them
and their rules can be found on the Appendix disc.
Abstract simplicity? Or complex diversity? You can employ
both. It's your saga and it's your choice.
Assi gning Points
So how do you assign points ? It's simple: Of the four steps, only the
last two feature point-based scores; the other traits are descriptions,
not numbers.
.. Graces and Vocations cost points. For each ofthose categories,
you have 15 base points to work with. Grace scores may be bought
up to any degree, but Vocation scores can be bought to a
maximum of 4 only with the initial base points.
• If you want to go over budget, you can dip into a pool offavor
points, points that have been set aside to buy anything you want...
including· higher scores on your Graces and Vocations. With favor
points, you may buy a Vocation trait up to 7.
.. Heart traits cost points to raise from their base score, but you
don't have to raise them if you don't want to. If you do want to
raise them, go back to the favor points pool and draw out a few to
add to your Heart scores.
 •
• Favors cost points, too. but you don't have to purchase them at all
- not everyone has such gifts. If you do choose to purchase
Favors. it's back to the favor point pool you go. He said. 1 can make you
t If you take Wyrd Favors, the points from those flaws become favor
points that you can use as you see fit.
whatever you want to be.
What Makes You Special?
As you progress through the steps. lay out your priorities and budget
your points accordingly. Ask yourself: What distinguishes my I wanted him to.
characterfrom otherfolks? Is she incredibly strong? Unusually
charismatic? Frighteningly analytical? Is she a computer genius, a
black belt, an ace journalist? No one is good at everything, so decide But what did I want to bel
what works best for the concept you have in mind, then ration out
your trait points to come as dose to that ideal as possible.
Despite the importance we often grant to numbers, the traits Maybe that was the danger.
expressed in words are the most important. Without an impression
of your persona, the numbers linked to her don't mean a thing.
rI�I1II'PSI'a I ia Hlork'
All steps are explained in detail shortly. The following 4 fl'lll1l BnllPs
Steps spread collects all the information you need to
know and puts it together in one place. There's also a
step-by-step character crafting example later on in this -------
chapter. on Pages 236-239. On the Appendix
disc, we've provided a few ready-made
characters as examples, built with both
Basic and Advanced systems.
For more details
about Deliria'S
multilevel systems, see
the previous chapter.
Passiol1S

obswdes

Favors
 ch aracter Crafti n g Steps and Opti on s
'Che 4 Steps
Step 1 - Tell Me a Story: Tell background tale.
Traits/Elements: Opening, obstacle, resolution
Step 2 - Tell Me Who You Are: Description and Motivations.
Traits: Faces and Drives.
Step 3 - Tell Me What You can Do: Character's capabilities.
Traits: Graces, Hearts, Vocations and Favors.
Step 4- Show Me: Sets all points in place.
Oh, yes - and describe three wishes, too.
Steps & Craits
e Faces (cost no points)
e Backstory: Character history.
f) Portrait: Description.
e Birthright: Mystic heritage.
Drives (cost no points; two per entry)
" Obstacles: Two personal difficulties.
o Passions: Two vital motivations.
o Secrets: Two things you don't want others to know.

Starting Points Graces (base is 0)

Base Points Mind: Conscious traits.
Graces and Vocations:'5 points each. Deliria: ,/2 of Mind Grace.
Body: Material prowess.
Fortune: 3 Vitality: Mind + Body + Spirit
Spirit: Elements of essence.

Favor Points
Wanderer Saga: 24 favor points/no Wyrds required H earts (base below)
Journeyman Saga: 36/9 pOints of free Wyrds Deliria: Mystic sight (1/2 Mind)
Heroic Saga: 60/15 points of free Wyrds Fortune: Luck (3; maximum 5)
Vitality: Life-force (Mind + Body + Spirit)
'Crait Costs for Favor Points
Grace Key, Vocation Key: Four pOints per degree. 8 Vocations (base is 0)
Grace Aspects, Vocation Aspects: One point per degree (optional). � Academia: Book learning and study.
Heart traits: One point per degree. e Art: Vocations of the Muses.
Favors: Three points per degree. G Athletics: Physical prowess.
Fortune: Three points per degree up to 3, three points per degree over 3. � Craftsmanship: Shaping and making.
Points from Wyrds: Gain three additional points per degree of the Wyrd. Domestic: Home and family.
Influence: Social arts and sciences.
'Crait Costs for Experience Points languages: Forms of communication.
Raising Key trait: Eight paints per degree Martial: Beating ass.
Raising Favor: Six points per degree Metaphysics: Spiritual pursuits.
Selecting new Favor: Three points for first degree
Raising Aspect trait: Two points per degree
Selecting Vocation Aspect in familiar field: Two points for first degree • Favors (base i s 0; Wyrds give more favor points)
Selecting new Vocation: Three paints for first degree Accords: Magical practices.
Note: acquiring a new Wyrd after character creation does not earn legacies: Powers.
new experience paints.
Minor: Talent.
Notable: Gift.
Experience Points per Session Grand: Blessing.
o points - Player doesn't show up or seriously disrupts game.
Legendary: Power.
1 point - Player merely shows up, contributes little.
Wyrds: Liabilities.
2 points - Character and player indifferent and lor distracted.
Minor: Annoyance.
3 pOints - Character active; player creative.
Notorious: Problem.
4 points - Character vital to story; player has a field day with dramatic
Dreadful: Burden.
roleplaying.
Legendary: Curse.
5 points - Both character and player perform truly memorable deeds.
 Advanced "Rules Aspects

Graces and Cheir ..D.spects

ind: Bloom of Chought
A.spects: Imagination, Intellect, Perception, Wisdom

Body: Shape of Limb

I\speds: Agility, Beauty, Health, Strength

Belief, Charm, Passion, Will

Vocations and Cheir ..D.spects

• = Open Aspect, one that features many variations.

A\cademia: Domain of Knowledge Languages: M astery of Babel

Aspects: Appreciation, Conclusions, Debate, ·Field of Study.
Mindgames, Research, Teaching
A\rt: Che Muse's Kiss
Aspects: Appreciation, Computer Media, Dance, Drawing and
Painting, Film and TV, Magician, *Musical lnstrument, Photography,
Sculpture, Song, Theatre, Wordcraft
Mhletics: Road to Championship
Aspects: Appreciation, °Ballgame, Bodybuilding, Climbing, Diving,
Extreme, Gymnastics, Outdoors. °Riding. Skating. Swimming. Track and Field
Craftsmanship: Shaping and Making
Aspects: Appreciation, Architecture, "Design, Jewelry. Metalwork,
Pottery, Stonework, Tailoring, Woodwork
Domestic: Cending the H earth
Aspects: Appreciation, Childrearing, Cooking, Farming, Folklore,
Gardening, Household, Hunting, Husbandry, Maintenance and Repair,
·Medicine, Survival
lnfluence: Heading the Pack
Aspects: Administration, Appreciation, Celebrity, Commerce,
Conspiracy, Conversation, Counseling, Crime, Journalism, Law, Leadership,
Manipulation, Mass Media, Planning, Politics, Seduction, Street
Smarts, Style
Aspects: ·Ancient Tongues, Appreciation, *AnimaI Speech, ·Arcane
Codes, ·Computer languages, ·Dialects, Earthtongue, ·Uving Languages,
Musica, Symbolism
Martial : Living by the Sword
Aspects: Archery, Appreciation, Artillery, Assa ssination, ·Bladecraft,
Clubs and Choppers, ·Combat Sports, Demolitions, Evasion, "Exotic
Weaponry, ·Firearms, H u rled Weapons, Polearms, Stage Combat, ·Unarmed
Combat, Weird Weapons
Metaphysics: Path to the Soul
Aspects: Appreciation, "Arcane Sciences, Bodywork, Cosmology,
Divination, ESP, Meditation, Faerie Lore, The Mysteriu m, ·Occult Lore,
·Parapsychology, Philosophy, "Religion, Weird Science
cechnology:
Che Flame Chat Fuels Our world
Aspects: "Aircraft, Appreciation, Biotech, Chemistry, Coachman,
Construction, "Driving, ElectroniCS, Entertainment Tech, Environments,
InfoTech, Invention, Manufacture, ·Mechanics, +Neoscience, Research &
Development, ·Sailing, ·Science, Security Systems
 Che 4 Steps

Four is an auspicious number. Related to both

the circle and the square. four represents totality:
the seasons, the directions, the earthly elements.
and the stages of life. In Deliria, it's the number
of steps between your imagination and the
character sheet in your hand.
Each step challenges you to describe your
character. Within that step. you'll find traits that
supply answers to that challenge.
Step I - Tell Me a Story
Asks you to show who your character is,
what she's like, and how she handles things.
Traits/ Elements: Opening, Conflict, Resolution
Step 2 - Ten Me Who You Are
Asks you what makes your character
tick.
Traits: Faces and Drives.
Step 3 - Tell Me What You can Do
Asks your character's capabilities.
Traits: Graces, Hearts, Vocations, and Favors.
Step 4 - Show Me
Polishes the traits that came before,
balancing the character and preparing her for play.
Each trait category is explained in more
detail later in this chapter. For simplicity, let's
have an overview:

Step 1 : Story
Each character has his or her
own tale. Before the books are
opened and the traits come into
play, each player tells a tale
about the person he or she wants to create. This
step is as important as the traits that will define
those characters in game terms, because without
a sense of your imaginary "I," those traits are just
mades on paper.
This story doesn't need to be a work of
literary genius. It doesn't even need to be
written; if you want, you and the other members
of your Circle can simply sit down and tell one
another these stories. After all, that's how faerie
tales begin - with people sitting around and
entertaining one another.
Story eroits: What Happens? Drive eroits: What Compels You?
Trait is kind of a misnomer for this step. Story traits could be Shakespeare described people as "chariots of wrath/by

considered story elements if you don't mind adding an extra term to demons driven." This step illuminates those demons,

the mix. By whatever name, a story trait/ element simply gives you the fancies and ambitions that, for better and worse, drive your

three bases to hit when you're telling your tale: character through Delirials world. And like demons, your character's
• Opening: This sets the stage for your tale. You might begin with a drives ought to be powerful things.
traditional opening, like, "Once, there was a waitress who really hated Your character needs at least two entries for each Drive,

people... " Or it could be laid out in first person, as ifyou were the although you can add more if you desire. A host of example Drives
character: "If! hadn't needed the money so badly, 1 would never have can be found under the Trait Descriptions section, but we encourage

taken that damned waitressingjob - I hate people!" Or you could tell you to invent your own. Please avoid silly motivations like Ulnkboy

it casually, as if it were an anecdote or urban legend: "l knew this hates Pokemon cards." Instead, give your Guide and fellow players

waitress down at the Varsity once, and man, did she hate people... " Use something exciting to work with. The more compelling your choices,

whatever feels most comfortable to you. the more exciting the saga.

t Conflict: Once you've given the audience some sense of who you
are, add a conflict. This doesn't have to be anything dramatic, like Obstacles: A hero is a work in progress, an imperfect person

a robbery or alien invasion, just something that complicates your reaching toward potentiaL Drama comes from the stumbling
hero's day: "When those drunk frat boys came into the Varsity and sat blocks that trip her up. So what are your obstacles? What self­

in her section, I knew there was gonna be trouble... " imposed quirks get in your character's way? Overcoming them can

• Resolution: Once you've laid out a collision course between the provide a wealth of story hooks ... and a path toward transformation,

imaginary you and the obstacle in your way, tell everyone how your
hero resolves the problem. This shows your audience what you can Passions: Our passions often define us. Celebrated by artists

do, and gives you an idea about her personality and resources. After and bemoaned by idealists, passions provide wheels for
all, there are some pretty big differences between a waitress who goes Shakespeare's chariots and whips for his demons. In game terms,

in the back to let off steam, one who dumps hot coffee in a rude Passions compel your character to do her best. .. and often her worst

guy's lap, and one who drop-kicks him out the nearest window. as welL Since faerie tale heroes tend to be a passionate lot, these

Those differences will set the tone for the character to follow. ought to be pretty strong desires indeed.

Step 2: Who? Secrets: Think you know someone? Think again! Everyone's

These descriptive traits offer details about the got skeletons rattling 'round the closets, and some of those
person you'll be playing. With short words or skeletons are pretty restless! In game terms, every character has a

phrases, lay out the hows, whats, and whys behind few secrets - things that could damage them if (or when) those

the query, "Who are you today" ? secrets are uncovered. Thus, this trait provides little mysteries to
keep things ... interesting.
Face eroits: What Do You Look Like?
Short descriptions go a long way when you're humanizing
a list ofnumbers and a dream. Hence, the Faces traits can
become the most entertaining aspect of character creation:
the look of the mask you create and wear in the game.

Backstory: What's your story? Where'd your character come

from, who does she know, and how does she feel about
them? This person you're creating didn't just appear out of nowhere,
fully formed. She has a history, and even if she can't remember it (a
background element in itsel0 , others undoubtedly will.

Portrait; What does your imaginary mask look like? What

does she do? Is she a housewife, cop, executive? How does
she look, talk, smell? How does she act - kindly, imposing,
flirtatious, cruel? Portrait includes physical impressions, but it ought
to go beyond that. Looks are only part ofthe picture.
 Step 3 : What?
Now we start buying stuff with trait points. This is
the stat stage, the process of defining your
character in terms of numbers and scores. But
although many garners consider this step the heart
of character creation, it's really just a matter of selecting statistics.
This stage involves four sets of traits: Graces, Hearts,
Vocations, and Favors. Each trait-set covers a different area of
expertise; all except Heart traits begin at 0, and all of them cost favor
points to raise. Because these traits cover a lot of ground, each one
has its own identity icon. The four sets are:
Groce 'Croits: What Are Your 'Calents?
G races define how smart, strong and spirited your
character can be. These essential Graces are divided
into three Keys; in Advanced rules, each Key has four
Aspects. The three Keys form the basis of a neliria
character - her mental, physical and spiritual attributes. The
Aspects reflect different elements of those attributes - her
imagination, intellect and so forth. The Key Graces come into play if
you're using the Narrative or Basic Rules, while Aspects matter if
and when your circle chooses to employ the Advanced systems.
The Key Graces and their Aspects are:
Mind
Imagination: Visualizing things beyond the obvious.
Intellect: Learning and mental processing.
Perception: Eye for detail; clarity.
Wisdom: Common sense.
Body
Agility: Physical grace and dexterity.
Beauty: Good looks. or lack thereof
Health: Hardiness and endurance.
Strength: Raw bodily might.
Spirit
Belief: Faith in your worldview.
Charm: Charisma and trustworthiness.
Passion: Fire of life.
Will: Determination; strength of spirit.
Starting Points: Each character begins with 0 in each Grace.
You have IS points to divide between the three Keys, and you may
raise them later with favor points.
Human Grace scores range from I to 10; sub- or superhuman
entities can go higher than 10, but not much lower then o. A human
adult's average Grace is between 4 and 6. But since faerie tale
characters tend to be extraordinary in certain ways and extraordinarily
weak in others, you can arrange your Graces however you like. Just
remember, there's a trade-off involved: a sorcerer with a Chann of 8
is probably lacking in some other departments!
Heart 'Croits:
What Are Your I nner Strengths?
Faerie tales center around people with heart. These folks
might not be unusually strong or skilled, but they
possess intangible qualities that set them apart. Your
character is one such person, gifted with fey vision,
prodigious luck, and a simmering life-force.
Heart traits, which measure such gifts, are figured rather than
purchased; they begin at a certain level but might go higher or lower
as the saga progresses. You can raise these scores from their
original base by spending trait points on them, and you may raise
them later in the saga by spending experience points to do so.
Deliria: This trait measures your character's awareness of
the magical realm... and her resulting disconnection from
the mortal one. It's a double-edged gift; a high rating means the
character is intensely attuned to the mystical but disastrously remote
from the here-and-now. Deliria comes into play when certain
beings, magics, or events appear, and it can help you in some ways
while impairing you in others.
Starting Points: A character's base Deliria score is half of her
Mind Grace, rounded up. A really spacey character may have a
much higher Deliria score, however. In that case, you can always
buy a higher score with favor points.
As an optional rule, you might base the Deliria score on
your Aspects instead of your Keys; in that case, subtract
your Wisdom from Imagination to figure the starting
neliria score.
Fortune: Luck - good and bad - is vital in faerie tales.
And so, each character begins with a certain amount of
Fortune. Some folks rely on luck more than others, so this trait
tends to go up and down a lot.
Starting Points: Each character begins with three points of
Fortune. From there, you can raise it with favor points, up to a
maximum score of 5. Remember, though, that Fortune is more
expensive than other Heart traits: raising Fortune to 4 costs 12
points, and raising it to 5 costs 15.
Details about what Fortune is and how it's used can be
found in the Chance section of Chapter 5 and in the
trait description for Fortune, Pages 255-256.
Vitality: Everything in this world is alive; some things.
though, are more alive than others. This trait reflects sheer
life-force - the ineffable combination of bodily strength. willpower.
and spirit-essence that stands between life and death. More than
simple hit points, Vitality measures your character's spiritual energy,
physical endurance, and mystical presence - the blaze of essence
that certain folk both see and respect.
Starting Points: In gamespeak, your character's base Vitality is
the sum of your Key Graces added together: Mind + Body + Spirit
Vitality. You may raise that Vitality score with favor points, as well,
up to a maximum score of 30.
Vocation Croits: What Can You Do?
Live and learn... Vocation traits reflect the things your
character has studied, trained for, or picked up over the
course of his life. These range from obvious
adventuring skills like fighting or techwork to mundane
abilities like driving or cooking. Vocations lay out skill sets that are
related by similar principles; the ones you choose will say a great
deal about your character's personality and lifestyle.
Everyone understands a variety of things, so each character
should possess a variety of Vocations. That said, you don't need to
worry about having every Vocation - just get the ones that suit him
best. He can always learn more later.
Like Graces, Vocations are broken down into 10 Key
categories, each with many Aspects. Those Key Vocations are pretty
broad, whereas the Aspects handle the detailed skills within the
category. The Vocation sets are:
� Academia: Book learning and study.
� Vocations of the Muses.
Art:
Athletics: Physical prowess.
Craftsmanship: Shaping and making.
.. Domestic: Home and family.
Influence: Social arts and sciences.
Lan guages: Forms of communication.
Martial: Beating ass.
Metaphysics: Spiritual pursuits.
Technology: Science and its applications.
Again, the Basic rules utilize the Key traits, whereas detailed
rules employ the Aspects. Vocation levels range from 0 (unskilled)
to 7 (legendary), with most people falling somewhere in between.
Starting Points: Each Deliria character begins creation with 15
points to spend on Vocations and a score of 0 in each category.
Additional points may be spent to purchase or increase those
Vocations as desired.
Favor Croits: What Makes You Special?
Heroes often boast gifts that few other mortals enjoy; on
the downside, they usually suffer unusal problems , too.
Favor traits cover both bases: Accords and Legacies are
generally helpful, whereas Wyrds are anything but. The
key word here, though, is generally; even the greatest Legacies have
a downside, and the most dire Wyrds have faint silver linings.
Favor traits are purchased differently than the other ones
described above. For starters, Accords and Legacies cost trait points,
and Wyrds give you more trait points to spend. And unlike Graces
� or Vocations, Favors don't have Keys or Aspects - each one is what
it is. These traits do have degrees of potency, however:
• Minor: The Favor is a talent or quirk.
• Notable/Notorious: It becomes a force in your life.
• Grand/Dreadful: It's pretty damned powerful.
• Legendary: You're famous (or infamous) for it.
The Favor traits are:
Accords: Birthrights of the aelden folk and occult arts of
humankind. the magical Accords allow a mortal to cast
spells, employ divinations, bestow blessings, hurl curses, and even
bend technology to their will. Although these skills are not magical
in and of themselves, Accords reflect the training or intuition that
brings a mortal into harmony with Creation... and gives her a
certain amount of control over its elements.
Legacies: A Legacy reflects some incredible gift of
inheritance or birthright and offers powers ranging from
the unusual to the downright inhuman. Some Legacies are fairly
mundane (like wealth or fame), whereas others are clearly
paranormal (like shape-changing).
Wyrds: Nothing's free in a faerie tale, and Wyrds are the
uncanny price of doing business with the otherworld. In
game terms, Wyrds counterbalance Legacies, providing a
metaphysical Achilles' heel for your character. As that analogy
suggests, even the greatest heroes have their weaknesses!
Starting Points: All Favors start at 0; Accords and Legacies
cost three points per degree, and Wyrds gain three points per
degree. Wyrds have a cutoff level. though - you can't begin a saga
with more than 24 points' worth ofWyrds. You can have as many
Accords or Legacies as you desire, although your Circle might decide
to limit player characters to Accord or Legacy scores of J.
Favors have no budget; you need to buy them with favor
points, which are detailed in the next step. So once you figure out
which Favors suit your character, note them down and move on to
Step 4.
Unlike the other traits, Favors are optional. Your
character can have a Legacy without a Wyrd, or vice
versa, and she might not have any of them at all.
 Step 4: Show Me
With all the traits in place, the final step works out
details with your trait points. breaks Keys into
Aspects (if you want to use Advanced rules), and
gives you favor points to spend:

Craits and Points

Add it Up
Check out the points you've spent. Have you divided up the
15 points between your three Graces? And the other 15 between the
Vocations you want to have? Cool. Are your Heart traits set at their
base degrees? All good. You've decided which Favors you want?
Fine. Move on to ...

Keys and Aspects

As we mentioned earlier, the Grace and Vocation traits
have two levels: Keys and Aspects. The former comes
into play if you want to use Narrative rules, the latter in Advanced
rules; you can use whichever ones you prefer for Basic rules,
although we suggest sticking with the Keys unless some situation
demands a specific trait, like Strength.
To find the Aspects within each Key:

For Graces: Simply multiply the Key by 4- The result is the

amount of points you have to spend on Grace Aspects. You
can spend these points however you like, as they'll always average
out into the Key score. Example: Mind 5 yields 20 points to divide
among Imagination, Intellect, Perception, and Wisdom.

For Vocations: Each Vocation Key score reflects both the

number of Vocation Aspects you have within that category
and the degree you have in each. Example: Technology 3 means you
have three Technology Aspects at 3 each; Technology 4 would reflect
four Aspects at 4. If you want additional Aspects at higher (or lower)
degrees , you may purchase them with favor points.

Favor Points
You can't do much with only 15 points between traits. And so, in
order to bring your character up to a more heroic level, you get favor
points. With them you can boost your Graces, Vocations, Hearts. or

all three; select a few Favors; or any combination you desire.

How many do you get? That depends. Later in this chapter,
you'll be offered three power levels for your Circle's saga: Wanderer,
Journeyman and Heroic. The favor points you get depend on which
option your Circle wants to use.
The higher the power level in your saga, the more favor
points you get to spend on your character.
There's a price to pay, though: epic heroes have epic
problems. The two higher options come with a set amount ofWyrds
you have to take. You don't get additional favor points for these
 , . - � - , ..," " !' " ,-p. .
- ,. � • !�

handicaps, though - they're the cost of doing business with the

otherworld. You could always pick a few more Wyrds to obtain those
extra favor points, but you still have an upper limit of 24 favor
points' worth ofWyrds, total. Thus, you could take an additional 15
points ofWyrds if you were playing a Journeyman character and
only nine more points if you're playing a Heroic one. (Trust me on
this one; you don't want more than 24 points of Wyrds anyway!)
And so...
.. Wanderer Saga: 24 favor points! no Wyrds required
• Journeyman Saga: 36/ 9 points of free Wyrds
• Heroic Saga: 60/ 15 points of free Wyrds

Now how do you spend them, again? One Lost Step:

.. On Graces, Vocations, or Hearts (except Fortune): These
traits cost one point per degree.
.. On Favors and Fortune: These cost three points per degree.
(Or in the case of Fortune, three points per degree over 30)
• Getting Points From Wyrds: When you select a Wyrd, you
get three points per degree in that Wyrd. Example: A Wyrd
of 3 would be worth nine favor points.
See Character and Saga Options, Pages 240-24' for
further details about the saga levels.
Using Favor Points With Aspects
Because Keys scores and Aspects are so closely related, when you
juggle one you mess with the other. Because most players will use
favor points to select new Aspects, the following guidelines can save
'Chree Wishes
The fifth step of a four-step process­
sort of an extra credit for your character:
Think of three wishes he would like to
see fulfilled.
There's no guarantee they will be; even if t h ey are, they
probably won't come true the way your character expects. But
before you begin your saga, decide on three wishes your character,
deep inside, would like to have come true.
These wishes shouldn't be too big. They ought to be short,
personal, and wise. An elaborate, huge, and foolish wish might come
true, too, but do you really want see that happen? like a faerie tale
hero, kee p it short, simple and sma rt.
These wishes provide direction. Aspiration. A sense of
purpose for your character, and one of intent for you They also give
.

you a lot of confusion: your Guide some possibilities for future growth and story elements.
• Grace Aspects: If you wind up raising Aspects within a single If you all know something your character would love to have
Grace by four points or more, go ahead and raise that Grace's Key happen,your Circle might be able to make it happen.
by one - the average has gone up. Do not round up, however -
the Key rises only when you've raised the Aspects within that
Grace by four points or more. Example: Kelly raises Ariel's
Imagination from 3 to 6 and her Perception from 4 to 5. That
takes Ariel's Mind score up one degree. If Kelly had raised only
the Imagination score, the Key would remain the same.
.. Vocation Aspects: With favor points, you may buy additional
Vocation Aspects or increase the ones you already have. Either
way, you must have at least a number of Aspects equal to the
degree of the Vocation's Key, and those Aspects must have at least
the same degree as the Key. For example, with Technology 3, you
could have three Tech Aspects at 3 , two at I, and one at 5. You
could not have five at two, one at 3 and two at 5 - you'd need at
least three at j, For Tech 4, you'd need four Aspects at 4; five at 5
for Technology 5, and so forth,
If your Circle prefers to use Key traits only, it costs four favor
points per degree, rather than one, to raise the trait.
That's it. Now just write everything down. You're ready to play.
So how do all these details combine to make a character? Let's
follow a theoretical player, Kelly, as she presents her new character,
Wendy Carter: arowII3 with it (,aek before be split. From tbe ('egilllli'10, I 'I'as

Step 1 : cel l Me a Story

barDer life got, tbe I'fl0re I Ii"t into "';<J ",,,;ic. B)7 tbe ti'lle I bit

bigb scbool, T was gooD elloHgb to Drall' a crOll'D at 1"lIeb break.

WorKeD for 'He - I DiDII't bave to talk "1I1eb, Inil I was tJOl"wlar

skinn;<J legs anD glasses, that'S wbt,t I StIli' ill U)C ,,,inor. But

Nirzlalla 011 its beaD. Ollce ill a "Me I'D well talk to tbe kiDs

tbank ever;<)One wben tbe [leU rallg, anD 00 back to class. M.lI

�iellD eo'lrtne,l) l1'as the o"tgOi'lg one; owess .liD" co,,13 sail she

,vas sort of 1" ,1) agent '11itb tbe DU}er kiDs. "WeIlD,I)/' sbe'D teU me

sometimes, "Have ;<)0" ever looKeD at tbe 9".lIS ",(10 COille to

listen to .lI0"?" I ahva.lls saiD I DiDII't carc, lJrJ[ tbal 'vasn't tn,e. I

DiD. Tbere ,vere some real(y cl1te 9".lIs banfJillfJ aro""D. I j"sl

DiDn't bave tbe sligbtest iDea wbat to ilo abo,,! ti)C1II.

 FY E : Wen dy Carter
Tbell I J1Iet Br!JCe. He was ol1e of tf;ose OW:9S tbe oirls ,vo.. ID

giggle abo..t i" tbe bati;rooili. KillDa weil'o, bwt too gooo.-Iook ino

to igllore. KinDa ]oI;Hn!) Depp, :9'know - aU creep:9 bl1t tbat

j..st IIIaDe bill I lllOre attractive? An:9lva:9, I'D see bill1 Ivatcbing

frOill a Distmlce SOllIe Da:9s, like be Ivas iHteresteD bwt DiDll't Ivant

to get too close to ever!)Olle e(sc. wben I was pla:9in9, I COMID

feel bill1 stanDil1g ti;ere, like be ,,'as i;wJ1lJ1lin9 a SOl19 to 00 11'ith

,,,ine i" a voice too soft for II1e to actwaU:9 bear. After a few

tiflles, CmlYtlle!) starteD caUi.19 Br,l)ce ":90wr bo:9frienD." I'D

arglle, of COfIYSC, I'Wt it starteD Ifle wonoorin9. Ma,l)be I sboHID

talk to bill1.

FinaU:9, I 90t 11l,l) cbance.

Br!JCe (,roke 0011" 1 one Da:9 wbile I was pla:9ino. He wasn't

tiJe onl,l) Ofle. lt ll'as Il'eirD. aile lI1inHte 1'011 cbanneii"g Tori 011

"CYllci!:9i' t&e 11ext I feel tiJis Ivave arOHHD me. M:9 si}Owloers

start to sf.;ake aHi) l'II1 tbinkillg, "ub, wb. Not here iH frOllt of

these people, no Iva:9." M:9 e:ges starteD itcbing, so I lowereD 11':9

beaD evell fwrther DOllIn than "swal. Tbe !vorDs to tiJe 50"0

slVeUeD Mil !H:9 throat anD OHt, like bot IiJosts, anD m:9 e:9es went Tben Br:9ce openeD bioi e!)es, ano it was like be "'as seeing

aU blwrr:9, anD for a minHte t&ere J felt tf}is tioo wasiJiHg aro"nD Goo for tbe �rst time.

me. J let t&e last note bang for a fllin"te, tf}CH lookeD "p - "Hol:9 crap/, be saiD. Tben be starteD clapping. Eve':9boD:9

B':9ce bas this {,rok.en CJqJressioH on &is face, anD bioi e;9C5 are else joiHeD bim. I noticeD Cowrtne:9 wiping at ber face. "Go talk

5Ij1oIeezeD sh"t. Fo"r or �ve otfler /Jeople are c':9in9, too, allD t&e to bim, :90" 111OrOlll" she IlIbispereD. I DiD.

rest are lookiHg arowHD like a bomb !vent off. Tbings baven't been qMite t&e same since.
Step 2: 'Cell Me who You Are Step 3 : 'Cell M e What You Can Do
Kelly says: I see Wendy as a young bard, someone with an incredible Kelly says: Wendy's pretty talented but not incredibly so. Her strengths
ability to charm, read, or even heal people through her songs. Since there lie in her passion for life, her vision, and a really good right hook.
aren't many people. running around making a living as bards, Wendy
works as a waitress at the Varsity. She hates it with a passion and lives Graces
for the after-hours shows where she plays with her band, Greenmantle. At A powerful soul balanced out by some pretty decent physical
this point, Wendy's a low-key player in the hidden world - not powerful. talents and a not-50-swift mind. Wendy's not stupid, but she
but possessed ofa few unusual talentsfor those who know how to makes a lot of bad decisions.
recognize them. Who knows what thefUture will holdfor her, though. .. ? • Mind: 4
• Body: 5
Faces • Spirit: 7
• Backstory: Wendy grew up poor, in an abusive Base 15, plus 12 favor points to raise Mind J to Mind 4.
household. Her dad left when she was 12 . . and good
.

riddance, because he used to beat on everyone in sight. She's got a Hearts

few good friends, but she has problems trusting people. Music • Deliria: 2
allows her to put her pain outside her skin so she can deal better • Fortune: 3
with it. • Vitality: 16
Just out of high school, Wendy's got issues with trust,
security, confidence, and just about everything else. She has a tight Vocations
group of friends but feels out of place even among them. You see, Kelly says: Art may be her strong point, but Wendy's pretty
Wendy considers herself a Christian; her friends are mostly pagan, good at book learning (Academics and Metaphysics), knows
and she feels (maybe accurately) that those few friends would desert her way around weight machines and woods (Athletics), has taken care of
her if she owned up to her true faith. For now, she plays along and her younger siblings (Domestic), and learned how tofightfrom her
tries to avoid theological debates. Someday, though, she's going to brothers and father, who reaUy gave her no choice (Martial). These days,
have to speak up for what she believes in. If that costs Wendy her she also takes tae kwon do classes. She doesn't look like much, but mess
friends, so be it. She's not at that point yet, but it wouldn't take with mr at your own risk!
much to put her there. • Academia: 3
.. Portrait: Young and quiet, half-hidden behind a screen of • Art: 5
long black hair, Wendy's in her late teens, tall and slender, with a • Athletics: 2
kind, if unremarkable, face. She's not as shy as she used to be, but • Craftsmanship: 0

Wendy still has problems talking to people. She usually lets friends, • Domestic: I

or music, speak for her. Although she's kind of pretty, she doesn't • Influence: I
think so. Wendy wears her hair long and in her face, and she prefers • Languages: 0
loose clothing that hides what she thinks is a scrawny body. Her • Martial: 2
green Docs give you a clue about the stronger side of her • Metaphysics: 3
personality. She comes across quiet, but don't get in her face! • Technology: I
Base 15, plus 16 favor points - see below.
Drives
• Obstacles: Shy, introverted, and deeply insecure; Favors
poor family with a history of domestic abuse.
• Passions: Loves heartbreaking music; deeply
curious about other people but too shy to do much Legacy: Bard's Gift 3 (Can charm people with music.)
about it openly. Legacy: Soulsight 2 (Can read auras and emotional states.)

• Secrets: A Baptist with strong faith, Wendy's dubious

about the company she keeps; has a deep crush on Wyrd: Curse 2 (Wendy's relationships crash and burn.)
Bryce but is afraid that admitting it will wreck their Wyrd: Poverty 2 (Lives in rundown section of town, never
friendship. has much cash_)
Wyrd: Secret Nemesis 2
Step 4: Show Me Vocations
Kelly says: I want to round out Wendy's skill-sets, so I'm throwing some Academia: 3
favor points behind the Vocations. Wendy's got a few unusual gifts, too, Appreciation 3
so she has some Legacies. Since Wendy has all kinds ofproblems, her Field of Study: Culture 3
Wyrds give me some more points to tinker with. Field of Study : H istory 3
• Wanderer Saga Base Favor Points: 24 Art: 5 (plus three favor points)
• Additional Favor Points from Wyrds: 18 Appreciation 5

• Total Spent: 43 Drawing and Painting 5 (really good)

Graces: 12 (to raise Mind score) Musical Instrument: Guitar 5 (pro level)
Vocations: 16 (four points to buy Tech I, four to buy Musical Instrument: Harmonica 5

Domestic I, four to buy Influence I, and four more scattered Musical Instrument: Piano 2 (getting better)
through some Vocation Aspects - see below.) Song 5 (not pretty, but powerful)
Legacies: 15 Wordcraft I (writes stories and songs)
One point isfudged. Big deal - the Guide says one point isn't Athletics: 2
worth wonying about. Bodybuilding 2 (not gonna take shit no more)
Outdoors 2 (likes to hike)

chree Wishes Domestic: I (plus one favor point)

• Wants to leave home forever. Appreciation I (has to do lots of chores)

• Wishes she could be a rock star. Childrearing I (helped raise siblings)

• Wants to become rich without screwing people over to get Influence: I

that wealth. Celebrity I (has fans in school and local clubs)

Martial: 2

Advanced Aspect Craits Unarmed Combat: Scrapping 2 (from family)

Kelly says: We're not planning to use Aspects much, but you Unarmed Combat: Tae Kwon Do 2 (from class)
get a better picture ofwhat Wendy can and can't do when Metaphysics: 3
you see everything broken down into specific traits. Occult Lore 3 (from friends)
Religion: Protestant Christianity 3 (her faith)

Graces Religion: Wicca 3 (also from friends)

Mind: 4 (16 points to spend) Technology: I

Imagination: 5 (pretty imaginative) Appreciation I (household tech)

Intellect: 5 (smart)
Perception: 3 (not good at seeing beyond the obvious)
Wisdom: 3 (poor judgment)
Body: 5 (20 points)

Agility: 4 (agile fingers, clumsy body)

Beauty: 5 (cute, once you look at her)
Health: 5 (moderately healthy)

Strength: 6 (much stronger than she looks)

Spirit: 7 (28 points)
Belief: 9 (absolute spiritual conviction)
Charm: 6 (shy but compelling)
Passion: 10 (could rival Janis Joplin)
Will: 3 (insecure as hell)

Opti ons for
ch aracters an d Sagas
Flexibility i s vital to a good Deliria saga. Thus, w e offer several
options to help you create characters that seem right for your
Circle's saga:
Shopping and Circl e Creation
OptlOns
The 4 Step outline provides a simple blueprint for character
creation. Even so, you might consider the following two approaches
to the trait·buying steps:
Shopping
The shopping method uses the traditional point-based creation
method. Each player receives a certain amount of trait points, based
on the power level of the game. (See below.) With these points, you
purchase Graces, Vocations. and so forth.
f Pros: This method is quick, easy, and familiar, and it allows a
Circle and Guide to maintain a certain degree of balance between
the characters. Because the characters have been built from a
similar point pool, each character is just about as powerful as each
of his companions.
.. Cons: This option can be rather mechanical, however, and it lends
itself to min/maxing, point.wrangling, and skill·bartering.
Character creation resembles a shopping spree, and many players
approach it as such. Thus, the needs and personality of the
character take a back seat to the number of powers the player can
cram into a given number of points.
Circle
The Circle method demands time, forethought, and a keen sense of
balance within the Circle. In method, the Circle meets beforehand to
decide the kinds of characters that best suit the saga. After hashing
out the guidelines, each player lays out a detailed description ofhis
or her character. After a player describes his character's background,
talents, quirks, and so forth, the Guide (or even another player) puts
the character into gamespeak tenus. After the Guide has fleshed out
the game stats, she offers the finished character up to the player for
approval and possible alterations before the saga begins.
f Pros: Because the Guide uses the player's imagination to define
his character's abilities, this option encourages the player to put
his energy into the character's backstory instead of into the
powers he can afford. The character's game stats are based on
what seems appropriate, rather than on an arbitrary pool of points
and balances, and they rejlect the character instead of define him.
f Cons: Obviously, this option demands trust, maturity and
imagination ... not to mention time on the Guide's part. The player
will have to put a lot of thought into his fictional counterpart, and
the Guide must be fair when assigning the points. Both parties
need to keep game balance in mind and weigh the character's
attributes against the tone and power level of the saga. ("Eric
Greenwald has '5 medalsJor marksmanship and canfly any plane in
the world ... " is generally not a good way to start.) And then there
are the inevitable arguments that arise whenever a player and her
Guide have different ideas about what's appropriate for the
character in question. Although the Guide gets the final word on
the character's stats, the player might wind up resenting the
judgment before the game even begins.
Many Circles will find it easier to stick to the time-tested.
shopping method. Still, for groups that have what it takes, the Circle
option allows players to collaborate, crafting truly vivid characters
who are defined more by background than by mechanics.
Saga Power Levels
Like the other systems in Deliria, the character creation rules have
several levels that allow your circle to customize the saga to your taste:
wanderer Saga
At the fringes of initiation, twilight folk tread carefully through a
world of occulted mysteries. Characters at this level are essentially
mortals with only a passing familiarity with the otherworlds and
their inhabitants. Most sagas should begin here, if only to provide a
contrast to the strangeness to come. Think of this as the Mulder and
Scully level, the realm in which normal humans discover how
bizarre - and large - the world truly is.
Journeyman Saga
After a while, adventurous mortals acquire mystical talents and
strange acquaintances. Moving to the next stage of initiation, some
folks become powerful enough to deal with the Mystery on their
own terms. The later seasons of BullY the Vampire Slayer, in which
the characters become forces to be reckoned with, provide a good
example of this level. A journeyman saga reaches beyond the mortal
world on a regular basis, and its heroes enjoy fair amounts of
renown and expertise among mortals and ageless alike.
Heroic Saga
Those who dare to walk the paths of gods eventually berome like
them. Although such living legends are few and far between, their
deeds and talents remove them from the rolls of mere mortality.
Heroic sagas take place largely in the Eldervales; such adventures
might spill out into the mortal world occasionally, but they're too wild
and grand to be confined here. This is epic territory, the domain of
Thomas the Rhymer or Morgan Ie Fey. In contemporary terms, think
of the heroic saga as TIre Matrix. Even though characters and events
aren't quite as absurd as, say, a Supennan cartoon, they're quite
removed from the limits of normal human reality.
 Even at its highest levels, Deliria is a fairly low-powered
game. Weirdness abounds, but superbeings are pretty rare, and
earthshaking magics are more fable than fact. Certain
impossibilities (shape-changing) are commonplace, but others
(fireball·slinging) are nearly unheard of.
See Starting Points, Pages 225. 228 for more details.
Also, the Appendix disc features a selection of
characters at all three levels to provide both inspiration
and guidelines for new Deliria players and sagas.
Crait Descripti ons
Think of yourself as Kelly Shockett, puppeteer of raw imagination.
Like her, you animate a juggle of shaped limbs into a semblance of
enigmatic life. But where Kelly employs wooden limbs and cunning
strings. you've got a sheet of paper (or a screen) with a few sketchy
details outlined upon it. Like Kelly, you'll use imagination to set this
awkward tangle dancing; in your case, the strings and wooden limbs
are traits. The better you know them, the more you can do with your
fantasy creation.
Faces
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Who Do You Want to Be 'Coday?
That seems like a silly question until you step into an imaginary

Consider the following trait descriptions to be handfuls of world. At that point, it's your invented mask, not your everyday self,

wood and string, some tools, and instructions about how to use who assumes the mantle of You. The following traits describe that
them together. The traits mask; they give the new you a face to wear and a tale to tell. As such,

MATH themselves are not your character they're unique - they can't be measured by numbers or divided

- they might help you define into charts. Each trait comes from your imagination. Although the

him when you have to, but they suggestions below provide some options, there's plenty of room for

PLUS
do not dictate who he is or what invention when talking about your character's Faces.
he wants. Whereas these Faces,
Graces, Vocations, and such offer Motifs

UESIilE guidance for your character, The Prince. The Evil Stepmother. The Big Bad Wol( When

think of them as possibilities, not you think of faerie tales, certain characters leap to mind. Such
absolutes. motifs seem universal; you can find variations on the Wicked Witch

EQUAL S
You aren't limited to the traits or the Foolish King in Persian folktales, African lore, French court
described here, either; future stories, and American urban legends - the names and settings and
books and web-based circumstances change, but the archetypes retain their power.

WHO VOU
supplements will add to the When crafting a Deliria saga, you can make those motifs
options we offer you below, and work for you. Check out the Character Motifs section in Chapter 2,
in some cases you may create Pages 67-81; there you'll find concepts, suggestions, and traits that

AilE. new trait entries as welL Certain

'H ilT II III n1'\ \
PH'\!' 1 1I"1t \rll;I!'
such traits. Deliria may be a game, but like life (and fiction), its rules
are flexible and open to reinvention.
traits even lend themselves to
can inspire major or supporting characters in your saga. Just take
the general idea and add your own details: Voila! - more-or-Iess
customization - the Faces and instant character!
Drives described below are meant
more as suggestions for your
own inventions than as the only
selections you might use. Feel
free to craft your own designs for
 Backstory
Numbers have no sou1. Ideas, on the other hand,

can live lifespans. With the Backstory, you provide the

concept and personality for your budding hero, establish her

circumstances, and set her role within the saga into motion.

Backstory is a trait of your invention. There are no right or

wrong answers, so long as the concept fits

within the framework of your world. Since

most faerie tales begin by offering a few

tidbits about the story's hero -

you know, "Once there was a little boy who

didn't eat his porridge," that sort of thing - the

Backstory trait begins in a similar fashion: introduce your

character with a short "once upon a time" sort of sentence, and

from there lead into his life story... as simple or as detailed as you

want to make it.

While you hash out the Backstory. bear in mind that a really

detailed background sets the stage for a richly detailed saga. The

more story-elements you describe, the more story-hooks you'll

get to play with later.

Sample Backstory lntros

� "I knew a guy who never got frightened. .
• "Jennifer was the best fiddler i n town..."
� "Old Bill always had funny notions... "
• "Once, there was this boy who dreamed he was
an owL."

� "Long ago, a beautiful queen had an ugly son . " . .

� "They found Joe on the doorstop one Sunday

morning. ,,"

� "In a tumbledown mansion, an old crow

learned a new trick..."

This framing device gives your Backstory trait a

gets scared" just don't carry. So have fun with your

introduction and see how that device shapes the story

of your character's life.


Portrait
You don't need to be an artist to provide a Portrait of your
character; portrait means "to bring out" and implies an image that
captures the essence of the subject at hand. A short, evocative
description, this trait gives everyone a sense of your character's
appearance, dress and overall demeanor. Ideally, the Portrait ought
to say something more than simply, "My character Joe has green
eyes and red hair." Give Joe a vivid face, using features that show us
something even as tell us something. (Check out the preceding bit of
fiction to see how a simple snapshot of a character can tell you
plenty about him.)
Helpful trick: concentrate on one strong feature. Just as faerie
tales often set a single feature against an overall impression -
"There once was a soldier only six inches tall" - you may want to
pick one really prominent thing about your character, then use it as
the centerpiece of a more general description. In the case of Joe, you
might say, "With eyes as green as a spring forest and hair as red as
auhtmn. .. From there, just sketch in basic info about features,
n sundown smile. She washes her hands constantly and never
dress and impression: is Joe handsome or ugly? Does he wear
business suits or jeans? And is he a pleasant guy, or is he irritable
and gross? The Portrait ought to set an image in your mind, offering
you a script for those times when someone asks, "$0 what does your
character look like again?"
Suggested Portraits
• An old woman with hands as gray as dust. Energetic and kind,
she wears red dresses of ancient manufacture.
• When the light catches his gaze, you can see Ashton's feline
heritage flash through his eyes. And like a cat, he's finicky and
proud, with a graceful step and a selfish streak.
• So she could lose a few pounds (never mind how many!).
Bethany's still one of the best kissers this side of a porn ftlm and
has a face an angel would envy.
•
Quirks
Okay, admit it - we're all a little weird. Some of
us control our eccentricities better than others, but
we've all got our funny little habits. Your character is no
exception. So what does she do? Leave clothes all over her
room? Keep an army of stuffed animals on the bed? Hum the
Powerpuff Girls theme song constantly? It's up to you. Quirks
are an open field, as strange or humorous as you care to make
them.
Quirks are there for fun. They're not earth·shaking
matters,just little flourishes of personality that give your
character depth. But these little habits can provide both story
ideas and roleplaying hints. If you choose to include a few
notable quirks in your Portrait, they'll probably become
significant plot elements somewhere along the line.
• Poised like a Hindu king, Rajit wears biker vests and tattered
jeans. His laptop sports a bright yantra design, and he carries it
in a satchel of battered black leather.
• fenny's tall and reedy as a stalk, with bright blue eyes and a
seems to be without a handkerchief.
• They call him Big Bob for a reason. Stocky body, booming voice,
larger-than-life personality, with a heart the size of Texas and a
temper almost as hot.
• You can't have skin much darker than Raymond's; his teeth stand
out bright against his dreadlocked face, matching the white of his
favorite shirt.
 Drives

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"What's My M otivation?"
That's not an empty question. As any actor knows, passionate
motivations breed compelling performances. So when you're
picking Drive traits to define your character's motivation, choose
ideas that excite you. Faerie tale heroes aren't boring.
Drives can get you into trouble, too. The stronger your lust
for life, the more powerful a Drive becomes. In gamespeak, Drives
are directly tied to the Spirit Grace - specifically. the Aspect of
Passion; the higher the score in Spirit (or, if you use Advanced rules,
Passion) that Aspect, the more compelling your Drive will be.
If something shakes out into a struggle between your
motivation and your better judgment, compare your Mind score to
your Spirit score. (Or your Wisdom to your Passion.) If Mind (or
Wisdom) is higher, your character should be able to curb his
impulses: if Spirit/Passion is higher, he's probably going to get
himself into trouble soon. This isn't the sort of thing you want to be
drawing Chances for, but it'll give you an idea of just how often your
character will act out his impulses... and how embarrassing (or
hazardous) it might be when he does.
Like Faces, Drive traits are yours to invent. Although we've
provided some suggestions to spark your creativity, the best
motivations come from your imagination, not our text. Remember
that though you need at least two entries per trait, you can include as
many Drives as you want to play. Most of all, have fun. These traits
put you on stage, so enjoy the limelight and give 'em all you've got.
Obstacles
Nobody's perfect. We all have problems, and heroes are no
exception. Every great character is as defined by his flaws as he is by
his virtues. An Obstacle trait reflects some stumbling block in your
character's path, shows how it interferes with his life, and offers a
way to resolve it.
Obstacles are usually tied into your Backstory; perhaps your
mother was an alcoholic, so you despise people who drink (or you
drink to excess yourself) ; maybe you had an imaginary playmate
when you were young, and you still visit her when things get
complicatedffi to the exclusion of your real-life friendships. Like the
other Drives, you create your own Obstacles. They don't have to be
complicated - each one can be summed up in a few words. This
block ought to be something psychological, social, or spiritual - a
physical disability is really a Wyrd, though your Obstacle might be
tied to that disability. A plot device and character script, the block
should come up during times of crisis ... and provide its share of
crises, too!
Since faerie tales focus on transformation, the ideal obstacle is
something you can resolve through the saga. By setting up an
roadblock - say, Lucian's bad temper - on the character's path to
growth, you also provide a direction for that growth by giving the
character something to grow beyond. And so, when you pick your
two Obstacles, keep in mind what your character might do to get
past them. Over the course of the saga, those flaws will provide
direction for the tale... and perhaps even a "happily ever after" when
they're overcome.
Sample Obstacles
(and Potential Resolutions)
• Distrust of.. well, everyone (resolved b y true friendship).
• Fear of jfUl in the blank] (overcome by victory over fear).
• Feud (try to bury the hatchet - outside your rival's head!)
• Insecurity (cured by success or acceptance... if you're lucky).
• Irresponsible as hell (resolved by maturity, trust, and triumph).
• Unresolved family business (try to avoid the Hamlet solution ­
thought that did make a ripping good yarn, didn't it').
• Unwanted/ abused - the Cinderella syndrome (and we know
what happened there ... ).
Passions
Passion is the soul of drama. A great story begins when a
character wants something so badly that he's willing to do just about
anything to get it. How far will he go? What stands in his way? Who
might suffer ifhe gets his heart's desire? From such questions,
drama flows.
In gamespeak, a Passion Drive describes something (or
someone) your character feels powerfully about. Although he might
not harbor that desire openly, he'll act on it whenever possible. As a
rule, the Passion trait comes in two parts: What do you want? And
what wilt you do to get it? (Why do you want it? is a pretty fair question,
too, and the answer might say a lot about your persona.) The answers
are up to you, but they ought to fit in closely with your Baekstory
and other Drive traits.
Passion opens many doors. It could be constructive, leading
you to great deeds: or nurturing, inspiring you to help others; it
might be malicious, driving you to atrocity; or unrequited, burning
inside until an opportunity appears. Whatever the desire might be, it
sets your priorities and influences your actions. If it's not compelling,
it's not a Passion.
Potential M otivations
f; Something (or Someone) You Love: This is Love with a capital L,
the heroic and occasionally disastrous compulsion that drives
people to extremes. The object of affection can be human
(Michael), animal (wild deer) , ideal (freedom), or god (Jesus
Christ) . Whatever the choice, it shouldn't be silly or trivial. Under
the right (or wrong) circumstances, your character ought to be
willing to kill... or die ... for his adoration.
f; Something You Believe: Faith remains one of the greatest human
motivations. Such faith doesn't necessarily have to be religious,
but it's strong enough to border on the spiritual. Such convictions
have very deep roots, of course, and tend to come from the
character's Backstory or current circumstances. Belief Passions
 might include: religious zeal
("There is no God but Allah... 1 ,
political idealism ("Th< tim< has
come for revolution... l, mystical
conviction ("Ifyou'd only sun
what I have witnessed, you'd
believe... l, paranormal specu·
lation ("The truth is out there!l,
futurism ("We're just this close to
a tru< Utopia!I, and so forth.
This Passion is often tied
more to the Spirit Aspect of
Belief than to Passion; in
conflicts or bonuses, it works the
same way Passion does. Generally,
a high Belief score will manifest

as a Drive tied to the object of

that faith; if you've got a strong
belief in something, it's going to
provide some major motivation
in other areas of your life.
., Something You Desire:
Ambition gets a bad rap -
without it, we'd still be living in
caves. So what's your ambition?
What gives your character the
strength to excel? Does he want
to be rich? Famous? To help
people? To conquer death? Desire is the truest kind of motivation, Secrets
and it often colors the choices we make in ways we don't always Pick up the key to Bluebeard's parlor. Open the door. What do
realize. Examples might include: becoming a star, winning back you see? Chances are, the contents have gotten pretty nasty. And though

lost love, curing the disease that killed your friend, and so on. it's true that Bluebeard wasn't much of a housekeeper (or a husband),
• Something (or Someone) You Despise: Never underestimate the he wasn't unique. Everyone has secrets. Everyone has surprises. And

power of hate. Inigo Montoya spends his life (and shrugs aside like the key that would not stop bleeding, your character's Secret
death) to kill his father'S murderer, King Lear's Edmund gouges Drives are bound to get a bit messy if someone starts poking around.

out his father's eyes, and legions of evil stepmothers resort to A Secret should be dangerous. At best, its revelation will be
sorcery, mutilation, cannibalism, and worse. Hopefully, your embarrassing and potentially scandalous; at worst, your character

character will be a bit less ... urn, extreme ... but then again, legends could be banished or even killed over it. Because adventurers tend to

are carved by extremity. There's nothing frivolous about this kind dig up lots of dirt, the odds are good that a Secret will be outed
of hatred; it shouldn't be wasted on Pokemon cards, although it sooner or later. In the meantime, this trait provides a bit of suspense.
might lash out at McCulture in general. The grudge should be What might be discovered? What will happen if and when it is? And
rooted in real or imagined injury, and could be personal ("You what lengths will you go to in order to keep that Secret safe?

killed my father .. :), cultural ("Thry destroyed my homeland!"), Every character needs at least two Secrets, and those Secrets
ideological ("They can't be allowed to do this.. :), delusional ("They must be important both to the character and to the player. For her

all remind me of Mother..:), or simply spiteful ("Let it be enough part, the Guide ought to use the Secrets as occasional plot hooks:
to say that I hate him"). Either way, this is a vicious Drive, one They're onto you! What can you do to stop themfrom finding out about
that often destroys the hater, the hatee, and everyone else Ifill in the blankl, and what will happ<n ifyou can't? There ought to
unfortunate enough to be nearby. Ain't passion fun? be risks of discovery and consequences of disclosure. Although we
caution the Guide not to empha size a p layer's Secrets too often or
heavily, there's a delicious sense of da nger in knowing that at any
time someone might just be showing up with a key to your
equivalent of Sluebeard's c1oset. ..
example Secrets include:
� You're the illegitimate child of a famous perso nage.
.. You've committed a horrible crime.
.. You owe a secret allegiance to a hated group.
.. You've sworn revenge for some misdeed.
• You' re plagued by a spiri t, twin, or secret rival.
� Yes, you're in love, but it's not a good thing...
� Bound by a terrible oath, you've either forsaken it (and are
running) or will do something equally terrible to uphold it.
Potential Consequences of Discovery
� Banishment
� Curse ("The CUl'St! is come upon me,· cried! The Lady of Shalott...)
� Haunting
� Heartbreak
� Infamy
� Poverty
� Enmity
For additional flavor, we suggest that the Secret remain
hidden between the players as well as between the
characters. This way, everyone knows that everyone else
has his mysterious side, but no one is quite sure what it involves.
For more inspiration about secrets and exposure, check
out the social warfare maneuver Revelation in the
Social Warfare section, Page 215.
Advanced
Qules Option:
"You Killed My Father­
Prepare to Die!"
Passion makes a person do funny things...
and it sometimes lends that extra bit of
oomph that makes heroes out of mortal folk.
., If you find yourself confronted with a
situation that's directly linked to both your
Passion and your Backstory, you can use the Passion
Grace as a substitute for whatever other Grace might have come into
play instead.
Example: Autumn has been searching for her long-lost daughter,
taken from her five years back. Suddenly in a crowd, she sees
someone who could be Bree. She has to know! Normally, the trait
she'd use to find out would be Perception. Autumn, however, has a
Passion to find her daughter; that, combined with the major element
in her Backstory, allows her player to use Passion instead of
Perception... good thing, too, as that trait is far higher than Perception
on Autumn's character sheet.
" Ifthe situation demands a number of Challenges, the player might be
able to use Passion as the default Grace for several of them. In the
preceding example, Autumn may have to struggle through a crowd,
climb a fence, sweet-talk a cop, and intimidate a Rottweiler before she
gets a good look at the girl she's following. At the G uide's option -
and only at the Guide's option! -the player may be able to use
Passion as her Grace for each of those specific Challenges. For a good
example, remember Inigo Montoya and the way in which he pushed
through the pain (normally a Health-based Challenge) in order to kill
the Duke.
f lf you've got a Passion for What You Believe In, you could use Belief
instead of the Passion Grace. The situation still has to be tied to your
Backstory, though: Father Shock hoe might have a passionate faith in
God, but unless he's facing a challenge that's tied specifically to
something in his past (say, his faith saved him from a life of crime), he
would still resolve his Challenges with the normal traits.
No matter how you use this rule, the bonus must be linked to
specific elements in both the Passion and Backstory; a Passion to beat
ass is not good enough, but a Passion to kill the man who slew your
father would be. If there's any debate about whether or not the bonus
should apply, the Circle should hold a quick vote on it with the Guide
acting as final arbitrator.
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Gifts of Birth Groce Ronge
We are all cocoons of power. The melding of body, soul, and 0 Subhuman
consciousness create something new and wonderful. We move, we Wretched
see, we understand, and though those three things are so easy to 2 Poor Lowhumon
take for granted, together they bestow a gift - a grace - too l Mediocre
valuable for words. 4 Moderate
And so, when deciding what a character can do, we look to 5 Good Average human
the Graces - the three trait-sets that reflect her mental, physical, 6 Remarkable
and spiritual attributes. In Narrative and Basic rules, we'll stick to 7 Impressive
those three sets only; for Advanced rules, we can break them down 8 Heroic Very good
one more step into four Aspects per Grace. Either way, these traits 9 Incredible
provide foundations for your character's Prowess - her base chance
of getting something done.
With a word like grace, it's easy to see these attributes in
their best light. But too much of a good thing is still too much, and Megdhuman h de' \f\

a high Grace score has a downside, too. Some Graces make folks 4 T tln
jealous, others blind us to our own limitations. Our strengths can be 15 + pOintless adjectives that really aren't worth taking
weaknesses as well, so each trait description shows the Achilles heel the time and space to employ - you get the idea,
at the core of every Grace.

"Ranges and Costs

The chart nearby shows the normal Grace range for Deliria you four more degrees to spread through the Body Aspects of
characters. Tiny beings, like rats or insects, fall off the low end of Agility, Beauty, Health, and Strength.
the scale, whereas titanic ones, like dragons, rise above the high end. These Aspect degrees, by the way, do not have to be spent in

Mortal humans fall somewhere between I and IO on that scale, and
some aelden characters can reach as high as 15 or fall to 0.
If for some reason you choose to select a Grace of 0, you
receive two additional favor points to spend... not that the burden of
a subhuman score is worth two lousy points! Be advised that a 0 Key
Grace means you have no base chance at all of performing any action
associated with that trait; for all intents and purposes, your character
has no mental, physical, or spiritual qualities worth measuring. This
might not sound dire, but it is.
l mproving Graces
As we live, we grow. Thus, Graces often grow as your character
does. Sometimes this growth comes from physical exercise or
mental stimulation; on other occasions, a trait may rise through
Delirials splendor or the mortal world's challenge. Either way, a
Grace can increase from its original score to something far beyond
that point.
In gamespeak, Graces can be raised with experience p:>ints, the
a certain way: you might choose to raise Beauty by one, Agility by
two, and Health by one, or you could raise Strength by three and
Beauty by one... and so on. The choice is yours, although story
elements dictate how you raise those scores.
Ah, yes ... the story. Graces do not rise by themselves.
Something must happen that allows that trait to change.
Fortunately, that's not difficult in a faerie tale: you might be gifted
by an aelven princess, sip from a magical brook, or work in an
ogre's forge for a season, developing great strength through that
labor. The modem mortal world grants opportunities as well: you
could work out, study hard, get plastic surgery, or undergo a
revelation that makes your spirits rise. Either way, some
circumstance must grant you the opportunity to grow. Experience
points alone are not enough.
How quickly might you raise those traits? That depends on
what you're doing: the princess could bestow great beauty with a
touch, the brook might transform you over time or suddenly, and as
for the forge. as anyone who's worked with steel can vouch, that new
strength comes more quickly than you would think. but never as

favor points you gather as your character passes through the saga. As quickly as you would like! The pace of increase comes from the story
we mentioned earlier, it costs two p:>ints per degree to raise a Grace elements, not the spending of points. Game systems follow drama,
Aspect with experience, eight points per degree to raise the whole Key. not the other way around.
Doing the latter is expensive, but each new level in the Key gives you
four more degrees to divide between that Key's Aspects. Quick Boosts
Examp�: Raising Beauty from 4 to 5 costs 10 experience Sometimes, things just make you feel good. A great kiss, a new love,
points; raising Body from 4 to 5 costs 40 points, but doing so gives or a drink from a magic fountain can boost your Graces beyond
their usual limits. Such bonuses don't last for
long - only an hour or so in game time - but
they can help you through trials that might seem
overwhelming otherwise.
Most times, a Grace boost raises the
whole Key: quaff an energy drink, and your
whole body (and Body) feels better. Certain
boosts, however, might apply only to certain
Aspects: a beautifying potion won't do a damned
thing for your strength!
A quick boost is a story element; it
doesn't cost points, but it happens for a reason
and doesn't last. A permanent boost costs
experience points (see above), but a temporary
one costs nothing in game terms. What it does
demand is a dramatic event that pushes things
into motion. Such things are common - in
faerie tales and life - so special boosts are
common, too. Most times, a boost will raise the
trait by one degree; a really intense event,
though, might raise it by two or even three
degrees for a few moments. (Long enough, for
example, to lift a car off of a screaming child.)
Any suitably dramatic event or item can
boost a Grace for a little while. Familiar paths to
an elevated state include new love, a good
workout, a dire threat, a blessing, sudden fury,
certain chemicals, smart drinks and magic
potions (no, this is not an endorsement of drug
use. just a reflection of the facts), or some
talisman that grants its owner a heightened
Grace. After a while, though. the law of
diminishing returns sets in; that which gets you
off doesn't really make you stronger, and even
the best highs wear off eventually.
A trait boost happens at the Guide's
discretion; as a player, you can say, "I think such­
and-such would really help me out: but the
Guide doesn't have to agree. Unpredictability
adds spice to life and faerie tales alike, and
nothing's certain in either one.

'Che UpS and Downs
The faerie tale giveth, and the faerie tale taketh away. Many tales
blind the brave prince or turn the pretty maid into a hag. Graces can
fall as easily as they can rise, and in neliria's world, they often do.
Many things can cost you Graces: a crippling injury might
drop your Body attributes, madness might destroy your Mind,
corruption could damage your Spirit, and a mighty curse could
harm any (or all!) of them. Ultimately, the fate of your character lies
in the hands of the Guide and the fortunes of the saga. Like old
gods, these agencies may seem cruel and capricious, but just as we
trust in "happily ever after," we should be able to count on the Circle
and saga to make misfortune worthwhile... and trust the Guide not
to abuse his power.
Fortunately, these misfortunes are often temporary. There
should always be a back door that leads to restoration. At the cost of
a quest, a favor, or a vow fulfilled, an otherworldly being might
break the spell, undo the harm, or cure the injury that caused that
fallen Grace. Hence, lowered Graces don't get you new points to
spend. Sooner or later, you'll probably be offered the chance to get
the loss back, with interest. There's no assurance of how or when or
how well you'll be able to return to your former state ofGrace, but
then, no hero's path is paved with promises.
noleploying the 'Crait
Everybody's got Graces; when you're really good at something,
however, it shows. Chances are, your character has a few Graces that
rise way above the average (he's a hero, after all!), so have fun with
them. Describe them. Work those features into your Face traits, and
play 'em up when you act the part. Your hero's strong? Cool - is he
huge like The Rock, cut like Yin Diesel. or sharp like Jet Ii? He's
hot? Is that like Brad Pitt hot, Denzel Washington hot, or Chad
Kroeger hot? Does high intelligence make him more like Henry
Rollins, Bill Gates, or the Dalai Lama? Grace traits are merely
abstracts. The personality behind them comes from you.
Mind: Bloom of Chought
It's easy to take the mind for granted. Without
consciousness, though, there'd be nothing to take it for
granted with. Thoughts define us, shape our world and our
perceptions of it, perhaps even cause that world to exist in the first
place. Whether you prefer the Hindu concept of life as an illusion or
the quantum theory that observers shape results, there's no question
that we inhabit the world we imagine. The proof is all around us.
These days, that's truer than ever before. lbrough a totally
mind-based innovation, the Internet, we forge relationships that have
no physical basis whatsoever. The computers we employ, the
materials that form them, the equations that allow them to function,
the symbols on the keys we manipulate to converse with one another
- all of them are mind-based steps that let us project our selves into
the fifth dimension - Consciousness, the garden of the Mind.
Many a faerie tale hero relies upon mind alone:
Aschenputtel, the original Cinderella, outwits her rotten family with
only a little help from Mother; Jack's cunning, not his sword, slays
the hungry giant. Contests of wits are far more common than
firefights in the Faerielands. And in such struggles, a keen mind oft
outweighs a blade.
In game terms, the Mind trait reflects your character's ability
to perceive, imagine, and process impressions. A high score shows
an active mind, adept at thinking around corners and jumping
through hoops. A person with low Mind isn't necessarily stupid, but
he's probably dull, slow, and unimaginative - a problem in faerie
tales, which often prize cleverness above all other things.
Mind Aspects
_ Imagination: Visualization of things that aren't right there in
front of you - or that might not exist at all.
_ Intellect: Speed and sharpness of thought.
_ Perception: Ability to notice what's going on around you.
_ Wisdom: Common sense.
Body: Shape of Limb
Flesh and bone make bitter bread, but even a hungry giant
knows that bodies have their uses. As the seat of the soul
and the vessel of the mind, a physical form grants mobility, power,
and a certain amount of beauty, too. The body may not be perfect,
but as a chariot for both consciousness and soul, one could do worse.
Spiritualists claim the body is just deception; materialists
counter that the body is everything. Both arguments are wrong: the
body is the vehicle for soul and mind together. Without it, we're
little more than ghosts - existent but impotent. The body is fragile
in its way, prone to age and death. But like mind and soul, it grows,
transforms, evolves into something greater and more wondrous.
In game tenns, the Body trait reflects your character's
physique. A high score doesn't necessarily mean you're a
powerhouse, though - Body is more a measure of overall health,
flexibility, appearance, and power. A character with a high Body
score is well built, hale, and hearty, whereas one with a low Body is
sickly, unattractive, and probably weak.
Faerie tales often comment on the maiden's fine features or
the forester's strong anns. Pop culture fIxates on the body, too,
driving us to the marketplace for more pills, more exercise, more
products to make our lives seem smoother. But mortality just might
be the point; maybe we need those limitations. Perhaps our bodies
are imperfect not to drag our souls to misery but to teach us how to
fly. Without mortality, we might not strive to be like gods.
For a collection of physical tasks , and for feats of
strength, see Chapter 5, Page 19z.
Body Aspects
-Agility: Flexibility and dexterity.
_ Beauty: Good looks or their lack.
_ Health: Stamina, toughness.
_ Strength: Raw physical might.
Spirit: Blaze of Soul
What's a soul? There's no perfect answer to that question, but sages
and scientists alike have labored throughout history to fInd an
answer that captures, just for a moment, the elusive blaze of essence
pulsing within each sacred thing.
Faerie tales speak of bright hearts, goodliness and inner
grace. Spirit is all those things and more - the wellspring of your
inner self and reflection of how you use it. A high Spirit score
reveals itself with a blazing aura, strong vibes, and a sense of self wbispers swirleD in their wake: wbo are the�? Does
possession that transcends words or beauty. In Deliria's living world,
Spirit is the essence of presence. The Fair Folk treasure it above all Brimstone know? wbo maDe their straga, anb wbere can I get
else; before it, wisdom is folly and diamonds are dirt.

In game terms, Spirit captures the invisible essence of the bolD of one [ike that? Impassive, the scpbisticati brifteb to a
soul - your faith, charisma, intensity, and determination. The core

of magic and religion, Spirit is the trait that binds all other traits crowDeD boothi within seconDs, its bu.siness-suiteD tenants baD
together. A character with strong Spirit cannot be dominated or

broken by hardships: no matter how high the odds against her. askeD for the check anb nervou.s[� vacateb. None of the five baD
she'll come through. A character with low Spirit, on the other hand,

merely exists; all the right pieces are there, but something vital is spoken. None of them neebeD to. Tbe bizz�ing craftsmanship
missing. In faerie tales, strength of spirit trumps strength of arm.

Any brute can be strong, but it takes a true hero to be spiritual. lanD equa[[� Dizz�ing magic) of their attire spoke e[oquent[�
All Creation has a soul. It can't be measured, but it's there.

As bright as it is evasive, this fire flows through courage, inspiration, enougb for all.
strength of heart, and glint of eye. It's the wind's caress , the tear's

lamentation. Vast beyond reckoning. spirit dermes itself in image Dasbwooo's baD new patrons. AnD a De[icious new rounb of
because there's no other way to comprehend it. Metaphors fall short

- none of these images even touch the vastness that is Spirit - but games began.
the soul remains alive.

Heart Provides a Hero 's Measure

Spirit .(\spects Okay, no question - Grace is important. But when you're telling a

_ Belief: Faith in intangible things . story, the really vital things come down to these: How lucky is your

_ Charm: Force of personality. hero? How perceptive is he? And does he have the strength to survive his
_ Passion: Intensity. trials? Hence the Heart traits - the measure of your counterpart's
_ Will: Determination, stubbornness. luck, life, and vision.

Uke Graces and Vocations, these traits reflect story elements

through numbered scores. They begin at a certain base level, which

can be raised with character points during the creation stage. Once

H earts set, however, these traits cannot be bought to higher levels with
experience points. Once you start the game, they're set. .. for now.

Unlike Graces and Vocations, Heart traits fluctuate a lot.

Tbe masks baD the DesireD effect. Tbe smo� air of DasbwooD's Events within the saga might take them up or down. You can't raise

them with points, but your Guide can, offering a point of Fortune or

seemeD to coalesce arounD the five cloakeD figures, anD even the Vitality in place of experience points if it seems appropriate to do so.

You can spend these traits to get things done, as well. By sacrificing

club's most jaDeD patrons berb their tongues a moment. a bit oflife-force or imagination, you can push beyond your normal

limits , accomplishing heroic deeds when necessity demands. The

sopbisticati aren't rare at Dasbwooo's. Tbe club is as following entries feature rules for raising and lowering these traits,

spending points and recovering them aftelWard, and scales to show

notoriou.s for its straga-wearing cIiente[e as for its DecaDent what the trait score means in story terms.

As always, story is essential. The following scores offer cues

luxuriousness. But these five newcomers wore a glistening air of about your character's well-being. but they manifest in roleplaying.

not in rules.

Power thick as brocaDe. As conversation resumeD, the five gliDeD

Deliri a
towarb the po[isbeb bar, regarDing aU �et no one with their What many folks call sanity. others dismiss as lack of

imagination. The latter have a point. On the road to Faerie, it's

shimmer-girDeD e�es. essential to cast off mortal blinders and embrace the wonder of it all.

To do that, though, is to abandon what passes for reality in most


human views. So hang on, Toto - gimmie the red pill and that
bottle on the table, it's down the rabbit hole we go, metting our
mixaphors all the way...
Deliria is irrational perception: you notice things that should
not be but to all appearances are. Hypersensitive yet indistinct, you
wander through impressions. Impossible sights and vivid sensations
reveal strange truths while weaving hallucinations. Although it's
been called faerie sight, 3eliria flows through every sense. In a true
oeliria state, you can taste sound, see smells, and feel colors. You
notice things that aren't there and miss things that are. For short
periods, this can be euphoric; as day-to-day reality, it's terrifying.
Children have high Deliria scores; their rational perceptions
haven't quite caught up with their imaginations. But though this
childlike state of wonder is praised by romantics, it definitely has its
drawbacks. A five-year-old who talks to his stuffed rabbit is cute; an
adult who does so is eccentric; one who truly expects Mr, Softy to
answer back is schizophrenic. Sometimes a stuffed rabbit is just a
toy, and not all the things you perceive in this state are true.
Deliria can be hazardous, too. Children are often oblivious to
danger, but that's what adults are for. If, however, a grown-up gets
as disconnected from his daily situations as the average child, he's
in trouble. Pretty colors are nice to look at. true, but if you're chasing
them into traffic, you're gonna get run over.
Literally the difference between Wisdom and Imagination,
this trait reflects your character's balance between the mundane
realm and the magical one. A low score displays command over
your senses; a higher one represents a whimsical awareness,
whereas a really high score denotes insanity. Sharply double-edged,
Deliria allows you to cut through the normal blinders yet slashes
through your ability to function. There's a lot to be said for
rationality: even in a faerie tale world, whimsy has its limits.
Ideally, the Deliria trait hovers at the lower end of the scale - high
enough to notice wonders, low enough to let you function. Although
ephemeral by its nature, the trait ranges something like this:
Deliria State of Mind
o Painfully sane.
'-2 Playfully eccentric, mystically aware.
3-5 Average kid; flighty and occasionally lost.
6-8 Delusional; hyperaware of mystiC things,
untethered from rationality.
9-10 Frighteningly disconnected; autistic in children,
demented in adults.
10+ Mad even by faerie standards.
What Deliria Means to You
Giddy. Fey. Buzzed and more than a little crazy. Deliria is a
shimmer in the air just out of sight; it's the tingle in your skin when
you know someone's looking at you; it's the sharp taste of the meal
you've had a thousand times before but this time you really savor.
Wide-awake yet half-dreaming, you see everything in four or five
dimensions simultaneously. Deliria is the trancy state that gives
twilight people their nickname. It's bliss and terror all at once -
freefall, euphoria.
This trait helps you find or cope with beings or things that
sidestep what mundanes think of as real. A character with a low
Deliria has a harder time dealing with bizarre occurrences than one
who's somewhat fey in the first place; the truly rational person
needs to process weirdness more than a person to whom weirdness
is an everyday state.
Deliria comes in handy when...
• You're trying to perceive something that's just beyond
mortal reach. Aelders, crossways, paths to the Bramble,
mystic treasures - they're all a lot easier to locate when
you've got a little fey sight at your command.
• You're searching for mystical energies or trying to peer
through glamour.
• You have to process something really weird.
To notice paranormal things, you can use your Deliria trait in
place of Perception (assuming that Deliria is higher, of course) . For
processing, you might use it in place of Will when dealing with
psychic traumas - intense terror, insanity, torment, etc. A more
flexible state of mind helps you deal with such things a bit more
easily than a rigid one might.
A Bit Crazy . . .
However, a low Deliria score becomes important when you're trying
to concentrate on the mundane world. The trait reflects
disorientation and disconnection, representing the effects of drugs,
madness, or hallucinatory magics. A Deliria score of 6 or higher
gives the Guide license to feed you false perceptions; it might blind
you to dangers that really are present or send you cowering in fear
from ones that aren't.
• Ifyour Deliria score is higher than your Perception, you have a
hard time separating the reality in your head from the reality that
everyone else is sharing. Of course, this being a faerie
tale setting. the things you perceive may actually he real; as far as
most of your peers are concerned, however, you're Jimmy Stewart
talking to Harvey. This may be okay if you're a kid; it may even be
an accurate measure of the world around you, too. By "normal"
standards, though,
you're getting a
little weird.
• If your Deliria rises
higher than your
Wisdom, you may be in
trouble. At this point,
the things you perceive
become more real than the world around you; sofas may talk,
bugs may have human faces, and walls may change color before
your eyes. If the difference between your Wisdom and your
Deliria is 6 or more, you literally can't tell where the delusions
end and reality begins. If you're a child, that's expected; if you're
an adult, you're on the road to insanity.
• The flip side is too little Deliria. If your Deliria score is 0, you're
painfully sane - imaginative, perhaps, but eminently rational.
This isn't a bad thing as far as day-to-day human interactions are
concerned, but wonderful Otherness needs to smack you upside
the head before you notice it. Even then, you probably won't see a
magical occurrence for what it is. Like Scully in the early X-Files
episodes, you'll grasp at any straw of rationality to explain things
that so obviously contradict your world view. Sometimes you'll be
right; other times ... urn, no.
Either way, this trait affects the way you appear to other
characters. As noted earlier, people take you more seriously when
you're sober and rational. A spacey sense of terminal whimsy is
going to rub a lot of folks the wrong way, and in gamespeak that
might affect the Challenge Levels on social interactions. This isn't a
hard and fast rule, of course - sci-fi fans aren't going to hold the
same contempt for eccentricity that a stockbroker might - but if
your Deliria score is higher than 5, chances are you're going to be
given a wide social berth.
noising Deliria
When something tilts your world on its axis, this trait slides up a
notch or two... or sometimes more, if the experience is weird
enough. This heightened state may last about an hour or so,
although some really deep shake·ups can hang around for a day or
more. Some examples of perception-altering experiences include:
.. Magic, neomancy, and miracle-working have long histories with
altered consciousness. Because these crafts by definition tum the
everyday world inside out, a really powerful working can raise the
Deliria scores of characters who are intimately involved. This
doesn't happen every time a spell is cast, of course, but if there's
a showy, unmistakable sense of Other in the working, chances are
the participants will feel their perspective shift a little.
.. If you've ever been to a rave, you know how much environment
can alter your perceptions. Neomancers specialize in turning
mundane folks on their heads through little more than lights and
music. A really heady festival, ritual, concert, or other event can
make you more aware of the weirder side of reality. The buzz
lingers for a while and explains why some folks go dubbing all
the time .
.. Some tools have long associations with altered states: fasting,
drugs, sexuality, prayer, mediation, music, and outright
exhaustion pave the way to a temporary rise in your Deliria score.
The more potent the method, the longer the Deliria lasts; if you
overdo this quest for sensation, however, the Deliria increase
might be permanent' (See below.)
.. Psychic aid can broaden the mind; psychic assault can break it!
Either way, your perceptions of what is real can waver, raising the
Deliria trait. Aid, in this case, could mean telepathy, Vitality·
sharing (see below), psychic healing, or mind·clarity spells.
Assault includes possession, telepathic intrusion, mind-battery,
torture, emotional trauma, and other nasty things .
.. Anyone who's read H.P. Lovecraft knows that certain entities are
ooliyia incarnate. Powerful aelders, archons, howlers, and other
bizarre creatures can raise your consciousness while ripping
through your sanity. Merely being in the presence of such a
creature raises your Deliria trait; if it's maddening enough, it
might break your mind for good.
.. Location, location, location! As Dorothy or Alice could attest, a
visit to a strange place can disconnect you from the real in no
time. Smoking caterpillars? Screaming cards? How curious, and
yet... well, I suppose... Visitors to power spots, the Bramble,
Eldervales, and, of course, Deliria itself have their Deliria scores
raised while in that place, and the feeling lingers for hours or even
days afterward. The longer the trip, the longer its effects last when
you return to the mundane world.
How For Can You Open Your M ind
Before Your Brain Falls Out?
A really bizarre occurrence can mess with your sense of reality for a
long, long time... At the Guide's discretion, a major shock might
raise your Deli ria score a few points permanently. Because this isn't
necessarily a good thing, your Guide will have you take a Chance
before the madness floods your senses .
.. In such a case, your Prowess is your Mind score plus your Deliria
score - the odder your worldview, the harder it is to shake up!
The Challenge Level depends on the stimulation: generally, it's
Average (9) to Hard (18). A really mind·breaking experience,
however, could raise the Challenge to Extreme (21) or even higher!
.. If someone or something is trying to drive you insane, this draw
becomes an Extended Contest: Your Will & Deliria vs. your
opponent's Will (plus a Vocation, ifhe's using some sort of skill to
drive you mad). Success on your draw means your Deliria score
remains intact; failure means he injures you psychically. A
disaster gives you double the Deliria you might have gained
otherwise, whereas a triumph lets you reduce your Deliria score
by I, for asserting your sanity.
Spending Deliria
Sometimes it's a good thing to be a little crazy. When dealing with
the Mysterium or otherworlds, you might need to be a bit more
delusional than you might be under normal circumstances. Some
magic treasures demand a given Deliria score to use, and psychic
assaults falter if you've got a flexible perceptual state. Thus, you can
spend a point of Deliria to:
.. Resist psychic trauma. In an amazing feat of reverse psychology,
you can focus your perceptions away from the attack. Ironically,
this drives you more sane through the concentration. Spending
that point of Deliria nullifies the original assault but leaves you
vulnerable to new ones.
.. Use certain magical or neomantic items. Sacrificing your sense of
wonder, you force yourself to see more dearly: a burst of
overwhelming imagination transports you to another plateau of
perception. Afterward, you're a bit burnt out... the overwhelming
experience has left your everyday world a bit less wondrous.
Losing the Sight
Some events can undercut De liria; in extreme cases, it can be
destroyed completely. This isn't always a bad thing: Deliria is a
measure of dementia, too, and you might want to be cured of a
certain amount of delusion - it makes life a little easier.
.. A dedicated program of materialistic discipline (military training,
rigorous rationality, brainwashing) or healing (intense
psychotherapy, medicinal spells) may, at the Guide's discretion,
lower your Deliria score. This takes at least two weeks of
conditioning per point of Deliria, but it's more or less permanent.
Until and unless something shocks you out of sensibility, your
Deliria can go as low as 0, regardless of your Imagination trait ­
again, not always a bad thing.
• Just as some beings or events can make you less sane, some can
make you more sane. Spells, assaults or creatures can reduce
Deliria in the same way that they might add to it - see above.
See the section on Psychic Assault in Chapter 5 for
more about Deliria and sanity. Also check out the
magic dealings in Chapter 7 and the treasures and
entities on the Appendix disc for examples of Deliria-inducing
characters and spells.
Fortune
Because every activity entails a certain amount of risk, luck is
incredibly important to our heroes. And so we have the Fortune
trait, the luck factor in your character's adventures. Some folks have
more of it, some less. No one is ever without it completely, but even
the most blessed heroes can find their luck turning suddenly cold.
A combination of confidence and goodwill, the Fortune trait
reflects a character's luck potential. Each character begins the saga
with three to five points of Fortune. Certain events can raise or
lower Fortune, but the trait cannot be raised above 5 or lowered
below a at any time.
Fortune Do You Feel Lucky?
0 Down on your luck, literally.
Riding the karmic edge.
, About normal.
3 Fortunate son (or daughter).
4 You lucky bastardl
5 No one can be that lucky... can
they?
Using Fortune without resorting to Fortune redraws or spending Fortune points to

Your character's Fortune allows the player to make several draws reach your goal. This task doesn't have to be grand or violent; it just

when taking a Chance. Normally, the player draws once when taking needs to be something that you didn't think you could do without

a Chance. Fortune, however, allows the player to re-draw his Chance, help. Assuming the deed was impressive enough, the Guide will

essentially pushing the character's luck in order to meet the Challenge. reward you with a fresh Fortune point. Lady Luck loves confidence.

So when taking a Chance. you can decide to make a single

draw, or you can employ Fortune and make an additional draw to noising or Losing Fortune
supercede a result you didn't like. In the latter case, you can increase Certain grand events might change your luck. A powerful

your character's chance of success ... or, ifluck goes against yOll, supporting character (never a player characterl) might reward you

blow the task completely. with a bit of luck; a potent magic treasure may do likewise; and the

Note that this cannot be done in combat situations. Although climax of a truly challenging quest might earn your character(s) a

a Fortune point

may be spent to

raise an attack by Vitality: 1. physical strength or mental vigor; 2. capacity for survival;
one level of

injury, you cannot 3 . power to live or grow; 4 - vital force or principle. From Latin vita, "life."
make re-draws

during a fight of Webster's Dictionary

any kind.

Spending Fortune new point of Fortune in place of experience points. You cannot buy

I f you're feeling pressed, you can also elect t o spend a point of this trait with experience points, though - this grant is entirely
Fortune and automatically succeed at the single task at hand. That based on the Guide's discretion, and it is voluntary. A player who

victory is even - just good enough to win -but your character will tries to browbeat new Fortune points out of her Guide dearly

succeed at the immediate Challenge. A point of Fortune can also be doesn't deserve Lady Luck's blessing! The new point should be a

spent to avert certain death. Once a Fortune point is spent in either karmic reward, something earned by selfless action. Player

fashion, though, it's gone until some future event brings your characters are limited to a maximum Fortune score of 5.

character's luck back into line. Thus, spending Forhme is risky, and All things being equal. a crushing defeat or disgrace can cost
best saved for dire circumstances! you Fortune. Some foul artifacts or ruinous beings can steal your

Note that Fortune cannot be spent after you learn whether or luck; worse, you could destroy your own confidence and karma by

not you've failed. I f you want to throw Fortune behind a task, you committing a grave sin or mistake. So if your character has fallen

must announce the decision to spend a point before you draw your from grace, ifhe has been ravaged by some otherworldly force or

Chance. After a point has been spent. you're limited to using the shamed in the eyes of his companions, that loss may cost you a

remaining points of Fomme. If. for example, you spend one point of Fortune until some new triumph returns that trait to its

Fortune point out of three, you have only two points of Fortune left original score. Again, the Guide determines whether or not the

for the remainder of the game. Some events will restore a disaster is severe enough to cost you Fortune, and she's advised to

character's luck in time, but until then, your fortunes are dwindling. be fair, not heavy-handed. Lady Luck is fickle, but she has a sense of

honor... at least in faerie tales.

Gaining Fortune
Some folks claim you make your own luck. With the Fortune trait, See Chapter 5 under Fortune and "It's Only a Flesh
that's literally true. Spent Fortune points are restored by impressive Wound" for further details about this trait and its uses.

deeds performed on your own - by doing something you didn't think And see Social Warfare and Psychic Assault for events

you could accomplish and doing so without relying on Lady Luck. that could rob a character's Fortune.

The definition of impressive deed depends on the character. For

a cop, beating up a mugger would be child's play, but making a five· Vitali ty
course dinner for a new girlfriend would be a challenge; a chef would Humming at the center of each being is a profound life­

find the dinner a snap but might gain some real confidence (and force. Called prana, chi, bioenergy, the animating principle, 00, or
Fortune) by standing up to the local tough. To get Fortune back on your any number of other names, this energy flows from the melding of

side, face a daunting task that's outside your usual expertise, handle it Spirit, Form and Consciousness. For gamespeak's sake, we've

with style, and do so without pushing your luck - in game tenns, labeled this trait Vitality (with a capital V), the essence of life.
 •
Vitality H ealth Aura Colors Feelings
0 Ca ll t h e undertaker. Red Passion, anger, sexuality
'-2 Hovering between death and life. Pink Compassion, affection, warm love
3-S Feeble. Orange Courage, creativity,joy
6-10 Weak. Yellow Enthusiasm, intuition, watchfulness
11-'5 About average. Gold Awareness, spirituality, searching
16-20 Hale a nd hea lt hy. Violet Warmth, dynamic change, vigor
21-25 Robust. Blue Calm, truth, devotion, solitary
26- 30 Pict ure Q'hea lt h ! Green Sensitivity, empathy, fertile
30+ Blazing with life. Brown Growth, centeredness, stubbornness
Red-black Hatred, fury
Black Pain, secrecy, defensiveness
Gray Uncertainty
Entity Cexture S ilver Watchfulness, guarded optimism
Ae lden Crackling White Purity, truth, great faith
Aware Mortal Shimmering
Celest ial Blinding
Fey Rapidly Changing
Figment Bright, Flat Colors 'Cones Emotional State
N eomancer Bright, Sparkling Soft Pinkish Affectionate
Shape-changer Ghost Outline of Original Form Cracklingl Shifting Agitated
Sorcerer Glowing Bright Aroused
True Faerie Coruscating Blazing Boosted
Whisperling Pale, Wavering Glow Lightly Rippling Calm
Mottled Confused
Darkly Pulsating Corrupt
Spiralsl Flickers Demented, delirious
It energizes your character and binds mind, body, and soul together Muddy Depressed
in a single package. Hazy. Pulsating Drugged
Everything has vitality: horses, people, plants, ghosts... even Fading Dying
stone has a glimmer of life-essence. Vitality creates the aura, the Sparkling, Bright Enlightened
soulfire halo that certain folk can see and which reflects your overall Pulsating Brightly Euphoric
state of being. Mystics reach out to it, scientists strive to measure it, Crackling Excited
healers nurture it, and some creatures feed off of it. Vitality is Pure White Innocent
everywhere. It can even be shared. But each being has only a certain Colors Melding Sharing Energy
amount of life-force inside. This life-force is intangible, but it's Gold Highlights Spiritual
crucial for survival. Once it's gone, you're gone too. Blue-green Tinge Suspicious
Although it's tempting to think of it in purely physical terms, Glowing; Sha red Colors Sympathetic
the Vitality trait isn't tied to the size, age, or even necessarily the Pulsating, Shared Colors Vampiric
health of the body; a six-year-old asthmatic could have more Vitality
than a 30-year-old weightlifter - it's a matter of mind and body and
spirit as well. Faerie tale figures are loaded with vitality, and because
you're playing such a character, it stands to reason that she's got though it is a trait, Vitality is something more than hit points; it's the
plenty of Vitality, too. song of life, the tremble of existing. Life force is a sensual thing;
like the elements, vitality flows and stirs; rarely still, it although your character might not talk about her current Vitality
pulsates and fades with your health (or lack of same). Passions rouse score, she'll be able to feel its ebbs and surges.
it, illness drains it, despair causes it to fade, and joy makes it flare.
And so, more than any other trait, Vitality is always changing. But

'Caste of Life
You know that heady feeling you get when things are going great?
Or that sick drop in your stomach when you realize you're in
trouble? The flash of rage, the whirlpool of depresssion? That's the
life-force talking. For those who can see auras or taste vitality.
emotions flavor essence and give it color. This flavor comes across
in roleplaying and story elements - it doesn't make a difference in
your Vitality score, but it can lead to all sorts of cool situtations.
This flavor may be a story element, not a game statistic, but
it's important in other ways, too. The Legacy Soulsight allows a
character to check another's Vitality, and although he'll see that trait
reflected as images (a red aura, for example) rather than numbers
on a game chart, he'll still notice it. Some beings, like cravers, are
drawn to certain kinds of essence, and different types of energy
hover around good or bad locations. Even folks who can't actually
perceive life-essence might notice something about the vibe around
a place or person, and animals are especially senstive to it even
though they don't define vitality as such. This gives the Guide plenty
of opportunities for story hooks, atmospheric moments, and
mysterious feelings that you can take as cues for action. (See the
vignette at the beginning of this section for an example.)
Qaising Vitality
The sun's high. The sky's clear. Your heart's dancing and you've
never felt better. That's a vitality boost, that euphoric feeling you get
when life-essence is running free and clear. Art, religion,
meditation, ecstasy - hundreds of practices have been fanned
around raising and channeling vitality's power. When they work, the
sensations are . amazing.
. .
Power can be raised by darker methods, too. Fury, terror,
careless lust - vitality isn't all happy sunshine. An addict is simply
someone who's discovered a way to mainline the thrill but lost the
inspiration. Any jolt to the system can raise power temporarily;
whether you want to deal with the fallout afteIWard depends on your
character and what she wants out of the life she's gained.
I n games peak, the Vitality trait can be boosted for a short
while by intense stimulation. Like the Fortune boost (see above), this
Vitality surge comes from things you haven't done before; it's
excitement, not routine. that inspires the rush. The greater the thrill,
the bigger - and shorter - the boost.
• A minor jolt raises the trait by 2 for about an hour.
� A real rush adds 5 for a few minutes.
• And a major once-in-a-lifetime sort of thrill raises Vitality
by 10 points for a minute or so.
(Cravers and beings with the Wyrd: Lifethie!can do this sort
of thing all the time. Likewise, people who've studied yoga, reiki, or
certain forms of meditation can achieve it. Most folks, though, feel
the surge at extraordinary times but can't raise their Vitality at will.)
A truly significant experience can raise your Vitality score for
good. This is handled like gains to the Deliria or Fortune traits:
something or someone of incredible importance changes the
character's life - in this case, strengthing her life-essence. Again.
the Guide makes this decision - experience points cannot buy
more Vitality points.
Raising the Key Graces will raise Vitality accordingly; because
Vitality is the sum of Mind, Body, and Spirit, it stands to reason that
the Vitality score goes up if those Key traits do. Vitality does not rise
each time a Grace Aspect goes up, only when the Key scores do.
Riding the surge is incredible. The world seems to explode with
clarity - you feel like you can do anything. Heroes perform their
greatest feats and mortals become gods, if only for the moment.
See Pages 225, 228, 249-251, 281-282 for details about
raising the Key Graces.
Sacrifice
Performing really grand feats sometimes requires sacrifice. And so,
heroes have been known to draw upon the very stuff ofHfe to give
that extra push behind a literally vital task.
• Many acts of great magic cost life-energy to cast. In gamespeak,
spells with a base Challenge Level of Difficult (15) or higher cost
one Vitality point for each Challenge Level beginning at 15.
• When everything is on the line, you could throw yourselfbody and
soul into an aU-or-nothing gambit. By spending almost every point
of remaining Vitality, you can get one automatic triumph on a single
task. This leaves you at Vitality I , essentially exhausted by the
effort. (And no, you may not recharge from another character
immediately aftetward. This is a once·in-a-blue-moon stunt,
meant for dramatic moments. Your character is out of action for
the duration of the tale.)
• A truly selfless person can literally die for someone; in this case, a
skilled channeler (below) can send all of her Iife·essence into a
dying character, saving his life at the expense of her own, In this
case, the giver dies immediately, preferably after a heart-rending
farewell. This sort of thing is perfect for faerie tales, where a good.
death is often better than a profitable life.
Sharing Vitalily
On a lesser scale, we share life-essence all the time - that's part of
what living is. Some folks, however, have mastered sciences or gifts
that let them pass lots of vitality between one another. Healers,
sorcerers, and vampires alike know how to channel energy for their
purposes, and some folks do it just for fun through shared bodywork,
sex, and sacred
sensuality.
Whatever Vocation: 1. a particular occupation, business or profession; calling.
method and
goal these folks 2. a strong impulse to follow a particular activity or career. From Latin
favor, it feels
fantastic. vocation, a call, summons; vocare, to call,
There's a
vivacious
intimacy, a
crackle of power
that runs between two (or more...) partners who get things right. (See
the vignette at the beginning of the Graces section for an example.)
• In gamespeak, close contact allows a channeling character to pass
a few points of Vitality to her partner. Unless the channel has the
Wyrd: Lifethief or the Bodywork Vocation or Accord in at least the
third degree, this exchange is limited to five Vitality points. A
more skillful channel can move up to 10 points at a time; and only
a master lifethief or a powerful otherworld entity can channel
more than that in a single contact. If the energy's being used to
heal, this can literally be a life·saving gift ... but it can kill the giver
if she's not careful.
Channeling energy this way might require a Challenge if you
want to shunt more than five points of Vitality in a short period o f
time. (Five points or less is just a story element - it feels really
good.) In this case, your Prowess would be Spirit & an appropriate
Vocation or Legacy; Challenge depends on circumstances but
should be at least Hard. A failed draw would accomplish nothing,
an even success would give a single point, a triumph would get
you all but five points from your donor, and a disaster would give
him all but five of your own!
• A skilled channel can also draw vitality from a concert, riot, or
other ritual. This demands a really wild event, a willing crowd of
"donors", channeling skill as above, several rounds of meditation,
and a Hard Challenge (18). Success gives the channel 5 additional
points of Vitality; a triumph gives her 10.
Sharing energy is an incredibly intimate thing to do, and it's
not taken lightly. People aren't Energizer batteries. The flavor of
vitality flows back and forth between sharers. If the exchange is
selfish, the energy is tainted; if the channel is corrupt, it's
traumatic. Taking Vitality from a person just because has a name:
violation. And major users have a name, too: vampire.
In jury and Draining
Giving may be better, but taking is easy. Any kind o f violence (See
previous chapter.) can steal Vitality. This is far more than a loss of
hit pOints; its effects manifest in story elements and roleplaying,
too. As he loses Vitality, a character suffers pain, exhaustion,
possibly even physical trauma. Body, mind, and spirit start to
separate, weakening the character. His aura dims, his energy
Webster's Dictionary
falters. When he's out of Vitality, the character dies. At that point, a
miracle might bring his scattered essence back together, but
otherwise he's pretty much screwed.
Although it's measured in numbers, this trait's ups and
downs depend on your character's overall well-being, not on physical
harm alone. As the previous chapter notes, there's a difference
between the story element of an injury and the Vitality loss caused by
that wound. Pages 199-203 cover the physical, emotional and
psychic costs of violence in more detail. Suffice to say that injuries
hurt more than just the body - they scar the heart and mind as well.
And then there are the lifethieves - the cravers and their ilk
who literally feed on other beings' essence. Although such leeches
can wrap their theft in ecstasy, stealing is still stealing, and few
things are as precious as one's own life. True, there's something
romantic about offering your life-force to another's hunger, but
romantic or not, this theft can kill. At best, a character who's drained
of Vitality feels exhausted afterward, dizzy and out of sorts for hours
or perhaps days. If he's taken down to Vitality 5 or lower, he'll be too
tired and disoriented to function for quite some time. Ifhe goes
below 0, he's either dead or damned near it.
Qecovering Vitality
Fortunately, the will to survive is strong.
.. For each day of rest, a character regains one point oflost Vitality for
each point in her Spirit score. If Wendy Carter, for example, has a
Spirit of 10. she gets ten points of Vitality back per day of relaxation.
.. For every day of stress (battle, travel, imprisonment, etc.), the
character gets back half the usual amount. rounded down. If
Wendy remains under constant stress during her recovery, she
gets only two points of Vitality back per day. A serious wound,
curse or sickness can sap that healing rate even further, eventually
killing the character through attrition.
On the other hand, healing powers can rejuvenate Vitality at
a faster rate than usual... or at least halt the degeneration. (See
above.) If nothing else, successful medical treatment can stop the
drain oflife·force. allowing the body to heal without further delay.
At best. medicine can give Vitality a boost. Ultimately. though.
your character's recovery depends on her Spirit. If she's
determined enough, she can survive a great deal.
See the sections dealing
with Violence in the
previous chapter for
more about harm and healing.
Also, check out the
Metaphysics Aspect:
Bodywork, on the disc, and
the Accord of the same
name Page 300 for more
details about the uses of
Vitality.
Vocati on s
Tme to bis l1ame, sbekam wal1Ders. His teak skil1 glistel1s with
traveler's sweat, anD be sweeps flies from the air with a flopp;g
black bat. DecaDes ago, be pla;geD with five brothers in a lake
neaT this clearing. But now bis brothers are all gone anD the lake
is a muD-rJool, stil1kil1Q of rot.
sbekam Sil1ks to vis kl1ees il1 reverent pain. BoweD before
beat al1D memories al1D loss, tbe olD Illal1 traces Desig11S with his
walkil1g stick. Patter11S emerge across the crackleD muD, il1tricate
Desigl1s of b;gpermathematics. At this shrine to his bo;ghooD, the
wa110erer carves arcane s;gmbols of bis l1ew vocation far awa;g.
Hot winD rustles. Hot tears well but Do not escape his e;ges.
sbekaru has seen too much to cr;g for what is so long lost. His
stick keeps Dancing, anD his hanDs are firm.
A presence looms behinD sbekaru, casting no shaDow in the
akeY110011 sun. "where have ;gou been, m;g frienD?" it sa;gs.
"Even b;g m;g reckol1il1g, it has been a long time."
The wanDerer Does not tUY11 to look at his companion. The
last ma11 be k11ew wbo DiD so DieD on the spot. "uba, gooo COUSil1,
friel1D to the lost, 1 have bee11 awa;g so long I forget m;gself." He
takes out a leather poucb al1D carefull;g unwraps a si11g1e egg.
Without lookil1g up, be places the egg il1 the cel1ter of a circular
Desig11. It begil1S to glow, the11 Disappears.
"The egg sa;gs, '1 am like authorit;g.. .''' the voice recites.
"'...If ;gou squeeze me," sbekaru responDs, '''I brea� if ;gou
let me go, 1 fall to the grounD anD burst.'"
"A fi11e gik, olD friel1D."
Tbe wa11Derer sighs. "1 bave leaY11eD too well its lesson."
The cleari119 cools, though tbe SU11 still burl1s
high. "You Do seem weathereD, sbekaru/, uba
co11so1es, "but 1 Do 110t see ;gour cracks or ;golk."
sbekaru laughs. "I'm far too tough a11 egg to burst, olD
friel1D. But the proverb lacks a110ther fate."
"AnD that is.. .?"
The wal1Derer's face cril1kles jo;glessl;g.
"Boiling, m;g a11cient cousin.
Al1 egg ma;g be boileD a11D
tUY11 harD il1siDe its shell."
"You are What You Do . . . " Advanced Aspects
A sentiment as old as time. And though your character may not be As we mentioned earlier, Vocation traits can be divided into Keys and
the sum of his worldly skills, those skills, or Vocations, reflect his Aspects. The former describes your overa ll grasp of the field, and the
ability to get things done. latter gets down to speCifics. Both a re considered Vocations but deal
More than simple skills, Vocations are fields based on with different levels of detail. The Influence Vocation, for example,
experience, practical knowledge, and even to an extent the lifestyle handles social matters; within that field, you could specialize in
that goes with them. A metalsmith. for example, can do a good deal Celebrity, Conspiracy, Mass Media, and Seduction. You'd have skills
more than just hammer metal; as part of his vocation, he from other Vocations, too, like Spanish (a language), Carpentry (from
understands the properties of various alloys, a bit of the history of Craftsmanship), and Tae Kwon Do (from Martial). One character can
metalwork, various physical techniques, and the channels through have many Vocations, and sh e probably should. After all, do you have
which one might obtain the tools and materials of his craft. Hence, a only one set of usable skills?
good Vocation score reflects a broad base in the field, not a handful
of tricks related to it. Aspects of the Key
Because the Vocation score reflects a broad selection of knowledge, the
Degrees: ROli ng the Field number and scores of Aspects within that Vocation are based on the
Uke Graces, each Vocation Key has a degree, or level of expertise. overall Key:
The higher the degree. the better you are and the more you
understand the craft, its history and applications, and the tools of Key Aspects
the trade: Vocation a No Aspects in t hat Vocation
Vocation scores cannot go higher than 7. Human skill Vocation 1 One Aspect at 1
doesn't reach past that 7th degree, although it's been said that some Vocation 2 Two Aspects at 2
otherworldly beings have achieved mastery beyond anything a Vocation 3 Three Aspects at 3
mortal could hope to attain. Vocation 4 Four Aspects at 4
Vocation 5 Five Aspects a t 5
Learn ing and l mprovement Vocation 6 Six Aspects at 6
Like Graces, Vocations can improve with experience; unlike those Vocation 7 Seven Aspects at 7
innate talents, they can be learned along the way - after all, you
aren't born knowing how to play the piano! If you have several Aspects at less than the requi red amount (like two
During the character crafting stage, each Vocation costs one Technology Aspects at 3 and one at 2), the Key score remains at the
point per degree. After your character has been created, however, lower level (in t his case, 2). A Key score, after all, reflects your character's
you have to improve her skills through study and experience. overall understanding of that skill. The more she understands, the
If you want to learn a new Vocation or Aspect, someone higher that score will be.
must teach you. In story terms, you've got to have a source - an
instructor or study opportunity - from which to learn. In
gamespeak, your character needs to spend experience points and
pass some time with either a character who has the desired Vocation Degree Expertise
or a source of knowledge (books, classes, whatever), as well as time o Unskilled: You know nothing.
to practice what he learns from them. In the real world, a teacher Competent Simple understa nding.
usually provides faster (and better) instruction than a handful of 2 Established: Mastery of the basics.
books, but for simplicity let's just assume they both teach Vocations 3 Skilled: Average for a profession al in this field.
equally well. 4 Dedicated: Above average professional.
• If you're studying a Vocation Key you don't already know, it takes 5 Expert: The guy the pros consult.
roughly a month of game time to earn the first degree in that 6 Master: Extraordinarily accom plished .
Vocation. In experience points, it costs three points to obtain that 7 legend: One of the best in your field.
first degree .
• If you're studying an Aspect of a Vocation Key you do already
know, that cost is only two weeks and two points to obtain that
first degree. (Once you understand the Vocation's principles, it's
easier to learn more in that field.)
� If you're improving a Vocation, it takes roughly two weeks to go Academia:
from I to 2, one month to go from 2 to 3, two months to go from 3 Domain of Knowledge
to 4, four months to go from 4 to 5, at least eight months of Man, it's been said, is the thinking animal. Other

intense study to go from 5 to 6, and nvo or more years to attain 7- creatures may be intelligent, but human beings make a passion out

• Experience-wise, a new degree in a Vocation costs twice the new of knowledge. We build schools, read books, gobble up trivia of all

score in points - that is, raising Athletics 2 to Athletics 3 costs six kinds, and craft new ways with which to express what we've

points, raising it to 4 costs eight points, raising it to 5 costs 10, etc. learned. All people do this, but the Scholar makes learning her

_ Vocation Aspects take half the time mentioned above. If, domain. You can see her in the stacks at your local bookstore,

for example, you wanted to improve your Influence: poring through material at the library or on the Internet, passing

Journalism from 3 to 4, it would take you a month. time in discussion and debate, always searching out answers to

_ You may not raise any Vocation or Aspect more than one questions she has yet to ask. Thinking may be a human trait, but to

degree at a time. our Scholar, knowledge becomes a life's work.

As you can see, improving a skill is easy at the lower degrees, The Academia Vocation centers around research, instruction,

but it gets progressively more difficult. It's hard to get really good at and various fields of study. At its lower levels. it covers the kind of

something; if it were easy, everyone would be an expert. basic schooling that most people in the industrial world have

received. The higher levels of the field denote serious scholarship, a

Playing the Field(s) devotion to learning that few people could achieve. Yet despite its

A high Vocation score reflects a life-path as well as a skill-set. If a dusty reputation, the academic Vocation is incredibly useful when

person's really good at what she does, it's going to show - we excel you're trying to uncover obscure facts or understand arcane riddles.

at things that interest us. S o from a roleplaying standpoint, then, like the skills of her trade, the Scholar demands time and

you ought to play up your character's Vocations; a racing aficionado patience. Underneath her clinical ways there's a passion to know that
doesn't generally act like a computer geek, and you can generally tell drives her studies. As a rule, the Scholar is curious almost to a fault,

both of them from your average Renfaire fanatic. and often enjoys sharing her knowledge with as many people as

Each Vocation listing features an archetypical figure - the possible. Information, to her, is not only power but survival.

Warrior, the Athlete, and so forth - who epitomizes the spirit of

that profession. This ideal persona gives a face to the skill-set, Academia Aspects
showing us the kind of person who answers that calling and offering _ Appreciation: Basic schooling; an understanding of the

a bit of roleplaying flavor to you as well. Because though your modern educational system and its skills.

character won't be the Athlete or the Warrior, he'll carry a bit of that _ Conclusions: Deduction and reasoning,

archetype in his heart when he pursues that Vocation. a la Sherlock Holmes.

Naturally, each person is an individual with his own personal _ Debate: Making points, supporting conclusions, and

quirks and habits. Still, you can tell a lot about a person from the talking circles around your rivals.

pastimes he enjoys and the terminology he employs. To get the _ Field of Study: An open skill-set (a category with many
most out of your character, get into his head and have fun with sub-Aspects that cover specific things) dealing with any

things that spark his interest. subject under the sun.

_ Mindgames: Puzzles, riddles, and strategy.

To see how Vocations suit different tasks, see the _ Research: Finding clues. sources. and facts.

Activities and Tasks section in the previous chapter. For _ Teaching: Passing knowledge on to others.

a full list of Vocations and their Aspects, see the

Character Crafting Steps, Page 229. Art: Che Mu se's Ki ss

I f ever a mortal were a friend to the faeries, that mortal

would be the Artist. Gifted with the talent to see and the
skill to convey, the Artist works his own particular brand of magic.

His tools might include paints. computers, the stage. or his own

body; the most vital instrument, though, is imagination. Without

that, he's a technician, not a true Artist.

The Art Vocation helps you use different media to express a

deeper meaning. Each Aspect includes the skills and knowledge you

need to make your vision live. While technique is vital, however. it's

that vision (in gamespeak, the Grace of Passion and Imagination)

 So What is Art? master of this Vocation is more than just a simple jock - she's an

Perso nally. I see art as the perfect blend of expression and communi· artist and high priestess whose body is her temple.

cation. If an artist just expresses himself in ways no one can under­ Most folks have a little bit of Athletic discipline - if you
stand, he's jerking around - it might be good for him, but it does haven't got your health, as they say, you haven't got much. But

nothing for anyone else. On the other hand, jf he merely there's a vast gap between a schoolyard game of kickball and the

commun icates ideas, his work is empty; it might be bright and shiny. Hall of Fame. A person who makes sports her all attains a focus few

but i f there's no passion, it's just technique. Great art meets i n the people ever know. She's confident, assertive, fit for life on and off

middle: the aud ience sees his work and goes, "Ah - I get it!" the field.

In gamespeak, the Art Vocation measures technique, not

necessarily quality_ Like Basqu iat, you can be an exceptional artist Sport skills with combat applications can be found

with little technical skill. Conversely, technical expertise can dazzle in under the Martial Vocation.

the short term (like Michael Bay). but unless you've got something

vital to express, the audience will soon move on. Ath letics Aspects
The Muses' pastime isn't a simple addition of trait & trait; _ Appreciation: Typical sports fan knowledge.

it flows from your character - what she wants, what she does. In _ Ballgame: Open category covering various field-and-ball

Deliria, an artist could rely on Passion for raw power, Imagination sports.

for surprise and innovation, or, if she's a performer, she might fa ll _ Bodybuilding: Weight training and muscIework.

back on (harm or Beauty to say what her craft cannot. The Art _ Climbing: Scaling surfaces that most folks can't climb.

Vocation helps her to express herself, but it's not essential; Janis _ Diving: Descending into the water with or without

Joplin was a lousy singer, but her songs ring true while more devices.

cultured voca lists are long since fo rgotten. _ Extreme: Crazy shit that can get you killed if you don't

know what you're doing.

_ Gymnastics: Defying the laws of physics and making it

look easy.

that makes your work really sing. A high Art Vocation score reflects _ Outdoors: Hiking and camping.

technical brilliance, but a s any virtuoso can attest, it takes more than _ Riding: Open set dealing with various animals.

technique to create art. _ Skating: Ice or inline traveL

_ Swimming: Being at home i n the water.

Art Aspects _ Track and Field: Running, jumping, and pushing beyond

_ Appreciation: General understanding of art, its history, the limits.

and its principles.

_ Computer Media: CGI and related arts. Craftsmansh ip:

_ Dance: Gift for moving well. Shaping and Making
_ Drawing and Painting: Visual arts applied by hand. The gods, it's said, were the first craftsmen. From raw

_ Film and TV: Techniques and technologies of the modern materials, they made earth and skies and living things. Since our

entertainment business. first experiments with stone, we've followed their example. Enter the

_ Sleight of Hand: Stage magic, misdirection, and illusion. Craftsman, a magician in his own right. Whether he's an aelden

_ Musical Instrument: Open skill-set dealing with various stonecutter or a mortal smith, his mastery of tools and shaping lets

musical devices. him rum earthly matter into luxuries.

_ Photography: Camerawork, both chemical and digital. Whether he prefers Jehovah or Daedalus as a role-model, the

_ Sculpture: Shaping things with meaning. Craftsman takes pride in his work. He might be a jeweler, a black­

_ Song: Skillful use of the voice. smith, a carpenter, or a potter - whichever, his Vocation stresses fine

_ Theatre: Techniques and background of theatrical media. handiwork over speed. Let machines clank out their mass-produced

_ Wordcraft: Writing and poetry. goods. The Craftsman knows quality - and so do his customers.

Athletics: physical Prowess Craftsmanship Aspects

To seize immortality in a fragile human frame is the _ Appreciation: An eye for good work.

Athlete's ideaL Through physical exercise, she disciplines _ Architecture: The art and skill of designing structures.

both the mind and the soul as well. Drawn from survival feats like _ Design: Open set of skills for creating systems

running and fighting, sport has become a culrure in itself. The or devices.
 _ Jewelry: Making wearable objets d'art.

_ Metalwork: Shaping and forging alloys and ores.

_ Pottery: Working with days and earthen materials.

_ Stonework: Shaping, cutting. and dressing stone.

_ Tailoring: Clothesmaking.

_ Woodwork: Carpentry, whittling, and carving.

Domestic:
Cending the H earth
Everybody needs a home. That's an easy

thing to forget when you're off on an adventure, but

when the tales are over you'll want a place to rest and

recuperate. Besides, many faerie tales begin around the

home or make use of domestic skills often taken for

granted. (Hard to spin thread into gold when you know

nothing about spinning, ain't it?)

Enter the Homemaker, a person whose skills remain

as vital in the modem world as they were a thousand years ago.

She's the mother. the healer, the carpenter, the seneschal

Although her upper-crust kin like butlers and bartenders might

seem a bit more glamorous, their abilities draw from her own.

She's an essential part of life, and her skills are perhaps the most

widespread Vocations of all... as they should be. For without her

expertise, all other Vocations are useless. Someone needs to make

the food, ftx the banister, raise the children or the crops. Home isn't
just where the heart lies, after all - it's where everything begins.

Domestic Aspects
_ Appreciation: Knowing your way around a home.

_ Childrearing: Raising, nurturing, and disciplining kids.

_ Cooking: Preparing good food.

_ Fanning: Growing and harvesting crops.

_ Folldore: Tale-spinning and traditional lore.

_ Gardening: Planting and tending beautiful gardens.

_ Household: Running a house staff and tending to

complex matters of estate.

_ Hunting: Catching, dressing, and preparing animals

for food.

_ Husbandry: Raising and tending animals.

_ Maintenance and Repair: Fixing up stuff.

_ Medicine: Open skill-set based on tending

injuries and sickness.

_ Survival: living off the land.

 lnfluence:
Heading the Pack
If the world is a wheel, then influence is the grease; it's
not essential for the turning. but it makes things much smoother
when you're trying to get somewhere. There are reasons why so
many faerie tales concern princes and kingdoms: their influence
represents power and authorityffi even, in a sense, adulthood. In
some estimations, a man or woman is measured by the extent of her
command. Of course, there are many paths to power; some are obvious
enough, others devious and indirect. A good Courtier mows them all.
Courtier is an arcane term for one who attends the courts.
Because "court" derives from both "farmyard" and "armed force,"
the Courtier is both shepherd and soldier. She can gather and tend
the folk around her, guiding them where she desires; when need be,
she can exert power and get results. If this sounds good to you,
you're not alone. The ageless ones enjoy power, too, and their
courts feature games that could dazzle Louis XIV. Influence,
therefore, is a great skill to have. In this world and the others, it can
spin the wheel to great effect.
Influence Aspects
_ Administration: Coping with bureaucracy.
_ Appreciation: Spotting trends and understanding
cultures.
_ Celebrity: Making the spotlight work for you.
_ Commerce: Buying and selling.
_ Conspiracy: Secret networks and hidden facts.
_ Conversation: The gift of gab.
_ Counseling: Helping folks open up and come to terms
with their issues.
_ Crime: Playing the underworld.
_ Journalism: The power of the press.
_ law: Legal procedures, systems, and loopholes.
_ Leadership: Getting people to follow you.
_ Manipulation: Pushing people's buttons.
_ Mass Media: Understanding modern media.
_ Planning: Staging events and managing resources.
_ Politics: Ins and outs of the halls of power.
_ Seduction: Getting people to do what you want.
_ Street Smarts: Sutviving in the urban jungle.
_ Style: Flair for fashion.
LanGuages:
Masfery of Babel
Long ago, it's been said, all living things spoke the same
language. In the long days since, however, that mother tongue has
forked in some pretty odd directions. Now computers speak,
symbols speak, even animals are said to speak. For the most
obvious speech-makers - human beings - the one original tongue
has been Babeled into thousands of dialects, accents, and separate
languages. It has also been said that to name something is to define
it; thus, words are somewhat magical. If this is true (and in some
sense, all tales are true) , then the Linguist is the greatest magician
alive.
Mastery of Languages requires more than memorization.
Each language is a separate chain of thought, an understanding
between kin that few outsiders comprehend. To pursue this
Vocation to its limits, the Linguist must be adaptable, as fluid in his
thoughts as he is with his tongue. If this is your path, then you're a
clever person indeed. Words - spoken or transcribed - are
thoughts made solid, passed between the author and his audience
until both share similar minds. Speaking a foreign word is easy;
understanding it is an art.
In game terms, most Language Vocations are open
skills - there are far too many separate languages to
even think of including them individually! And so, each
entry offers a selection of different communication modes; each one
must be learned as its own Vocation Aspect. As usual, the degree in
that Vocation reflects your familiarity with the language:
Degree Fluency
o None
Very basic words
2 Simple conversation or labored reading
3 General purpose, notable accent; general literacy
4 Fluent, slight accent; good literacy
5 Complex, nuanced speech; fine literacy
6 Native fluency and lite racy
7 Scholarly command
You may, of course, have many different Languages at various
degrees - French 3, German I, Java 3, Canine 2 ... you get the idea.
Naturally, you need to be able to speak as well as understand
if you want to communicate. This makes certain kinds of language
(animal speech, musica) exceedingly difficult for humans who want
to talk back. Unless your character can form the necessary sounds or
movements, she can listen but not reply.
Language Aspects
_ Ancient Tongues: Latin, Old Norse, Mayan, etc.
_ Appreciation: Understanding the elements of
communication.
_ Animal Speech: Talking to animals; each beast-type
requires a different language.
_ Arcane Codes: Open skill-set for understanding secret
systems like numerology, Ogham, Norse runes, and
others.
_ Computer Languages: Perl, C++, Visual Basic, PHP,
and other computer code sets.
 _ Dialects: Open category of regional, ethnic, or _ Assassination: Backstabbing tricks of the trade.

cultural codes. _ Bladecraft: Open category comprising swords and knives.

_ Earthtongue: Reading the signs of the land and seasons. _ Clubs and Choppers: Heavy things that hurt.

_ Living languages: Hindi, French, German, etc. _ Combat Sports: Open skill·set for boxing. wrestling. etc.

_ Muska: Understanding the faerie tongue. _ Demolitions: Making stuff go boom with rigged charges.
_ Symbolism: Deciphering deeper meanings. _ Evasion: Being somewhere less

dangerous than where you might

Martial: Livi ng by the Sword be otherwise.

Life is cruel. Ufe is ruthless. Anyone who has ever _ Exotic Weaponry: Open set for

watched a forest fire or a hunting cat can attest that flails, nunchaku, claws, and

Nature is neither kind nor humane. The illusion that life other odd weapons.

outside the human sphere is all nicey-nicey is the pleasant _ Firearms: Open set

fabrication of people who have allowed our capacity for luxury for guns.

overturn our connection to the living world. And so the Warrior _ Hurled Weapons: Throwing

holds a vital role in the pageant of survival. Through her arts - and things and hitting folks

often, her sacrifice - her people live. with them.

Martial means "of or belonging to Mars," the Roman god of _ Polearms: Spears, pikes, and

War. The Warrior embodies violence (from werra, "strife"; werri.eir, other long, bladed armaments.

"to make war"), and not all the New Age best-sellers in the world _ Stage Combat: Faking fights.

can erase that fact or purpose. War is strife. And the Warrior lives _ Unarmed Comba\: Open

(and often dies) to resolve it. The Warrior might desire peace, but group of martial art styles.

the world is not always a peaceful place. So when problems arise, _ Weird Weapons: Chainsaws and other weapons

her Vocation tackles conflict with swift efficiency. of opportunity.

Yet there's a difference between a Warrior and a murderer. A

murderer's crimes are senseless, violence done for no end other Metaphysics:
than selfishness or rage. The Warrior, ideally, has a higher path ­ Path to the Sou 1
to defend and sustain her people, to do the dirty work others cannot. What the dreamer imagines. the cynic dismisses, and the

The blood she spills nurtures future generations. Even so, violence artist romances, the Seeker pursues. Drawn to the mysteries of

is a notoriously tricky path to walk - the greater good she serves Creation, he pores over tomes and cards and graphs, searching for

can be a matter of some dispute. A Warrior's morality depends on connections that hide from lesser folk. Some call him an occultist,

which end of her sword you happen to be on at the time, and the digging for treasures among the damned; others see him as a

Warrior of one tribe becomes the terrorist of another's. Thus, it's prophet, a priest, or a healer. He's a crackpot to some, a savior to

especially important that the Warrior keeps a clear view of her others. If you ask the Seeker what he's looking for, you might get

actions. There is a line between war and murder, but it's pretty dissertations or gibberish, sermons or dead silence... punctuated,

damned thin. perhaps, by the flap of Tarot cards or a crackling Tesla coil.

As a Vocation, Martial skills provide physical solutions for Metaphysicists look beyond the obvious, past the apparent

existential problems. When philosophy and negotiation fail, the physical realm and into the domain of ideals that cannot be easily

Warrior comes out swinging. A wise Warrior, however, knows when seen from a material view. Although his skills might be considered

not to kill, when not to destroy. If she's to stand apart from disreputable, even dangerous by some folk, the Seeker delves into

murderers, she must ask herself, "What purpose does my violence these connections, searching for God, the Gods, or simply an answer

serve, and is it worth the bloodshed?" When she does choose to to the nagging question, "Who are we and what are we doing here?"

unleash hell, the results are often permanent, so our Warrior must

be careful. Violence may be part of Nature's plan, but if we're only Metaphysics Aspects
butchers and assassins, our Warriors cast the weapons that will _ Appreciation: General understanding of religious and

ultimately destroy us all. occult subjects.

_ Arcane Sciences: Open category covering obscure

Martial Aspects sciences like sacred geometry, feng shui, Mesmerism,

_ Archery: Bows and related weaponry. and other occulted. disciplines.

_ Appreciation: The skill of an armchair general. _ Bodywork: Yoga, holistic healing, and other

_ Artillery: Big stuff that goes boom. hands-on practices.

 _ Cosmology: Concepts about creation.
_ Divination: Cards, astrology. and other forms of seeking.
_ ESP: Knowledge ofhyperperception and
extrasensory phenomena.
_ Meditation: Trance and focus practices.
_ Faerie Lore: Knowledge of fey lore and folk.
_ The Mysterium: Knowing your way around the
Faerie underground.
_ Occult Lore: Open category covering many hidden practices.
_ Parapsychology: Open field about paranormal events
and studies.
_ Philosophy: Great thoughts on big questions.
_ Religion: Open skill-set covering many different faiths
and practices.
_ Weird Science: Mad visions, pet theories. and
bizarre trivia.
Cechnology: Che Flame
Chat Fuels Our World
If it·s true that, as Erik Davis said, "culture is
technoculture," then the person who crafts and employs technology
is the most cultured type alive. Such a Visionary is never satisfied
with the puny capacities of her human frame - she must create
and employ tools and sciences that turn the laws of Nature to her
will. And so, her Vocations demand device and innovation, reliable
techniques and measurable results.
According to Greek legend, humanity was helpless until
Prometheus (literally, "Forethought") stole flame from the Gods and
granted it to man. This fire, in some ways, is innovation, the
greatest human gift. Carrying on his legacy. Prometheus' heirs
carried fire into the dark caves of ignorance, lighting the way and
allowing us all to rise, to forge a new and vibrant world.
Some mystics say we lose our souls to our technologies. The
aelders, with their fear of worked iron, certainly agree. But though
it's easy to deride the Visionary's accomplishments, the world we
know would be impossible without them. Magic is too fickle,
influence too arbitrary. to craft the wonders we enjoy. The Visionary
bears the standard for our civilization in her grease-stained hands. It
may not be as glamorous as magic, but her technology is a magic all
its own.
'Cechnology Aspects
_ Aircraft: Operation and maintenance of flying machines.
_ Appreciation: General understanding of scientific theory
and practice.
_ Biotech: Genetics, cloning, nanotech and other
advanced studies.
_ Chemistry: Modem alchemy.
_ Coachman: Operating beast-drawn vehicles.
_ Construction: Building structures.
_ Driving: Open skill-set for vehicle operation.
_ Electronics: Open set of harnessed-lightning disciplines.
_ Entertainment Tech: Computer games, VCRs, and
other toys.
_ Environments: Designing and using lights, sound,
ventilation, and other area-based tech.
_ [nfoTech: Computer systems and devices.
_ Invention: Coming up with new stuff.
_ Manufacture: Assembly lines and systems.
_ Mechanics: Open skill-set covering repair and maintenance.
_ Neoscience: Cutting-edge theory and research.
_ Research & Development: Design for tech systems
and devices.
_ Sailing: Seamanship and watercraft operation.
_ Science: Open field covering various disciplines.
_ Security Systems: Locks and alert systems.
 Favors: Che Stuff of Legend s
J l1ever seel1 al1;t)Ol1e bol� ber breath so 1011g. wbel1 we was ki�s,
shal1iqua useD to �are the rest of us to breath-bolDil1g COl1tests il1
Fairmol1t pool. Girl, ;!)OU know she alwa;!)s WOI1! After we got
oloor, she teaseil ber bo;!)friel1�s ooil1g the same thil1g, watcbil1g
them make all kil1�s of faces. The;!) l1ever beat ber either. whel1
sbe �i� the swim team thil1g, girls wse� to call ber Aquagirl. Most
of 'em seemw to like Shal1iqua, but We;!) alwa;!)s Disseil ber wbel1
ber back was tUY11W.
she DOI1't 00 the swim team 110 more. Too mucb trouble. But
;t)Ou cal1 still see ber �OWI1 at Fairmol1t, makil1g laps like some
oolpbil1. Her rJlace got l11Bnl1aiDs al1� shit all aver - 011 the
�i�ge, 011 the walls, il1 the bathroom... she evel1 got this mermaiD
blal1ket OJ1 ber 600. I swear she obsesseil! she'S cool, thougb. Quiet
girl, 110 fuss about 110thil1g. Alwa;!)s looks like she just ba� a bath,
alwa;!)s got a glass or bottle of water l1earb;!). Sbal1iqua's fami/JIt
;!)O, so J OOI1't like folks �isresrJeCtil1' ber. But I l1ever �iD see 110
OJ1e so il1 love lVith water. If she lVas a 'l1ermaiD, I ail1't
surpriseil...
H ow Odd . . .
Faerie tales revolve around extraordinary things: spells and powers,
great riches and terrible curses. And yet, the heroes of such tales are
often common men and women who, through some stroke of
fortune, stumble into a world where grand things are possible.
For your character, these grand things manifest as Favor
traits: Accords. Legacies and Wyrds. The first group helps you
practice magic; the second grants abilities beyond the human norm;
and the last subjects you to strange tyrannies. All three trait groups
are optional - your character may have several of them, one of
them, or none. Faerie creatures, on the other hand, inherit both
Legacies and Wyrds. As they know all too well, magic is generous yet
costly.
Although Accords (detailed in Chapter 7) are practiced skills,
Legacies and Wyrds often come from inside. They might manifest at
birth or appear gradually. Each one twists your character's life story
in strange directions. And each has both a positive side and a
drawback - nothing is all good or all bad! Over the course of a saga,
your Legacies and Wyrds might change. They can be lost or
strengthened, gained through experience, or resolved the same way.
Most Legacies and Wyrds are inherently magical. A few, however,
are everyman traits - gifts and curses that anyone can have. Such
elements are unusual but eminently rationaL Extreme wealth or
poverty, for example, will set you apart from most folks, but there's
nothing supernatural about either one... is there?
conditions: Poying the Piper
Tradition tells us that every gift has its price. Legacies are no
exception. Each Legacy must have at least one condition - a thing a
character must do or maintain in order to keep his Legacy.
A condition revolves around story elements, not rules. It
could be an offering, activity, state of health, and so forth. Examples
include the Little Mermaid's silence or Cinderella's dictate to leave
the ball by midnight. Whatever that condition might be, it must be
something that can be easily broken or ignored. If it is broken or
ignored, however, your Legacy will suffer. In game and story terms,
you lose the Legacy for one turning of the moon (after you begin
doing whatever you need to do again) if the condition is violated
once; lose it until you perform penance or a quest if you violate it
twice; lose it forever if the condition is broken a third time. A lost
Legacy does you no good. You remember its gift but cannot access
its power.
Everyman Legacies have slightly different conditions. In this
case, the condition is a non-magical thing you need to do if you
want to keep your gift. To maintain the Legacy: Wealth, for example,
you'll have to spend time keeping track of your income and
generating more of it. If an everyman condition is broken, your
Legacy will fade away eventually. You might get it back, but that
will take time and effor!.
Wyrds have conditions, too. A Wyrd condition, however,
breaks the curse. Again, this condition should be a task or activity
related to the Wyrd; in this case, though, someone else must fulfill
the condition. You cannot break your own curse, though you might
manipulate events so that the condition is fulfilled by another
character.
Each entry includes three possible conditions for that Legacy
or Wyrd; the sidebar nearby presents several other suggestions. Even
so, your Circle should feel free to invent new conditions if you like...
so long as those conditions impose a cost upon the gift. This rule
keeps Legacies from becoming superpowers and it sustains the
faerie-tale atmosphere within your saga.
 Legacies
Each Legacy has four degrees:
* Minor - 3 points: A strange talent.
* Notable - 6 points: A remarkable gift.
., Grand - 9 points: Your gift borders on the paranormal.
Watching you in action is kinda frightening.
* Legendary - 12 points: Essentially a superpower, this Legacy goes
beyond human capabilities. Most folks, seeing your gift. would
consider it impossible.
The higher the degree, the more potent the gift. You may
raise this Favor trait with experience points. A lost Legacy. however,
disappears. You do not get any character points if you lose that gift,
though you might be able to regain the Legacy itself after a suitably
dramatic struggle.
Seven common Legacies appear below. Others can he found
in additional Deliria supplements or on the Laughing Pan website.
Bardic Gift
At the heart of the word music. you find the Muse - spirit
of inspiration and patron of all arts. And with this Legacy, you bring
a bewitching quality to any music you create. Regardless of
instrument or venue, you can hold an audience spellbound. This
talent isn't always with you (even Mozart had his off days!), but
when you're on top of your game, no one - faerie or mortal - can
resist you.
When your character's performing, draw a single card: a red
card means he's on, a black one means he's not. Ifhis Bardic Gift is
in full swing, reduce all of his Challenge Levels to charm, seduce, or
otherwise win his audience over. The reduction is -I for each degree
in the Legacy - four degrees means -4 to his Challenge Level -
and lasts only as long as he's singing or playing. Once he takes a
break, the Gift goes on hold as well. Maybe it'll come back when he
returns ... maybe not. Either way, your character has made a damned
fine impression.
* Minor: Hey - you're really good!
• Notable: There's a special something in your music.
• Grand: Everyone shuts up - or goes wild - when you play.
* Legendary: Orpheus himself would weep.
Possible Conditions: You must sing only the truth; you must have sex
at least once a week; you can perform only before (or after) nightfall.
element Affinity
Everyone has a bit of all earthly elements inside, but you're
especially close to one of them. Perhaps you're related to a mermaid
and can swim like a fish; or you've been soul-kissed by Fire itself,
allowing you to withstand incredible amounts of heat. Whatever
your element may be, you've got an uncanny relationship to its
Fve: Sample Conditions
To maintain your Legacy, your character
might have to:
• Rem ain chaste.
.. Thank her gods whenever the gift is used.
• Maintai n a high score on her favorite video game.
• Own a wolf.
.. Kiss the next virgin she meets (each time she uses the gift).
.. Speak only the truth as she understands it.
.. Visit the forest once per moon.
And to break your Wyrd, someone else could:
.. Dig up and destroy the bones of the one who cursed you.
.. Convert you (willingly!) to a faith you fear.
t Take your curse upon himself.
.. Purge a l l your personal data from computer files.
t Obtain a faerie blessing for you.
.. Fall in love with you, even if you're a total shit.
In the faerie-tale tradition, conditions don't have to make
rational sense; they must, however, relate i n some way to the nature of
the gift. A shape-changer, for example, might need to have an animal
companion ofthat species in order to change. Remember: magic is
creative. Legacies are magical. Therefore, legacies (and their conditions)
ought to be creative, too.
manifestations; they come through in your personality, your taste in
clothes and decorations. If you're especially attuned to that element,
you might even possess supernatural abilities to control it.
All things balance out, of course. Your connection to one
element makes you especially susceptible to another. This weakness
makes you uncomfortable around the opposing element; you'll avoid
it when possible and suffer a bit more when it harms you. (In game
terms, injuries cause intense pain and take twice as long to heal.)
 This Legacy must be selected during the character crafting
stage; it can be raised later but not added once your character is
made. You should spend lots of time surrounded by your element in
its rawest state, too. An air person will feel claustrophobic unless
wind flows freely around her, whereas a plant person gets restless
anywhere without live greenery.
Elemental Affinity is a life·long gift. For good and ill, it's part
of you. At its lower levels, it seems like an eccentricity; when you
reach the paranormal talents, however, you stop being strictly
human. Be careful - other people might freak out if you start
playing with fire in your hands! In the old days, folks with such
talents were hunted down and killed; these days, you might wind
up slapped in a research lab or branded a mutant in a world that
reveres superheroes only so long as they remain safely fictional.
.. Minor: Your element influences your personality, fashion, and
appearance. When working hands-on with that element, you're
unusually good at it ('1 to all Challenge Levels) .
.. Notable: Your element recognizes you. Strange things happen
when you're near it (dust gathers, winds blow, flames flicker,
liquids ripple, and plants blossom), unless you respectfully ask
them to stop. If you're close to an open source of that element, you
can do small tricks with it - shift a handful of dirt, call up a wind,
make a fire flare, raise waves, or cause flowers to suddenly bloom.
• Grand: Urn, right. . You can exert a bit of control over your patron
.
element in your immediate area. For three rounds (a minute or so),
you can make earth tremble within a half-mile; summon a small
storm, conjure an inferno from a spark, flood an area covering
few hundred feet, or make plants grow suddenly and tangle up an
area of the same size. This control demands concentration and
takes a minute or so to establish. Afterward, you'll be dead tired
for a day or two... and probably hounded by folks who want to
know what you just did! This trick can be performed only once
between sunrise and sunset (or vice versa).
� Legendary: You can, for up to four rounds (a few minutes), actually
meld with your element. You can become a pile of dust or rock,
dissipate into the air, burst into flames, melt into the sea, or merge
with a tree-trunk. A large amount of that element must be present at
the time (you can't turn into water in a dry room, for example), but
while melded, you're invulnerable to all physical harm. If scattered,
you can reform a few minutes later, reduced to half of your current
Vitality and feeling like shit. You may do this trick only one time
between dawn and midnight. After that, you're on your own.
Possible Conditions: You must bathe in/immerse yourself within
your element each week; you must maintain a shrine made up
of your element; you cannot speak while employing your
elemental powers.
 Mindcosting
Reaching beyond your body with your mind, you can extend

perceptions. communicate without speaking, or even leave your meat

behind. Usually considered ESP, Mindcasting has a long tradition in

faerie tales. The princess who speaks without talking. the horse who

knows exactly what his rider needs, the man who wanders through

dreams without leaving his bed - such folks understand Mindcasting

even if the word itself means nothing to them.

Classically. astral travel demands esoteric arts or magical

powers. In the modern era, though, you might use meditation,

computer immersion, psychoactives, telepathy, or lucid dreaming

techniques to step outside your body. This takes time - a minute

or more of concentration unless you're especially skillful - and

quiet surroundings. Mindcasting amid chaos is possible, but it's

damnably hard.

In game terms, this Legacy lets you employ a number of

astral techniques. Mindcasting feats use Mind & Accord: Mindcasting

for their Prowess. A character without this Legacy might be able to

do such things accidentally (people often do!), but he can't perform

such feats at will. He cannot bring any material objects with him,

though he may (with additional preparation) bring another mind

along for the ride. And yes, this is possible - anyone can learn

Mindcasting. even animals or children. Its skills are unusual but not
inhuman. Like magic. this talent lays dormant in most folks but is

totally natural.
 Mindcasting Feats Is this a magical talent? It certainly transcends a scientific
Feat Challenge level view of the world! But when we look to ancient faerie tales or new
Sense Someone's Feelings
___
_ --=
6'-- __
morph-mythology, we see the concept of identity changing
__Read Familiar Person's Thoughts 9 throughout time. Although this Legacy's effects are clearly
Read Thoughts 12 paranormal - especially at its higher levels! - there may be a
__Read Hidden Thoughts 15 primal truth pulsing beneath its surface. Symbolically, the shape­
Read Secrets 18 changing gift reflects our boundless imagination. Perhaps, it
Extend Pe rcept ions Several Yards 12 suggests, when our bodies are as changeable as our imaginations,
__Extend Perceptions a M il e or So 15 we're one step closer to God.
Extend Perceptions long Distance 18 Gamewise, this Legacy allows your character to assume
S ee Throu gh Someone Else's Eyes 15 several different shapes. The degree of the change depends on the
Influence Someone's Else's Behavior (see Psychic Assault) degree of the Legacy. Any natural ability of that shape (flight, water­
Enter/Control Your Own Drea m 9 breathing, etc.) becomes yours for as long as you wear that body.
Enter/Control Someone Else's Dream 15 Generally, you'll have to spend time changing between forms (and
Project into the Silver Sea 12 doing nothing else); a simple shift of features takes a second or two,
Walk Astrally in Faerie (Sunrise to Sunset arVice Versa) '5 whereas a radical change (man to wolf) takes roughly a minute. At
Modifiers Challenge Level the third degree, however, a character can shift between forms in a
loved One -1 level few seconds (a single round). Such ease defines a shape-changer of
Stranger +0 level s great power and skill.
En emy +1 Level Shape-shifting can be dangerous. Although your mind remains
Distracted +1 Level'---- intact while shifting between forms, your reflexes and senses seem
Chaotic Surroundings
___ +2 Levels awkward unless you've taken a few days to get used to the new body.
__Gazing into Eyes -2 levels • After a day or so, your mind and personality begin to shift as well;
Gazing at Focus Object (Crystal, Pool,Computer Screen, Hc.) -, level for each dawn-to-dusk spent in the new form, you'll begin to assume
Bringing Another Astral Traveler +3 Levels · more of that new form's characteristics. Figure that the new form
• Demands full concentration from both parties. starts to take over your old one within a day. After a week, you'll
begin to forget your old life; one turn of the moon later, you'll
remember your old life only in dreams ... if even then. Longtime
• Minor: Occasionally, you find yourself wandering outside yourself. shape-changers often share characteristics of their other identities in

t Notable: It's difficult, but you're beginning to learn astral control.
t Grand: In-body and out-of-body are both familiar states to you.
t Legendary: An experienced swimmer of the Silver Sea.
Possible Conditions: You must meditate at least an hour each day;
you must remain vegan; you must use a computer to access your
astral self
For rules about psychic combat, see Chapter 5,
Pages zl8-zzl.
Shape-shifting
Selkies. Werewolves. White buffalo women. Folktales have
always spoken of animals that take human fonn, humans who
become animals, or beings that dance between shapes as easily as
you or I could breathe. The Legacy: Shape-shifiing grants you such
powers. With this gift, the bond between your spirit, mind, and body
is more flexible than it might appear.
all forms; a cat who becomes a man, for example, will be either a
very catlike person or a cat with noticeably human behaviors!
No matter which skin you wear, certain elements of your self
remain. People might recognize your eyes, walk, or quirks if they
know what to look for. Tales speak of birds who still maintained.
their human voices or women with wolfish eyes. These distinctions
are subtle, but they can be seen ... and may be fairly disturbing.
Traditionally, shape-shifting is done either naked; wearing
fur, skin, or feathers from the animal you wish to become; or after
removing your own skin! Clothes and objects don't alter when your
body does, though they can still be carried, worn or put back on
(assuming they're not destroyed by the change). At the fourth degree
of shape-changing, however, you can change your clothing along
with your shape; at that point, your talent transcends not only your
physical form but the physical forms of garments as well.
When crafting your character, define the activity that lets him
change. Legendary triggers include: being under a full moon, getting
into water, wearing a deerskin, drinking a potion, and so forth. This

change trigger is not the condition of your Legacy - that's a

different issue. In any case, the trigger must be defined when you
select the Legacy, and - unlike you! - it probably won't change.
• Minor: You can assume one additional form (crow, cat, spider, etc.) Aura Colors Feelings
roughly between the sizes of a bat and a great white shark, or Red Passion, anger, sexu ality
slightly alter your physical features - skin tone, bone structure, Pin k ________
_
Compassion, affection, warm love
_ -'...:
"''- -
and so forth - while remaining human. (Note: You can do one or O
=�ra
:c n"
-'ge' ________ �Cc:
ou"_
:c ra
::!g
" e,c:
c. eativity, joy
cr� '..
_______
-- _
the other, not both.) Yellow Enthusiasm, intuition, watchfulness
• Notable: You may assume three different physical bodies of Gold Awareness, spirituality, searching
similar form and substance (like Rollie); or shift easily between Violet Warmth, dynamiC change, vigor
many different human faces and forms. Blue Calm, truth,devotion, solitary
• Grand: A master of forms, you possess many different bodies Green Sensitivity, empathy, fertile
within the bat-to-shark range. Brown Growth, centeredness, stubbornness
• Legendary: If the conditions are right, you may become almost Red -black Hatred, fury
any living thing between the size of an insect and an elephant. Black Pain, secrecy, defensiveness
Gray Uncertainty
Possible Conditions: You must wear a pelt, belt, or jewelry that Silver Watchfulness, guarded optimism
--
---------------------- �. -------

reflects your other shape; you must not speak in a different shape; White Purity, truth, great faith
you need to avoid real members of your new form's species.

Cones Emotional State

Soulsight Soft Pinkish Affectionate
We live our lives on many different levels. For the most Crackling/ Shifting Agitated
part, though, we see only one of them. This Legacy changes that. Bright Aroused
Known as aura vision,jaerie sight, or simply The Sight, this gift allows Blazing Boosted
you to read soul-colors, penetrate illusions, and recognize disguised lightly Rippling Calm
beings for what they truly are. Mott led Confused
= --�
Story-wise, soulsight gives you an... interesting perspective. Darkly Pulsating Corrupt
Colors are more vivid, lights brighter, shadows deeper. I f there are Spirals/ Flickers Demented, delirious
whisperlings or other powerful entities nearby, you can see them. Muddy Depressed
With a bit of concentration, you can discern the shapes and colors of Hazy. Pulsating Drugged
a person's life energy (see chart) . And if you really focus, you might Fading Dying
be able to peer through magical illusions or disguises. These Sparkling, Bright Enlightened
perceptions may be unnerving, distracting, or terrifying. Worst of Pulsating Brightly Euphoric
all, they're not always accurate - sometimes, you're the one Crackling Excited
deceived by life's little tricks! Pure White Innocent
In gamespeak, this Legacy lets you see Vitality colors, ghosts, Colors Melding Sharing Energy
celestials, howlers, and invisible faeries nearby. By taking a round to Gold Highlights Spiritual
concentrate, you can add I to your perception Prowess (per degree) Blue-green Tinge Suspicious
when you examine magical illusions or concealment; success shows Glowing; Shared Colors Sympathetic
you the truth beneath the glamour. Every so often, however, the Pulsating, Shared Colors Vampiric
Guide will tell you something that isn't true. The Sight is neither
perfect nor 100% reliable. Entity Cexture
Oh, and yes - it also makes you a bit crazy. Each degree in Aelden Crackling
this Legacy adds +I to your Deliria score. You should be quiet, too ­ Aware Mortal Shimmering
people who talk about the things they see are generally considered Celestial Blinding
insane. Films like The Sixth Sense show how lonely The Sight can Fey Rapidly Changing
be. If you're one of those blessed with this Legacy, don't talk too Figment Bright, Flat Colors
much. Just act normally and maybe you'll be okay... N eoma ncer Bright, Sparkling
Shape-c h anger G host Outline of Original Form ____

• Minor: You notice little things. The world looks a little odd, but Sorce rer Glowing
otherwise ... well, okay- weird. (+I to perception Prowess and True Faerie Coruscating
Deliria.) Whisperling Pale, Wavering Glow
• Notable : "Urn, sure. .. I guess there are such things as faeries."
 Everyman Legacy: Wealth Cannibal
You got money, honey. It's probably tied up in the bank and other Yep - you eat people. This sort of thing is generally frowned upon
non-liquid assets, but if you need cash,you have it. lots of it. but incredibly common in faerie tales. Raw or cooked, whole or
In game terms, Wealth is a story element. You r character piecemeal, your repast of choice (or lack of choice!) is human. You
can afford cool stuff and probably owns a home (or two, or might be an ogre, a vampire, or simply a sick fuck. Either way, eat
more...) where stories take place. But jf you think having money 'em and smile - this Wyrd demands that you feed.
makes life easy, think again! Depending on the source of that (Note: The term cannibalism might mean "eating your

income, the character might be plagued with greedy relatives, own kind," but it implies that you eat human beings, even if
criminal connections, shady friends, or other leeches. Worst of all, you're not human. Technically, a wolf eating people isn't
she might lose it suddenly - this Legacy can disappear on a bad cannibalism; even so, the whole man-eater stigma still applies .)

stroke offortunel You'll probably get it back eventually. but the

quest for Wealth's return can provide a great hook for a saga. .. Minor: You steal the occasional sip of blood but don't have
to actually eat whole people.
.. Minor: Though somewhat less than a millionaireiyou're quite .. Notorious: Whether you kill your victims or not, you
well off. must eat or drink from human beings once or twice

.. Notable: A cool million at least. probably more. per moon .

.. Gr.md: You've got millions in the bank, own estates, and
command a fleet of vehicles and people.
.. Legendary: Consumer-age royalty, you belong to the ranks
of the super-rich - movie stars, industrialists, oil heirs, and
so forth.
• Dreadful: You can substitute other stuff
occasionally, but man's on the menu, and it's
usually chow time.
.. Legendary: You can't eat anything except human
blood, bones or flesh. If you try to eat anything else
(or starve yourselD , you might die ... or worse, live on,

Possible Conditions: You have a high profile, high-risk, or high­ eternally hungry.
maintenance job; you've got overbearing relatives to satiSfy; you
stole this money and must lay low. Possible Conditions: Someone might redeem your soul
through faith; engineer a substitute food product; or run
aversion therapy with you and an oven until you go
(+2 to Prowess and Deliria.) vegan.
• Grand: Definitely fey-touched - the unseen world is almost as
vivid as the visible one. (+) to Prowess and Deliria.) Curse
• Legendary: Are you insane, or is it the rest of the world? (+4 to A terrible malediction
Prowess and Deliria.) cripples your chances for a normal
life. Perhaps you're horribly
Possible Conditions: You can't tell anyone else what you see; you demented, sickly, or unlucky.
must rinse your eyes with herbal eyewash each morning; always Either way, this Curse is worse

keep your four-leaf clover handy. than simple bad fortune. Like
magical napalm, it sticks to
you and burns.

Wyrds In game terms, the

Being a faerietale character isn't easy. For every blessing, Curse is a specific kind of

there's a curse... sometimes literally. And so we have misfortune heaped upon

Wyrds - liabilities that keep a hero hopping. Like Legacies, these the character by some
traits include magical and everyman options. Everyman Wyrds are outside entity - possibly

simple misfortunes, whereas the typical Wyrd is distinctly bizarre. as punishment for an insult

Like Legacies. Wyrds come in four degrees: the character might not even
understand. Every Curse is different,

• Minor - worth ) points: A quirk of fate. warping the life of its victim in strangely

• Notorious - worth 6 points: A shadow across your soul. dramatic ways. (Yes, it may play a part in

• Dreadful - worth 9 points: A clear indication of your curse'd state. the character's current form or identity; see

• Legendary - worth 12 points: God hates your ass. Ladyhawke or "The Wild Swans.") Legendary curses
include: eternal heartbreak. hideous features, animal form,
nightmares, or wanderlust. Whatever it may be, the Curse makes
life interesting in all the wrong ways.
Dire as it is, though, this Wyrd can be broken. The Guide
must decide a way to end the character's torment, then work clues
about salvation into the saga. If broken, the Wyrd is abandoned and
its story elements are resolved... though new story elements may
come about as a result. Traditionally, a faerie tale character knows
the key to his curse, but cannot do anything to bring it about. The
person or event that finally breaks the spell must do so
unintentionally. In many tales, a character who speaks the nature of
his Curse is doomed by it forever. Freedom must come through
accident, fate, or pure intentions.

• Minor: Life hates you, but not too badly.

• Notorious: It's obvious that something is horribly wrong.
• Dreadful: Uke the Beast, you suffer a monstrous fate.
• Legendary: Your life is misery until the curse is broken.

Possible Conditions: Someone else must perform an exorcism upon

you; lock you three days in a silver cage; expose you to the sun or
full moon (which you normally avoid).

Doom
A simple thing can kill you. Thanks to an arcane twist of fate

or heritage, your life hinges on a certain event not ever happening to

you! Perhaps you can never see daylight; maybe a child's scream
bursts your head; holy water, a silver bullet, your name recited three
times - whatever your Doom may be, it wilt destroy you instantly
if it comes to pass.
There's nothing normal about this Wyrd - it's clearly
supernatural. A story element of the highest order, a
Doom sidesteps game systems. Should the fatal event
take place, the character dies ... or at the very least
suffers a major transformation.
Note: Every faerie character must have a Doom.
He can work to prevent it from occurring (like the
Gentlemen on BullY the Vampire Slayer), but if it
comes to pass, he's history.
Like a Curse, each Doom is different, dramatic,
and often known to the character. Puzzled? Here's a
hint: You stupid girl! I'm mell-tinggg..

• Minor: The deadly event probably won't come to pass

anytime soon (being struck by a boy with one red eye and
one blue one, for example). Of course, this being a faerie
tale, you will run across that Doom some day.
• Notorious: Whether or not it kills you, you'll probably brush
past your Doom occasionally. It's not common (being kissed by a
40-year-old virgin, for example), but it's out there.
• Dreadful: Your Doom is common enough to make your life very
inconvenient. Perhaps you're damned by flowing water, bedeviled
by mirrors, or turned to dust by sunlight. Whichever way, avoid it.
• legendary: Not only are you damned by a simple thing (sunlight,
silver, cold iron, whatever), but everybody knows about that
weakness, dammit! Better keep a low profile...
Possible Conditions: In this case, the condition is the thing that
causes the Doom to fall. You aren't required to die by your Doom,
but such things often happen in faerie tales.
Lifeth ief
life feeds upon life, and you feed upon both. But your meal
isn't the crude cannibal's feast. Nope. You devour the force ofhfe itself
The craver's power and his curse, this Wyrd lets - yet also
forces - you to consume the essence of living things. Storywise, this
compels you to be a rather sociable thief. Typically, you stir up
emotions, then get close enough to feed off of them. The rawer
those passions, the sweeter the taste! Through touch or other
intimate contact Imindcasting, eye gazing, bodywork, etc.), you
siphon off a bit of life·force from your companions. This feeding
remains invisible (except to folks with the Legacy: Soulsight), but all
everyman Wyrd:
Secret Nemesis
You're not paranoid. There really ore taps on your phone, stalkers
in the background, and plots brewed against you as you sleep.
What did you do to deserve this? Maybe nothing - sometimes
life just sucks. Or perhaps you have a hidden heritage, mysterious
family members, or a face that invites trouble. In any case, there's
a great story in your misery... assuming you manage to live
through it!
Gamewise, this Wyrd pits you against shadowy forces you
don't quite understand. They won't kill you outright, but they'll
go out of their way to make life unpleasant. From a player
perspective, you won't know who they are; the nature of this
Nemesis is a Guide secret. hidden from you as well as from your
character. At least, for now...
• Minor: Somebody's watching you.
• Notorious: You're high on someone's "fuck with today" list.
• Dreadful: The conspiracy theory that is your life continues .
..
• Legendary: It's either you or them. Sooner or later, somebody's
gotta die.
Possible Condltlons: Either you must come to terms with your
nemesis; some third party must negotiate a truce; or the
adversary must be eliminated. All of these options demand
elaborate stories with powerful conclusions. . pOSSibly with new
sagas arising from the ashes.
parties feel an intense,
almost sexual, com·
munion as their vitality
passes into you.
Most victims
won't realize what's
happening; they'll feel
extremely drained when
the party's over but will
probably chalk it up to
a really wild night.
Meanwhile, you'll come
across as the buddy
who's always there for
both the good times and the bad. This makes you perversely
popular; a skillful lifethief can surround herself with psychic happy
meals yet remain the most popular girl in town.
Problem: you are never satisfied. The more you consume, the
more you require. It's a hungry circle, this feast·yet·famine, and the
melodrama is perpetual. Eventually, you burn out your friends,
coworkers, pets, family... Plants can't grow around you; animals and
children get sick if you spend too much time nearby. Sooner or
later, people avoid you. On an instinctive level, they begin to
recognize the parasite you are.
In gamespeak, this Wyrd allows your character to draw upon
another character's Vitality trait. However, it also drains your own
Vitality trait, whether or not you feed. The amount of Vitality you
can draw and the amount of it you lose depend on the Wyrd's
degree: you automatically lose as much as you can gain in the given
period. Feeding demands close contact, so you must remain sociable
whether you want to be or not. As the Vitality listing in Chapter 6
describes, life energy ebbs and flows. Powerful emotions enhance
both its flavor and its potency... you'll want to inspire high (and low)
times as often as possible.
For the most part, Iifetheft can be handled as a story element:
your character hangs around lots of people, stirring them up yet
burning them out. He's got a compelling presence but a draining
effect. If things get nasty, check the Psychic Assault section of
Chapter 5 and the Vitality section in Chapter 6. For system
purposes, your character's psychic Prowess is his Spirit & Wyrd:
Lifethief Ifhe's been feeding before the trouble started, boost his
usual Vitality score by 5 at the beginning of hostilities.
Lifethief seems like a power, but it's actually a curse. Its
craving never leaves you. No person, thing, or thrill can satisfy your
needs. Eventually, they all go slack. This Wyrd has a darker side, too
- each taste of passion carries the flavor of the soul. I f you're
careless or vicious enough to steal all of someone's essence, her soul
goes screaming down inside of you ... occasionally resurfacing to
torture you with memories and phantom pains. Unless it's broken,
this Wyrd condemns you to a beautiful kind of misery.

• Minor: Sneaky but fun, you sip little bits of Vitality (up to three
points at a time) when you're feeling frisky. As long as you feed
every week or so, you maintain a constant (if greedy) energy.
• Notorious: You parasite! You can suck up to five points of a
person's life energy out in a single round. and must have at least a
bit of it every few days. Other folks fmd you exciting in the short
tenn. draining by the end of the evening. Someone who sees
auras might notice a pulsating red tinge around yours, especially
when you're feeding.
• Dreadful They call you "Dracula" behind your back. Although
: to ch angel There's a certain freedom in poverty, after all, and you
people get a rush when you're nearby, they're dragging ass by the
time you leave. You can consume up to seven points of Vitality at
once and must do so at least once every other day. Your aura
throbs like a sore thumb - red·black and painful.
• Legendary: You're scary. You can drain up to YO points o[Vitality
in a single round (which could kill someone) . but you must feed.
every 24 hours or so. Plants wither i n your presence, and small
animals and kids faint when you get within a yard or two of them.
Your aura is red-crackling black, and it pulsates constantly.
Possible Conditions: You might be satiated if someone force-feeds
you a concoction of rowan, garlic, vervain, and other protective
plants; instills you with her own soul-essence (giving her life for
you); or seals you within a faerie ring for three days and nights.
See Pages 218-221 for rules about Psychic Assault, and
Pages 256'260 for details about Vitality.
Season
So tied to the cycles of Nature are you that your appearance,
health, and behavior mirror the seasons of the year. A common
faerie Wyrd, this influence can change you radically throughout the
year or tum you into a Winter Queen regardless of the climate.
Season is a state of mind, body, and spirit. In a way, you're
almost a captive of the year. For better and worse, you reflect not
only the physical climate associated with that season but its passions
and manifestations, too. At lower degrees, this a ffinity borders on
the uncanny; at its highest reaches, it's downright scary.
This Wyrd inspires tales of summer kingdoms and icy kings.
A story element, it influences the clothes you wear, the feelings you
display, the echoes of your magic, the atmosphere of your presence.
Not surprisingly, you're extremely sensitive to Nature all year
'round. Whenever possible, you spend time outdoors or within
chambers that reflect your element.
• Minor: Through small yet noticeable quirks, you mirror the
climate and the season where you live.
• Notorious: Weirdo! You dress and behave in wildly inappropriate
ways that mimic the season in which you dwell.
• Dreadful: You're the poster child for a particular time ofyear. The
everyman Wyrd: Poverty
Like many a faerie-tale hero,you've got nothing... perhaps less than
nothing. Prosperity seems so far away that you may as well be living
on the moon. You're not just broke -you reek offailure. Nothing
short of a miracle will make you solvent again. (Of course, we are i n a
faerie tale, so miracles often h appen.)
Gamewise, this Wyrd reflects abject loserdom. No simple
windfall can blow your troubles away. You even look poor - this
Poverty is part of you. Ditching this Wyrd takes more than money.
Only a rebirth of spirit can change your luck... assuming you want it
might just prefe r the street to comfort any day.
• Minor: Flat busted and deep in debt.
• Notorious: Homeless and rootless.
• Dreadful: You've lived most of your life on the streets or the road,
and you'll probably die there, too.
t legendary: So desperate the homeless pity you.
Possible Conditions: Someone must entrust you with a fortune; hire
you for a fast-track job; or otherwise take a major chance on you. For
your part,you can't screw it up. Rising above this kind of poverty
demands both trust from others and trust in yourself.
air warms or chills when you're around, and your mannerisms
and appearance follow a single season (spring, summer, fall, or
winter), rather than the cyde of them all.
• Legendary: All year 'round, you're a Sun King, Ice Queen, Jack·in·
the-Green or Harvest Maiden. You have a single Season. and you
bring it with you. Wherever you go, weather and plants bend to
your influence. Sadly, you're uncomfortable in any other
environment, and often wish (and plot, perhaps) to make your
season permanent... for everyone.
Condition: This Wyrd is part of you and cannot be broken without
destroying your soul in the process.
Seasonal Cemperaments
• Spring: Lusty, bouncy, energetic. Reckless in behavior, paSSionate in love,
brillia ntly joyful with sudden storms of rage. Wears bright colors and makes
plants bloom.
• Summer. Affectionate, romantic, quick-tempered. Very physical and gregarious,
with unusually hot skin, ruddy features and reddish hair. Wears warm colors
(or little clothing at all), raises temperatures both physical and emotional.
• Autumn: Wistful, sweetly melancholy. Prone to both smiles and weeping.
Brittle temperament, introspective behavior. Favors dark earth tones;
followed by chilly breeze.
• Winter: Beautiful yet cold. Dark moods and reflective demeanor. Often
impatient, even cruel. Favors either whites or dark blues; literally chills the
air nearby.
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Where Do 1 Go From Here? experience Point Costs
Life transforms us. Through challenge and circumstance we change Raising Grace or Vocation Key Eight paints pe r degree
and grow. The characters we craft are no different. As they stumble Raising Aspect trait Two points per degree
through their paces, they learn new skills, lose old behaviors, and Raising Favor Six paints per degree
(hopefully!) emerge greater than before. Selecting new Vocation Three paints for first degree
So, before moving on to other things, we need to take a few Selecting Vocation Aspect
minutes to cover the ways in which our characters may change. Not in familiar field Two paints for first degree
all of them will apply to your particular hero, certainly, but they're Selecting new Favor Three points for first degree
worth considering. If faerie tales are parables of change, then the Note: acquiring a new Wyrd after character creation does not earn new
paths of transformation you might wander should he marked well experience points.
enough to follow.
experience Points per Session
l nnocence, Challen ge, o paints - Player doesn't show up or seriously disrupts game.
Cransformation , point - Player merely shows up, contributes little.
"You haven't changed a bit!" is a polite lie. We do change; life brings 2 paints - Character and player indifferent and/or distracted.
transformations without number. In faerie tales, those changes can 3 paints - Character active, player creative.
be subtle or dramatic. Either way, your character will evolve from 4 points - Character vital to story, player has a field day with
humble beginnings to heroism ... or perish in the process. dramatic roleplaying.
5 paints - Both character and player perform truly memorable deeds.
Raising and Changing eroits
As we saw in previous sections, your character's traits often change
with time and circumstance. Grace, Heart, Vocation, and Favor scores
can go up, down, or occasionally both. Some of those changes can story-based reason for those expenditures! Wendy Carter can't go to
be purchased with experience points, but others come and go at the bed one night and wake up looking like a sex symbol in the morning
Guide's discretion. Either way, changed traits reflect greater changes just because Kelly wanted to spend a bunch of experience points!
in the character - transformations that go beyond game stats. Maybe Wendy acquired an amulet with strange powers; maybe she
Scores might rise slowly through hard work or leap up or dreamed she had a different body, then woke up i n that body;
down through sudden quirks of fate. Whatever happens, play those perhaps she's been blessed - or cursed! - with sudden beauty. In
changes out. The numbers are abstracts, but their effects are any case, there's a reason for the change. The experience points may
significant. Beauty 8 is just a listing on a sheet; if Kelly's character be spent, but the transformation still needs to fit the story,
Wendy jumps from Beauty 5 to Beauty 8 overnight, however, you Remember, too, that Heart traits cannot be raised with
can bet that's going to have a huge impact on Wendy's life and experience points. Only events can change these ratings once the
Kelly's approach to it! (Imagine going to bed like Alanis Morissette saga begins.
and waking up like Shakira...) Whole sagas can be built around a
sudden change for the better or worse, so play those trait shifts for .o.cqu iring experience Points
all they're worth. Each player who takes part in a game session should receive one
experience point just for playing. Additional points can be gathered
See the following pages for the ways in which traits can through good roleplaying, valiant deeds, or both. On the other hand,
go up or down: Graces, Pages 249-251; Hearts, Pages indifferent or disruptive players may find themselves earning fewer
252-260; Vocations, Pages 262-263; Favors, Pages 268-269. experience points than players who are creative and cooperative.
In most cases, a player ought to get between one and three
Experience Points points per session: one for just showing up, two for being there but
The traditional way to change your character involves experience not doing much, three for cool roleplaying, or four for really
points - favor points you receive as you play. With these points, contributing to both the Circle and the saga. A really memorable
you can raise your character's traits or select new ones for her. We scene or sacrifice might earn five points in a single session, whereas
touched on experience points briefly at the beginning of this a really annoying player would get none at all.
chapter, but the subject's worth mentioning again here.
Experience points reflect the things your character learns
through study or exposure. You get them at the end of a game
session and spend them as you see fit. .. so long as there's a good
 the Guide and works her training into the
story; after the appropriate time elapses,
the Guide tells her that those efforts are
successful.
Appropriate time, by the way, could be
whatever interval suits the story. If a group
spends five weeks working in a goblin
market. you could say that each member
has picked up a new skill during that
interval; if Lady Night kisses Lucian on the
forehead and makes him stronger, that gift
takes place immediately. Either way, the
new trait doesn't cost any points. It's
simply a reflection oflearning through
doing in a constantly changing world.
Of course, you might elect to use a
mixture of the two approaches - granting
experience points for most things but
awarding free traits for special experiences.
If you want to mix the two, however, just
make sure you're not doling out too many
points. Even in a faerie tale, people rarely
transform overnight.

Mystery Croits
For extra flavor, the Guide might decide to
award a mystery trait: a Vocation, Favor, or
Grace bonus that appears slowly and
without fanfare. Rather than saying "You
"
now have Bard's Gift 3, the Guide simply
tells a player, "You notice your singing
voice has gotten really good. People are
starting to pay attention.. . lots of attention. n

By making the trait manifest over time

through story elements, you can add a bit
of drama that "Give yourself Bard's Gift J"
simply lacks ... and add an element of

Learning Chrough Doing unpredictability that suits the faerie genre perfectly.

As a better way of giving experience points, your Circle might

simply let the Guide assign new degrees in various traits based on How Long, 0 Lord? How Long?
the events in the saga. This avoids the shopping trip syndrome and A life can change in seconds during a faerie tale. The same can be

develops your character through deeds rather than points. true in Deliria. There's no reason to wait for a stockpile of
Instead of (or in addition to) the usual points per game, the experience points to accumulate before some sudden change occurs.

Guide should identifY certain things the characters may have learned Skill, however, takes time and effort to acquire; barring magical

through experience or training during the tale... or acquired through intervention, a novice isn't going to become world-class overnight!

quirks of fate or magic. Those circumstances could grant new So how long does it take to change your character's lot? The

Vocation or Favor traits, gamer new Wyrds, or raise traits that a answer: as long as it takes. A miracle might appear, disaster might

character already possesses. At an appropriate time, the Guide tells a strike, but on the whole, life goes merrily on with little concern for

player, "Add such-and-such to your character sheet - you've got it mortal wants. Let cirrumstances guide you, and let drama set the pace.
now." I f a player wants her character to learn a certain skill, she tells
Story elements to settings he's never entered, or turns him down a path he's never

A s important as game traits might seem, the real changes dared before. New characters are potential mentors,

in your character's life come through story friends, lovers, enemies ... possibly all of them,

elements - those dramatic moments that eventually. And through those associations,

shape a character more than numbers ever your character will change.

could. The Three Rings of Awareness and

the character motifs described in Skills ond Careers

Chapter 2 have little to do with game You stop learning about an hour after

traits; instead, they reflect your death ... if then. Lessons come in many

character's perception of his world, the forms, from scholastic studies to

effect he has upon it. the influence he hands-on skills to intellectual

bears within it, and the role he adopts pondering and emotional reactions, and

(or that's adopted for him!) by others in they all shape your personality, outlook,

that world. and the company you keep.

Consider your own life for a moment: Vocations - both the traits and the life­

Are the most significant things you can think of skills they reflect - play important roles in a

the skills that you've picked up? Or are they person's life. There are huge differences in the

people, events, new jobs, and missed experiences and opportunities faced by a data

opportunities that marked your progress processor, a waitress, or a starving actor. For every door

from who you were long ago to the person that closes, there's another that opens, and vice versa. All

you are today? A life, you see, is not a those revolving portals translate into story elements that

power-level graph - it's a wandering road shape your character's path.

dotted. with joys and tragedies, and no matter Look at Wendy Carter again: Her job as a

how clear that path might seem, it always waitress brings her into contact with all kinds of people,

leads to places you didn't expect. friendly and otherwise. Her gig with Greenmantle

might make her cynical, famous, rich, or disillusioned;

'Che People You Know she could find herself on VHI, either as a success

Every person you meet, for good or ill, story, a casualty, or both. She might even be injured at

leaves an impression on your life. The work by a bad fall, a robbery, or a kitchen fire. Her

closer you become, the greater their interests in religion and metaphysics could lead her to be

influence upon you. The same is true for a missionary, drag her toward a cult, or send her down

your fictional counterpart: every friend your another spiritual path entirely. Whichever way, the

character acquires, every love affair he has, each circumstances of the character's job present plenty of

rivalry he suffers, each enemy he makes, changes his opportunities for change.

life somehow.

Let's return to Wendy Carter: At the beginning of the saga, Accidents ond 'Crogedies
she's shy and reclusive, with a circle of fans and a crush on one of And then you have the crises that change your world forever: the

her admirers. Her other friends do things that set her teeth on edge; sudden illness, the catastrophic accident, the death of a loved one,

up till now, she's held her peace, but what might happen if that the plunge to poverty. Any one of these events could wrench your

peace is broken? Right away, there are many paths leading outward character in a new direction. Plans go out the window; resources

from her circle of friends. How might Wendy change if she gets pour into the crisis. That hardship and its aftermath dump new

more confidence? Or if Bryce asks her on a date? Or if her band story elements into your lap whether you want them or not.

suddenly gets a record contract? Any one of these associations can To return to Wendy's path: Let's say her hand is shattered in

lead to a host of possibilities; all could change her life for the a car door - so much for musicianship! Or perhaps she loses her

better... or the worse ... or both. voice to a curse, her vision to a mad crow, or her mind to an outworld

The people your character knows can make him famous or horror. What might happen if Bryce were killed by a rival coven... or

break his heart; through their company, he could grow sociable or worse, by a Christian redemptionist who took "Thou shalt not suffer

bitter, become a leader or a recluse. He might meet someone who a witch to live" literally? Any such upheaval will drive Wendy down a
presents opportunities he'd never even considered, introduces him new fork on her life-path; down each fork, new possibilities wait.
wealth and Prosperity bring new Legacies and Wyrds into a saga. Rest assured, your

If a pot of gold finds itself at your character's feet, other Guide will probably work a few new elements in upon your return

opportunities suddenly appear. Success brings hangers-on, advisors, to the mortal vale...

profiteers, and rivals; money opens new doors to society and

intrigue. Any one of these new elements can set your character Change of Form
down a new road to prosperity or ruin. And then you've got the biggest change conceivable: literally

Wendy grew up poor. How might she react to sudden fame becoming someone (or something) else. If you grow wings or tum

and fortune? Would she handle them well? Go into depression? into a frog, it's going to have an impact on your home life! Faerie

Become a Whitney Huston or Kurt Cobain? Fame isn't a double­ tales are filled with transformations, shape-shifting, baleful curses,

edged sword - it's a chainsaw. Some folks handle that well. Others and dazzling miracles. The repercussions of such changes echo long

self-destruct. after the change itself, and they have obvious effects upon your life.

Faerie tales are famous for sudden showers of wealth. The Check out the vignette at the beginning of this section: Lady

aftermath of those showers, however, doesn't make it into the Ash began her saga as a mortal with aspirations; now she flies with

storybooks. Wealth has a way of making itself known, though, and faerie ravens, dead to her past yet phenomenally alive to her future.
where it appears, inquiries follow. What will happen if your Such transformations take the phrase "change of life" to a whole

character enjoys a windfall that comes from some magical source he new level. They shape perspective and companionship, the form you

can't discuss? Will he bury it? Hoard it? Spend the rest of his life inhabit, and the role you play within the saga.

dodging the government? More story elements! It's nice to dream What might happen if Lord Smoke transformed Wendy into

about that pot of faerie gold, but reporting it to the IRS (or hiding it a wolfhound? Her friends would come looking for her, but unless

from them!) opens a huge tin of hungry worms ... she's a talking wolfhound, they'd have no idea where to find her.
Even if they do find her, how will they change her back. . . and can
Magic and the Otherworld they change her back? What if Wendy likes being a wolfhound' And
Wealth could be the least incredible thing that happens to your how might the transformation affect her songwriting and behavior if

character once he sets foot in Deliria. As Chapter I says, Faerie and when she changes back'

leaves you forever changed. What sorts of changes might you

undergo once you journey to the otherworlds, confronting magic Change of Heart
and possibly even learning a bit? Only one thing's certain at that Which leads us to an even more profound transformation: the

point: your world will never seem the same again! change of heart that comes when you've had a deeply mystical

Folklore is full of people who never quite recover from a brush experience. Change of body has nothing on change of the soul. A

with Faerie. Their eyes forever glow with the wonders they have seen. spiritual rebirth sets you on a new path entirely, forgoing

The odd currents of Deliria, its strange rules and weird inhabitants, expectations in favor of a new, more promising life.

the time-shifts and perception warps that plague those mortals who Faerie has that effect on people. Some folks never return to

venture in - all of these bring change. Even if he's been raised in the mortal realm. They become settlers or wayfarers, forsaking the

the Mysterium, there's a huge difference between hanging around a world of men for the aelven woods. Folks who do return find new
witch-hall and journeying to a fey dominion. visions for their lives; scientists become neomancers, cynics become

What happens if our modem bard finds herselfliving out a optimists, and people who cared about nothing at all find

ballad? Talk about inspiration - how could that trip not affect her themselves fanatical about the future of humanity. A profound

music? You could almost see Wendy pulling a Tori Amos, going experience can turn an atheist to a believer, a Christian to a pagan

from pop star to fey visionary in no time at all. Poor Wendy's a bit (or vice versa), a dogmatist to a universalist, a lost soul to a prophet.

fey to begin with, but going from a rotten home to an aelden court? Of course, these changes aren't always positive. Some folks

She'd see the world through new eyes - and sing it in a new voice go mad when confronted with things they cannot accept; others go

- once she's gone to Faerie. totally fey and lose sight of pretty much everything mundane (See

The otherworld has a habit of following you home, too. the Deliria trait description.). If you face something that challenges

Friends, enemies, and occasional strays might decide to tag along your worldview, you might retreat and hide or adopt an even more

when your character comes back to the mundane world. That in rigid perspective to keep the fear at bay. Sudden changes of faith

itself can bring about some spectacular plot hooks, like the sprite breed radical conversions; the most rabid fundamentalists tend to be

who starts doing housework whether you want her to or not, or the folks who've whipped from one spiritual extreme to the other, and

troll who eats your pet, the whisperling who thinks you can send her they sometimes become threats to the people they used to consider

on, or the odd something that makes docks spin backwards and milk friends.

go sour in your presence. A trip to Faerie is an excellent way to

 With her high Spirit score and conflicting interests, Wendy

Carter is a flashpoint for spiritual upheaval. A major crisis could Con cl u si on :

turn her into an evangelist, a redemptionist. a radical pagan, or a

recluse. She's a prime candidate for visions and prophecy, and she You r M ask an d M i rror
could become an important figure - even a savior - to those who

hear her music and share her convictions ... And so i t comes t o pass. The princess, programmer, or raver with a

sweet tooth has gone from an abstract idea to a potential hero. But

Ever After . . . ? despite the long lists of traits and options we've just covered, the

No matter what happens, the faerie tale hero changes. His life-path most important element of that character has been there from the

veers along cliffs and pitfalls, curls upward to success and down to beginning: you.

agony. As the Queen of Elfland told True Thomas, the road to Faerie Every character you craft begins with its creator. Every

lies between salvation and perdition , winding up fern-covered persona you imagine is an aspect of yourself. The princess,

mountainsides where each shadow holds a wonder. It's a steep and programmer, raver, whatever - ultimately, they all come from

treacherous road, but for the twilight folk there's no better way to travel. within. They are both masks and mirrors, projecting imagination

Life isn't stagnant. It's a journey, not always pleasant, and its while revealing the truth.

travels shape our bodies, minds and souls. As your character sets Each culture has its faerie tales . Every person tells them his

out in this wandering path, remember the kind of road you've own way. And yet the slant of those tales, the quirks of their heroes,

chosen. Whether it leads to a happy ending, tragedy, or something depend more upon the teller than the tale. There may be

in between, be assured the terrain won't be what you'll expect. archetypical figures that fire our imaginations, true, but in using

Transformation is a given. Nothing else in Faerie is. But that imagination we step beyond the archetypes. The hero becomes

however long your saga lasts, you can bet its heroes will the self- the person who on some level we wish to be and on

grow and prosper, suffer and (hopefully!) triumph another level we already are.

many times. So enjoy your mask. Have fun with the mirror. But when

you get a chance, step back and admire that which

you've created. Check it out, warts and all. Deliria

may provide a stage and costumes, but the

character belongs to you. So look closely; see what

you discover from that image. The answers may be

surprising. Disturbing, perhaps. Enlightening for

certain. But chances are, they won't be boring!

 CHAPTER 7: POCKET FUlL OF MlRACLES

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"al1() Iilke care of me. Smnetimes the:!} just get bHI1f1�."

'Che Music of What Happens
Magic is like music. It begins as a harmony in the heart, rises
through talent and precision. resonates through instruments, swells
to a crescendo, and echoes through the world. Everyone can feel it,
but few can express it. Skillfully perfonned.
it can enrich or destroy. The two are inter­
twined. If you think of each spell as a song. The bigger the wish,
you'lI understand the heart of magic.
In both game and story terms, music
and magic have a great deal in common. Both the higher the risk
go through similar stages of inspiration.
composition, performance, and resonance.
Both can be simply tossed off but have more But the bigger the heart.
effect when perfonned carefully. And both are
extensions of the one who creates them. An
enchantment. you see, is not a static thing. the better the chance that
It rises from an individual's needs and
capabilities. When your character employs
magic. she shapes each spell like a song. the wish win come true,
composing it to meet her desires, then
expressing it in hopes of fulfillment.
Each act of magic is a new creation. This chapter shows you
how to craft them.
Che Pri n ci pl es of M agic
Ask a dozen mystics, "What is magic?" and you'll get a dozen
answers... if not more! Unlike rational science. magic is uncertain
and immeasurable. One of magic's most wondrous mysteries is just
that: it is a Mystery. The more you try to understand it, the more you
realize how little you truly know.
Even so, most occult authorities agree about four elements of
the art:
.. Inspiration: First, you must envision both a need and its
fulfillment.
.. Power: Then you raise power and make your vision come to pass.
• Connection: Bind your intentions, your subject, and the power
together.
• Resolution: Let go and see what happens.
These four elements apply to magic in both story terms and
gamespeak. If your character wants to cast a spell, set his mind on a
need, make an effort to bring it about, connect the effort to the need,
and reap the rewards. for good and ill.
Oh. and that last part - good and ill - is vital. For magic is
the song that cries, "I wish ... " And as any faerie tale will tell you, you
need to be careful what you wish for and take care how you want it to
come about. Magic is a stem teacher and its lessons are implacable.
I n games and stories - and lifo, for that matter - a powerful wish
takes on a life of its own.
Story-Based Enchantments
In neliria, spells are story-based, not systems-based. In other words,
the heart of an enchantment is the effect it has on the story, not the
rules that govern the spell. If you want your character to charm
another character, for example, you'd decide
what you wanted to accomplish, describe what
your character does to work the magic, then
Draw to see whether or not you succeed. If you
do. the results are roleplayed ("His eyes glaze
over and he hangs on your every word"), rather
than analyzed ("You beat his Will by 5 and have
him charmedforfive turns"). As in faerie tales,
a spell's results are general rather than specific.
Magic is a story element, not a list of numbers.
There are no spell-lists in Deliria, either.
Each spell is custom-made, formed from your
character's abilities and crafted to suit her
circumstances. You can put together a song list
of spells that come in handy. but each
composition is yours, not ours. Like magic and
music, that creativity challenges your imagi­
nation. But then, imagination lies at the heart of both, so what could
be more magical?
Costin g a Spell
Magic does not exist in a vacuum - each spell or practice fits a
need. That need might be as simple as "I need to stir my coffee," as
selfish as "I need that man," as far-reaching as " I need a new
career," or as immediate as "' need to stop that bus!" Therefore. the
casting of a spell begins with the question: What do 1 need ? Soon.
with any luck. the magic will satisfy that demand.
In gamespeak, Deliriais magic rules follow the same
Challenge/ProwessjChance/Result format as the other systems.
And like a song, an enchanbnent comes together through the
following stages:
Inspiration: Deciding what you want and how you'll get it.
The result you desire determines the Challenge Level of that
spell - big. powerful spells are far more difficult than small.
subtle ones.
� C()mpo';iti'Dn: The power phase. In gamespeak, your Prowess
is Spirit ({ Accord. Other skills, however, will make a
difference in how your spell is cast; the means you employ
can raise or lower the Challenge Level of the feat.
�p,..r()m13:[lce: Casting the spell, you connect intention to subject
�R o ce: Resolution; the song is done. the spell is cast.
,:s l,.nl
Again, Challenge, Prowess, Chance, Result. The terms may
deal with music. but the stages are the same. System details (Disasters
and Triumphs, trying again, etc.) employ the Basic rules detailed in
Chapter 5. Particulars of magic are handled below.

What You Need
So what does your character need to perform magic?
.. A minimum Mind score of 5.
.. A minimum Spirit score of 6 .
That's it.
An Accord gives you the skills to shape your
intentions. You don't need an Accord to share magic's
raw potential, though. With enough psychic mastery
Chree Essential
Elements
Each enchantment, regardless of style or scale, must
include three elements:
.. Something to Focus the Spell: Every spellc3ster knows you must
make magic happen. This element demands an Accord (occult knowledge),
instruments (to direct your wishes), and activity (to set things in motion) .
• Something to Bind the Spell: The caster (and the playe r) must name three things
he's doing to make his wish come to pass .

and spiritual potential, anyone can perform magic. • Something that Breaks the Spell: He also must name one thing that will end the
The power of change is within us all. spell immediately.
All three elements should fit the spell and its caster. Autumn, for example, is
Che Catches an artist-witch. Her workings involve witchcraft rituals, they're bound by works of
There are limits, of course: art, and they're broken when those works of art are d est royed .

• To most folks, the higher reaches of spellcraft are

essentially dosed. Unless you're a practiced sorcerer, For details abou t these elements and how to play
you won't be turning pumpkins onto coaches anytime them, see Accords Pages 298-3°5, and
soon. Roleplaying Magic. Pages 292-296.
• You must channel your intentions - no instant spells from

out of nowhere!

• Each Accord features tools and practices. As long as you've got

access to those instruments, you add your Accord score to your

Spirit. If you wind up stuck without your tools, or face something

your Accord can't handle, you're stuck with Spirit alone.

Fortunately, you can learn different Accords and employ a wider Scale
range of instruments. Just as there's a difference between Bach's "Jesu. Joy of Man's

• And yes, there are costs. Every enchantment carries an echo, a Desiring" and Orffs "0 Fortuna," there's a difference between a

lingering taste of the spell that birthed it. Again, it's like music: love charm and a mind-grab. One is more intense than the other,

the louder the song, the further its reverberations reach and the more obvious - louder in volume. Hence, the Scale of spellcraft

longer they last. If you're not careful, you can set landslides of measures a spell's intensity.

events in motion with a single careless spell. How it Works: A subtle, quiet working is easier to perfonn

• The greatest spells of all require life-energy - in gamespeak, than a loud, disruptive one. Thus, the Challenge Level rises with the

Vitality - to cast. Literally, your character must put a bit of volume of the spell.

herself into truly prodigious feats. Really powerful castings demand sacrifice, too. The upper

Magic is open to everyone. But it's not something you levels of Scale cost a bit of Vitality when the spell is performed.

handle lightly. In true faerie-tale fashion, this Art of Change reaches To continue the spell/song metaphor, the terms of intensity

beyond instant gratification. It makes you think, both before and are drawn from musicology. Note that you don't have to use these

after a spell is cast. If you don't think ahead about what you're terms - they're just here for color's sake. Your character probably

doing, you'll soon wish that you had! shouldn't be referring to a Fortissimo-Scale enchantment; she

should just say, "Back up, guys ... this is gonna be big."

Scale, Accord , and Luning

Spellcasting demands belief: ifyour spirit and imagination are In the section that describes magical workings (see

strong, you can change the world. However, the kind ofchanges you Pages 3°6-314). each type of enchantment has a Scale

make and the way in which you make them depend on three things: range, showing what constitutes a soft or loud kind of

• The Scale (size and volume) of what you're trying to accomplish. spell.

.. The Accord you use to set things in motion.

.. The Tuning of the spell through certain tools and methods. Accord
In gamespeak, Scale decides the base Challenge, Accord sets I f magic is a song, then an Accord is the training that helps you

your Prowess, and Tuning gives you modifiers that raise or lower master it. Talent is great, but it'll get you only so far. If you want to

the Challenge Level. Once you know what you must draw, take your play Rachmaninov, you need to study the piano; if you want to play

Chance and see the results. Merlin, you'll have to study spellcraft.
 Like a musical instrument, an Accord helps you harmonize
the inspiration in your head with the sound you make in the world.
Although many experts would argue otherwise, the Accord is a path
toward magic. not magic itself. And just as there are hundreds of
musical instruments to play, there are likewise hundreds of magical
practices an aspiring magician can learn. You won't need to learn
them all, of course, but the more you know, the more versatile you'll
become. For like a musical instrument, each Accord has strengths and
weaknesses, some tones it plays perfectly, and others beyond its reach.
How it Works: In game terms, an Accord offers story
elements that tie the spell to the spellcaster. This way, each character
casts unique spells that depend on who he is and what he knows.
• The Accord trait joins Spirit to make up your spellcasting Prowess.
A character without any Accords must rely on Spirit alone.
• Every Accord features certain instruments and activities that focus
your spellcaster's intentions and bind them to the object of her
magic. In story terms, these give you something to play with,
whereas in system terms they determine what your character
needs to do before the spell is cast.
• Each practice also has its specialties and weaknesses; after all, a
computer-bound neomancer probably won't be particularly good
with potions!
A spelkrafting character can learn as many different Accords
as he wants. This sort of thing offends traditionalists but grants
flexibility to the magician.
Luning
How long will your spell last? How many people might it affect?
And how long will you spend on the necessary rituals? Such factors
decide the Tuning of your enchantment - the details that turn
talent into art.
How it Works: In gamespeak, Tuning applies modifiers to
your Challenge Level. The more ambitious the spell, the harder it is
to perform,
There are four types of Tuning modifiers.
• Duration: How long do you want the spell to last?
• Range: How big an area are you trying to affect? (Or how far away
from your target are you standing?)
• Tempo: Are you trying to speed the casting up, slow it down, or
deliver it just right?
.. Tone: Are circumstances helping you or getting in your way?
You don't need to apply Tuning to each spell. Use the modifiers
only when and if you're trying to do something complicated.
Details about spellcasting duration, range, tempo, and
tone can be found on Pages 29°-291.
Workings
Spellcraft is essentially infinite. Even so, most magical workings fall
under one of the following seven categories:
• Channeling: Calling upon energies or spirits for your purposes,
or opening yourself to theirs.
• Health and Harm: Altering a living body.
.. Investment: Imbuing some item with power, or altering it
through your arts.
.. Perception, Influence, and Communion: Using magic to
commune with your environment.
• Protection and Binding: Shielding or restricting someone (or
something) through magic.
• Summoning, Travel, and Conjuration: Bringing something from
one place to another.
.. Transformation and Creation: Making and changing objects.
Workings are not spells in and of themselves. Nor are they
schools of magic that determine what you can and can't do. They're
guidelines - methods by which you can get things done. After all, in
game terms it's easier to say, ... , want to fly" and look up Swnmoning,
Travel, and Conjuration than it is to spend 15 minutes figuring out
the rules that help your character fly.
For easy reference, a collection of common workings is
included on Pages )06-314.
Circumstances:
'Cricks of the Shadows
Spellcasting can be pretty straightforward. Occasionally, though, it
gets complicated. What happens if your newscaster neomancer tries
to charm someone in Faerie? For times like these,
a few optional rules may help...
Faerie Magic, Mortal Magic
Deliria is a magical place filled with magical people. Spells are
bigger and showier in that realm than in our own. Magic's easier
there, too, though it's tighter in some dominion than others:
individual regents determine what is and is not right. In game
terms, the Challenge Levels for spells cast in Faerie are lower than
those cast in mortal space, and the Challenge Level for magic in the
wilderness is lower than magic cast in settlements.
Faeries excel at magic, too. The clumsy spells of human
wizards rarely match the talents of the fey . Thus, an ae1der can cast
in seconds a spell that might take a mortal minutes to arrange.
Human spellcasters (and their aelden and shimmerling cousins)
must focus deeply and work carefully when using strong magics;
immortals, on the other hand, need only a moment (in gamespeak,
a round) to cast even the largest enchantments. Such magics might
not be easy, perhaps, but they come more naturally to the Ageless
Ones than to lesser folks. A faerie godmother might be able to wave

her wand and conjure a carriage, but for poor slobs like us there's
more work involved!
In many cases, the Guide may invokejust 'cause when a
faerie character uses magic. Rather than go through the whole
spellcasting process, she might simply describe the magic as it
comes to pass. Melpomene doesn't need to Draw every time the
Guide wants her to appear or disappear. POOF! She's there. POOF!
She's not. Faeries do that sort of thing naturally, so unless a spell
impacts directly on a major character's life, it ought to simply
happen. Why? Just 'cause she's a faerie and this is a faerie tale.
In the same vein, the Guide may allow a player's magician
character get away with just 'cause for certain minor feats of magic -
changing his eye color or stirring his coffee without touching the
spoon, for example. This option won't kick in if the spell involves
anything large or important, but it helps establish a mysterious
atmosphere without overcomplicating play.
Mundane skills and Magical Prowess
A witch who cooks well makes more effective brews. Thus, as an
optional rule, your Circle may decide to let a character's Vocations
add to her magical Prowess, so long as those
Vocations tie in with the casting of the spell.
For example, take Joe Thunderhorse.
His shamanism works through the machines
he loves. In game terms, Joe has a Tech­
nology score of 6, Under this optional rule,
Joe's player, Karl, adds +) to Joe's spell­
casting Prowess when Joe works his magic
with a machine.
This bonus applies only for castings
that involve the skills in question. The
Influence Vocation, for example, will help
you chann people but won't do a thing if
you're trying to ftx a computer. (Unless, of
course, you're charming someone else to ftx
that computer for you!)
By adding a bonus to spellcasting
through life skills, you also add roleplaying
and story elements to the game system.
This option rewards clever players and
underscores the importance of a well­
rounded life,
Vocation Score Prowess Bonus
'-2 +'
J-4 +2
Disasters and 5-6 +3
'Criumphs 7 +4
When good magics go bad,
the results are dramatic. Same when something that seems
impossible happens anyway. The wild-card nature of Disasters and
Triumphs keeps magic entertaining.
For the most part, the usual rules for Disasters and
Triumphs apply. A spellcaster who Draws a Disaster suffers a
terrible setback, whereas the Triumphant caster does the impossible.
For Disasters, the Guide may wish to link severe echoes or even a
Wyrd to the ruined spell. Even then, however, the caster should
survive - if only so that new tales can grow from her misery.
As for Triumphs, even the impossibly possible should have
its limits. Although faerie queens might be able to spin castles out
of glass, such feats are beyond even the luckiest mortal. The upper
reaches of Deliria magic - workings with base Challenges of 24,
26, or 30 - are off-limits to characters with a Spirit score ofless
than 10. Thus, a mighty sorcerer may perform such feats, but a
fortunate child (unless she's damned near a saint) cannot.
spellcasting
Inspiration ", Challenge level
Composition ", Spirit & Accord (or simply Spirit)
Performance = Draw
Resonance = What happens?

What You Need

• Minimum Mind score of $.
• Minimum Spirit score of 6.

Disasters and Criumphs

• A Disaster unmakes any spell, no matter how skilled the caster might be.
• A Triumph lets even a novice pull off a single, miraculous spell, regardless
of his Prowess.

Spe1lcroft Scoles
Scale Base Challenge Vitality Power level
Sotto (Quiet) 6 0 Subtle ripples of change.
Pia no (Soft) 9 0 Noticeable, but only just.
Mezzo (Medium) 12 0 Something weird is going
on".
Fortissimo (Loud) '5 Obvious paranormal
activity.
Sforzando (KABOOM!j ,8 2 'yipe."

Luning
Four types of modifiers. Note: We do not recommend using more than
three sepa rate modifiers at a time. In the case of four or more Tunings, use
highest "+" modifier, unless all modifiers reduce Challenge level. (In that
case, use lowest "-" modifier.) Modifers cannot raise Challenge level below
3 or above 30.

Duration
How long does the spell last? • Challenge level
Instant/Until Dawn or Midnight ·· +0
Three Days +1 level
Seven Days +2 levels
One Cycle of the Moon +3 levels
One Year +4 levels

Seven Years +s levels

Until Broken +6 levels
• "" Any spell can be dismissed immediately by the character who cast it.
• • '" Instant for fast spells like fire or lightning; dawn or midnight (whichever
is closer) for events like flying or charm.
 Qonge 'Cone
How much area? (Does not apply to mass media spellcraft - see Tone.) Modifiers for spellcasting circumstances; see Notes for details.
Self ., Level Circumstances Challenge Level Notes
Person You Know +0 Level Midnight/Dawn -1 Level
One Stranger +1 level S::
:c I:st"
O:c ic
" ':::
e:c E"
q"u i::: x''-
":::
0" H"ly
0,,
-' ay
D,,
:::
________
-1 Level
Seven Strangers +2 levels Eclipse -2 Levels
Group +3 Levels At Crossroads -1 Level ("2)
Mob (100+) +4 Levels Sacred Space -1 Level-------
'------- ����----------------
Audience (500+) +5 Levels Passionate Caster -1 to -2 levels
Multitude (1,000+) +6 Levels Seduced Recipient -1 Level
On Home Ground -1 Level ("5)
Area of Space (Roughly Spherical) On Strange Ground +1 Level
One Stranger = 20' Earthly Settlement +1 Level
Seven Strangers = so' Earthly Mysterium +0 Levels
Grou p ", 100' Earthly Wilderness
�����------------ -1 Level
--
Mob = 500' Faerie Dominion -1 Level
Audience = 1,000' Faerie Wilderness -2 Levels
Multitude = half-mile or so In Club/Theatre/Festival -1 Level/+2 Levels ("6)
Using Mass Media +3 Levels
'Cempo Using Tech in Mortal Realm +0 Levels
How fast is the spellcasting? Using Tech in Faerie +2 Levels
Normal Casting Time = one round for each level of Scale: Using Minor Ritual -1 Level ("8)
Satta = , round Using Extensive Ritual -3 Levels ("9)
Piano = 2 rounds Touching the Subject -1 Level
Mezzo ", 3 rounds Subject Out of Sight/More Than 100' Away +2 Levels
Fortissimo 4 rounds
= Subject Very Distant +3 Levels or more
Sforzando = 5 rounds Injured Caster (see Injury Modifiers, Chap. S)
Harmonious Spell -2 Levels ("10)
Tempo Modifiers Dissonant Spell +2 Levels
Normal +0 Levels Notes
-, Round +1 Level -1: Christmas, Beltaine, Ramadan, Midsummer Eve, etc. Bonus occurs on
-2 Rounds +2 Levels peak day of extended holiday.
-2: Rural crossroads, crossway, ocean shore, edge of cliff.
-3 Rounds +3 Levels
-3: Enraged, ecstatic, rapturous, or other extreme peak emotional state. Not
-4 Rounds +4 Levels
a lasting condition, but a moment of pure, unadulterated emotion.
(SpeJ/casting cannot take less than one round, regardless of character's speed. -
4: Extremely willing to go along with whatever caster has in mind.
Aelderfolkfaeries can cast any spell in a single round; aelden and -5: Sanctorum, home dominion, personal workspace, or own home.
shimmerlings use halfthe the normal times.)
-6: Takes into account mass audience. paSSion, seduction. and home setting.
Bonus only good on influence workings. All other workings +2 Levels.
-7: Takes into account mass audience. range. etc. Only good with influence
workings. All other workings must be done normally.
-8: An hour or less.
-9: Two hours or more.

10: See Page 293 for details.

-
 Speak/ Enspel l
"Rolepl ayi n g M agic Like saga, spell means "to speak." Given that, it's not hard to see the
connection between using magic and telling stories. I n the old days,
magic was often wrapped in ballads or tales; even today, we talk

ABba spiJ1S, spins, spiJ1S. WbirLs in a Dizz;9ing spiral across the about how a particular film holds us spellbound or a book enchants
us. And so, when your character casts a spell, enchant the other

restaurant IVbile bright-claD patroJ1S watch, spellbounD. Her players with your imagination.
How? Just remember these faerie-tale truths:

scarves blur into a single wash of light. Her ankles jingle in • Magic is personal. Every magician uses it a little bit differently, so
craft your spells to suit your character's personality and

perfect ti.tle with the Drul11s. Her e;9es roll back beneath kobl-Dark circumstances. Wendy Carter, Rollie, and Lucian have very
different personalities, and they'll use their talents differently, too.

liDs wbile ber soles trace circles on the Turkish carpet beneatb. Wendy, of course, sings her spells into being. Rollie's magic is
innate - he just to needs make a wish. Lucian depends upon

AnD in her l11inD, Asba flies. machines, so his magic works through computers and inventions.
All three characters can charm someone, but in story terms they'll
It .night be a trick of tbe ligbt. It 'l1ight be the thrill of the all use different methods to do it.
• Magic suits the monu:nt. The Wicked Witch prepares her poison
mOl11ent But to tbe patrons, Asba seems to spin into the air, apple with Snow White in mind; the Sorcerer's Apprentice
enchants a broom to do his chores. Before your character casts a

wbirl above the carpet like a firebirD gone maD. Her skin spell, ask yourself What does she need? The answer will give you an
idea what kind of spell to cast.

appears to gbv, anD tbe scarves about ber flare, incanDescent. * MagicjIowsfrom belief A witch can weave magic because she
believes she has the power to do so. The way she weaves that

Tbose .vbo watcb coulD swear sbe Dances on nothing, 110W. magic, however, is going to depend on just what she believes she
can do. I f she's convinced that [ and my world are one, she'll use
The Mncer SWirls,
Enchantment: from incantare - "to put a spell on."
sliSpenDeb, in the
Spell: from spel or spill - "announce, speak, tell a tale. "
center of tbe rOO'H.
Magic: from magica or magike - "of the Magus" (wise priest).
Music: from mousike or mousikos - (the art of the) Muse (spirit of inspiration).
snaps ber beaD straigbt,
spells that bind her will to her subject. If she thinks if I build it, it
like a ba,vk with pre;9 in sigbt. AnD witbout pause sbe swirls will work, she'lI make machines that do her bidding. And if she
believes I am the instrument of God, her workings will take the

into a croucb, slJins to ber knees, a>1D swee)JS across tbe floor. form of prayers. Those assumptions of belief shape what she does,
how she does it, and often what she cannot accomplish.
The patro>1s gas)!. Tbe spell is broken. But for jll5t a I Note: The following Accords include statements of belief
Find one that suits your character best, and you'll see the magical
practice that fits her beliefs.)
.. Magic has consequences. Each spell costs you something. no matter
what form of magic you employ. And it always - always! - has
repercus sions after that spell is cast. Keep that in mind, and try to
stay one step ahead of the things you set in motion.

Example: A Hedge Against Bad Dreams
does that work out in play? Let's go back to Rachel's saga
Chapter 4) , and check out magic in action:
IKIIII1"'"il1 trouble. Tbe l1ig{;tmare merchal1t has trappell bim il1 a
al1b sel1t a flock of bab Meams il1 to brive bim mab. 111
gamestJea� Rollie HSeS the Accorb: Faerie wisbcraft. Marc's
pla�il1g Rollie, who has a Spirit score of 8 al1b a Faerie
Wishcra� of 2, giving him a magic Prowess of ro. Being a fox,
Rollie OOesI1't think in terms of fire Dr explosiol1S. He just wants
to COltjure someplace wbere he cal1 escape. '1 wish/' sa�s Marc,
"that I coulb fil1b a Itice thorn� maze wbere bab breams coulb
get lost."
"ok.a�/, sa�s Kell�, tf!e Guiile. "what will �u bo to bil1b
that wish?"
Marc cbecks out Bil1bil1g 011 the Faerie wishcra� listilt(f
"I'll give three flowers from a mibl1igbt garool1, three SOl1gs to a
beautiful girl, al1b three ribbons tieb aroultb a rowan tree if m�
wish comes true."
Sil1ce thorn� mazes arelt't commolt ultoorgroultb, Kell�
becibes that Marc's retjuest is "somethil19 weirb" - a Mezzo­
scale spell. Tbe base c:i;Jallel1ge Level is 12. ('How big bo �u
lVal1t this maze to be?" she asks.
"Prett� big/' be replies. "I 00 waitt to get lostl"
Kell� checks out the TUl1il1g sectiOI1, ul100r Raltge. she
becibes that Rollie's maze abbs +4 to the cballel1ge Level. Now
it's 16. "HolV 10l1g 00 �u waitt it to last?"
"Ulttil bawlt."
No extra mooifiers tbel1. "Draw!'
�
Marc pulls the Ei t of Diamol1bs. With his ProlVess, that's
an 18. He'll get his wisb. "You'b better rul1, Rollie/, Kell� sa�s.
"Those bab breams are closil1g il1!'
The fox-malt TUI1S. Al1b TUI1S. Fil1all�, Kell� oocibes to let
him have his wish. Twrnil19 aroul1b a corner, Rollie sees a vast
bebge of silver-tbornw brambles. "Yesi" shouts Marc.
"Better make those soltgs goOO wbelt �ou get out of bere/,
Kell� teases.
Al1b the col1Sequeltces? well, Rollie maltages to escape, but
be wil1bs up @ettil19 scratchw up b� the thorns. He'll be all right,
but the cuts burt. Later, whel1 ol1e of the bab breams catches up
with him elsewbere, Rollie has a Itigbtmare il1 which he'S trappeb
il1 a wilb swirl of tboTl1S. Allb this time, the fox imagil1es, he
cal1't fil1b his wa� out...
Roleplaying faerie tale magic takes imagination and wits. This
improvisational style isn't as simple as push·button spellcraft, but it
suits Deliria's unpredictable world. In folklore, after all, anything
can happen.
Harmony and Dissonance:
Che Magic You Deserve
Faerie-tale magic is not arbitrary. Quite the opposite - it
makes a great deal of sense. A spell, its caster, its subject, and its out­
come all fit well together. If someone's acting like a pig, it's easy to
change him into a pig (and hard to turn him into a swanl).A witch flies
with a broom, a mad inventor with a jet pack. A priest calls down white
light, whereas a warlock casts dark fire. All the elements harmonize ­
they seem right .
Elements that clash, on the other hand, seem dissonant - they
don't work together. If the witch straps on the jetpack or t he priest
starts slinging hellfire, poetiC logic goes out the window. Turning a
piggish kid into a noble swan just seems wrong. And it is. Magic itself
rebels against the idea.
Chapter 3 introduced the idea of poetic tone - magiC that fits
its caster. That principle also holds true for human spellcasters. The
mag ical world is deeply symbolic, and its connecti ons apply no matter
who you are.A love spell is cast more easily with roses than with a laptop,
and t his ease comes through i n game systems as well as story elements.
The Tuning chart features two modifiers at the bottom: one
covers spells that harmonize, and the other fits spells that seem
dissonant. Harmonious workings are easier t o perform than dissonant
ones. This helps the Circle keep poetiC tone humming through the
saga, rewarding magiC t hatfits and limiting s pells that don't.
What fits? Just ask yourself Does this makefaerie-tafe sense?
Th e answer's usua lly obvious; if not. check ou t th e Accord listings,
under Story Elements and Roleplaying. If all else fails, ignore the idea
and simply leave the Challenge Level as is. In t h e end, the
harmony/dissonance idea is an optional rule... a bit of flavor added to
give your characters the magiC t hey deserve.
Che Subtle Art of Spel1 croft
Although magic is as natural as breathing in Deliria'S world, it
doesn't work in heavy-artillery fashion. Spells take time to weave,
even more time to manifest. For example: fey sorcerer Lord
Smoke wants to get some cops out of the way. In some fantasy
worlds, he might send off an explosion or instant-sleep spell. In
Deliria, though, he'd be a bit more subtle - instant spells are
hard to manage, and cop killing is a really bad idea. So what does
he do?
Getting out some toy soldiers, Lord Smoke sprinkles them
with baby powder while chanting a lullaby. The baby powder
evokes sleepy childhood memories in the cops, who begin
nodding of[ Soon, Lord Smoke tiptoes past them. Afterward, the
cops wake up on their own, wondering why the hell they didn't
buy more coffee... and probably keeping their nap a secret
between themselves.
In its natural state, magic creates ripples of change. Those
ripples take time, but they do work. A wise sorcerer knows how to
be patient: he plans two steps ahead, sets enchantments in
motion, then waits to collect his reward.
 FYE: 'Chree M agicians
Each spellcaster uses his arts in slightly different ways
Take these folks, for example...
Autumn: Artist-Witch
Accords: Witchcraft (Prime), Bodywork
What She Does: Autumn works spells into her artwork
and gardening. Her studio features a pentacle, an altar, and a vast
collection of herbs. Feeding her plants small offerings of her own
blood and using hair·threads to bind them up, Autumn connects her
self with her garden. For the art, she paints expressive vistas, crafts
enchanted jewelry, and designs straga for various sophisticati
patrons. Occasionally. she uses massage, reiki, and herbal medicine
to heal close friends. She does not, however, do this for strangers.
How Her Spells Manifest: Autumn's witchcraft exerts a slow,
subtle influence on its surroundings. Her studio and garden are
unnerving, her artwork compelling. Each plant or piece seems
vibrantly alive. You'll never catch Autumn casting balls of fire, but
her presence commands respect, even from hard-core sorcerers.
Her Echoes: Cool breezes follow Autumn, even i n still rooms.
Her hair's always messy, her feet and fingers dirty. The studio where
she lives and works seems to shift when visitors aren't looking, and
a scent of wood smoke often hovers in the air.
Lucion: Neomoncer H ocker
Accords: Spincrafting (Prime), Artisanship, High Ritual
What He Does: Despite an interest in occultism, Lucian
works exclusively through computer systems - except when he's
in Deliria, at which point he becomes a traditional fantasy wizard.
Earthbound, lucian stays at his Braille-and-voice rig, working up
bizarre experimental programs. In Faerie, he keeps a towerful of
sinister accoutrements, including many wands, potions, and blades.
To travel between worlds, Lucian employs the legacy: Mindcasting
at the 4th degree.
How His Spells Manifest: I n this world, Lucian's abilities
revolve around extraordinary perception (to compensate for his
blindness) and influence (through hacking other systems). In Deliria,
he prefers bad ass elemental spellcasting - which is never as easy
as he would like it to be!
.
His Echoes: Shadows seem to crowd near lucian, and he
avoids strong sunlight. His apartments and tower both share a sinister
1
atmosphere, and Faerie's air dances with dark fire when he casts a spell.
Most animals shy away from lucian even though he doesn't hurt them,
and his aura crackles like perverse electricity. often red with bluish sparks.
Joe 'Chu nderhorse: 'Cechno-Shomon
Accords: Artisanship (Prime), Shamanism
What He Does: A wiseass biker, Joe has an uncanny knack with
machines. He claims it's because he gets along well with the spirits
inside. People think he's kidding. He isn't. But despite his rather showy
Native heritage, Joe's more Coyote than Black Elk. As tributes, Joe slings
beers and butts for the spirits, and he cusses them out in several
languages if they don't behave.
How His Spells Manifest: Machines do things they're not
supposed to be able to do when Joe talks them into it - coffee
machines give beer, broken motors run smoothly, computers boot up
when he snaps his fingers, and so forth. They won't do just anything for
him, though, and he has to reward the spirits afterward ... or bribe them
first. All of his workings, however, function through machines. If he
were stranded in the middle of nowhere,Joe wouldn't be able to
accomplish much.
His Echoes: Machines purr when Joe is near. Monitors display
vivid colors, cars rev up, and TVs and radios get especially good
reception. It's almost as if they want to welcome him... On the
downside, Joe has aching joints, grimy hands, and a motor oil smell
that never goes away.
 Capitol Punishment?
�ccord s: For the sakes of both clarity and sanity, the
names of Accords are capitalized only when
Cal l i n g th e Cu n e t hey're being used as game terms. You

might have Witchcraft 5, but offyour

If Creation is a song, then magic is the ability to harmonize. The • I n gamespeak, character sheetyou don't study witchcraft
sorcerer, then, is a musician. His instruments are the tools, rihlais, spells cast with with a capita l W. This way, we d istin guish
and beliefs within his art. Anyone can try to use magic, just as the Prime Accord whether your character knows Witchcraft
anyone can try to sing. To be really good, however, you need skills have a Prowess as an Accord or simply reads Starhawk
and knowledge. Spirit is wonderful, but it gets you only so far. bonus of + I . books in her spare time. When referring to a
In game terms, Accords help you harmonize your intentions • I n story and specific Accord trait, we'll capitalize its
and cast your spells. Each Accord reflects a magical style, be it roleplaying name for reference purposes.
witchcraft or spincraft. Each one includes a philosophy, instruments. terms, the core But We'll Try Not To Overdo It.

and story elements to help you play the part. No Accord is exclusive, philosophy of

and you can learn as many as you like. your character's

Most folks consider magic to wishful thinking. They're right. Prime Accord influences his approach to life and magic.

It is wishful thinking. The trick is to know how to guide that wish, .. In the same vein, the character always favors the tools and

then to focus it like a magician. symbols of his Prime Accord, no matter how diverse his practices

may become. That technopagan witch may keep an altar and wear

Moving Coward a Miracle pentacles. even ifhe uses a blender as a cauldron and keeps his

Essentially. Accords are mundane skill-sets, like Vocations. Each Book of Shadows on a laptop.

practice includes a core belief, common tools, activities, specialties, A character may change his Prime Accord during the saga.

and limitations on the form. Doing so, however, demands a major life-shift - the things he

Each Accord favors different kinds of spells. Some forms, once held sacred have been superseded by something new, and

like Witchcraft, are better for divination. and others, like that's not an easy thing to experience!

Artisanship, excel at invention. Certain spells are beyond the reach ., In story terms, the character must undergo some intense

of some Accords. too - Artisanship, for example, can't heal a confrontation between the old and new beliefs.

person, and Witchcraft can't hack a computer. Nothing does ., In game terms, the bonus passes from the old Accord to the new

everything! Fortunately, you can study many different Accords, then one. The +1 Prowess comes from soul-deep devotion, and no
mix them up into your own personal magical style: a technopagan character can manage two Prime Accords at once. (No, not even a

witch, for example, can learn Witchcraft and Artisanship, then use wizard with MPD...)

both to accomplish a wider range of things.

Belief and the Prime A\ccord

Because magic is rooted in belief. each Accord also carries a certain

core philosophy. Witchcraft. for example, forms connections

between a person and her surroundings, whereas Spincrafting

remixes reality. The practice grows outward from that philosophy.

And because people who study magic tend to be drawn to things

that strike a chord with them, the guiding ideal behind a

spellcaster's Prime Accord will tell you a lot about him.

What's a Prime Accord? It's the belief that drives your

fundamental approach to magic. When you create your character (or

when he starts to learn magic), select a Prime Accord that reflects

the character's beliefs about magic. From then on, no matter how

many Accords the character learns, he'll favor the Prime Accord in

his outlook and approach. A witch who learns Artisanship, for

example, may call himself a technopagan, but his original witchy

viewpoint will prevail no matter how technological his tools become.

 Common Instruments of Magic What Goes lnto an Accord?
Anything you could use in magic has been used i n magic. Sorcerers Each Accord listing includes the following elements:

throughout time have employed every tool and practice you might imagine. • An overall description of the practice.
Still. certain instruments have long histories with the arts. whereas several • Beliefs: The core philosophy behind the practice.
others occupy new places of importance. Such elements include: • Story Elements: Magic is storytelling. This section describes things
Altars Artwork that occur within the saga when you employ this form of magic.

Beasts Blades, Guns, and Weapons • Roleplaying: Magic is also an extension of the spel1caster -
Blood and Body Fluids Bodies and Bodywork and an influence upon him, too. This section offers you hints

Bones and Body Parts Books about the character's behavior and includes a few examples you

Brews, Perfumes, Potions, and Food Cameras, Monitors, and Screens might recognize.

Cars and OtherVehicles Celestial Alignment • Vocations: Mundane skill-sets your character must know in order
Cell Phones/Teleph ones Charms and Talismans to select this Accord. These skills come with the territory when

CGI Clothing (or lack of it) you're learning the art, so the character needs a score of at least

Codes Computer Systems I in the listed Vocations. (lbis does give him a bonus to his spell­
Concentration Crossways casting Prowess if you use the optional Vocation rule detailed

Cups, Chalices. and Other Vessels Cybernetics and other Implants earlier in this chapter.)

Dance Desecration • Instruments: The most common instruments used to cast spells
Designs and Symbols Divination Tools (see Roleplaying Magic for details).

Drugs. Alcohol, and other Toxins Eleme nt s • Bindings: All spells must be bound before they take effect. This
Enchanted Spaces Faerie Dust section explains how the caster might bind his work. The options

Gaze, Rapport, and Energy-Sharing Herbs, Wood, and Other Plants listed are not the only methods you can use, but they'll give you

Household Tools Incantations and Song something to work with if you prefer to use other binding styles.

The Internet Inve nt ions • Echoes: Side effects associated with this practice and its spells.
Jewelry and Gems Knots These echoes are story elements. chosen by the Guide and worked

Laboratories, StudiOS, and Workshops Media Broadcasts into the story. Some are helpful, others not... and you never know

Medicine and Medical Procedures Meditation and Trance which one you'll get. The echoes presented here are suggestions.

Mirrors, Pools, Pictures, and Reflections Music not requirements. The Guide should feel free to make up new

Names and Numbers Notes. Letters. and Email echoes that follow the spirit of the ones listed under each Accord.

Offerings and Sacrifice Prayer • Specialties: As we said, some magical styles excel at certain purposes...
Raw Materials Sex and Sensuality • Weaknesses: ...while falling short on others. These sections detail
Touch Toys and Games the strengths and weaknesses of the Accord.

Wands and Staves Wishes Magic comes in infmite varieties. Although the following

Writing seven Accords show several common practices, many other styles
exist. Additional Deliria supplements, as well as the Laughing Pan
website. feature other Accords for your enjoyment.
 .b.rtisonsh ip

People build things. That talent has led u s out of caves and into space. Although mystics argue the point, this gift of artisanship
is a form of magic. True, it uses different symbols and rituals than other magical arts. Its effects, however, challenge Creation
itself for sheer ingenuity.
In practice, the mystic artisan builds things to suit his purposes. Based in mathematics, craftsmanship, and sweat, his
Accord covers ancient technologies, infotech, modern machines, and weird inventions. Our artisan could be a mechanic, mad
scientist, toymaker, electrician, artist, construction worker, and so forth. Whatever his specialty. the artisan designs and builds (or
alters) a material object to fulfill his desires. Assuming it works - which it may not! - this strange machine will do things a
normal machine supposedly cannot do: a car might fly; a robot might live.
Practical and stubborn as it appears, this craft involves a certain amount of grace. There's beauty in a well·tuned motor
that no Tibetan prayer can match. The artisan's gift, therefore, is to create or remake things in his image. Those machines
become extensions of the builder's faith and expertise, not the materials involved.
Beliefs
Ifyou build it, it will work. We are gifted with understa nding and imagination, and those gifts reshape our world. Our art isn't
pretty, but it works. Creation provides raw materials, but human genius provides the magic.
Story Elements
To make or change something, you have to get out your tools and work on it. This could take a lot of time -Artisanship isn't
speedy! A small working might take two to five turns to create unless the machine is prepped and ready; a large one could
hours or even days to perfect.
Roleplaying
When Scotty does his thing, when McGyver makes explosives out of playing cards, when Willow reprogram s a Buffybot. that's
Artisanship at work. Sweat. groan, bitch a lot, and make miracles happen.
Vocations
Metaphysics plus Craftsmanship, Technology, or both.
Instruments
Books, tools, workshops, and all manner of machines and raw materials (wire, metal, wood, nails, etc.).
Bindings
Activate machine/computer program; build or repair device; turn key; push buttons; pull trigger; use controls... properly!
Echoes
Machine breaks down. surges, stutters, or works better than usual; other machines nearby falter or surge; tools slip. break, or
hurt artisan; electricity sparks or goes dead; artisan has burst of creativity or inspiration; oil or fuel leaks out; artisan gets
obsessed with design or repair; flammable materials ignite; artisan gets a sudden shock, has fingers caught in machinery, etc.
Specialties
Artisanship is great for jury¥rigging machines, creating weird devices, altering normal gear to do abnormal things, and puzzling
out the haws and whys of someone else's weird machines.
Weaknesses
Miracle machines aren't perfect. They need care and often fuel, and they break down a lot. Each miracle machine must be
constructed and maintained by the artisan; it might be difficult to build and temperamental to employ. Once built, it should
work for any character who's been shown how to use it properly. As anyone who owns a car knows, however, there's a huge
difference between what a machine should do and what it wifl do!
To use Artisanship,you need a machine or device, tools, and time. Spells cannot be cast out of thin air, nor can they
affect anything that's outside the range or realm of a normal machine. In the mortal world, Artisanship is pretty powerful; i n
Faerie. it's extremely limited.

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 Bod\ '\lork

Our bodies are made in the image of Divinity. Theoretically. we can tap into that connection to unleash tremendous powers of
healing. energy. longevity, and perception. With the Accord: Bodywork, disciplines like yoga, tantra, reiki, and kung fu expand beyond
mere exercise. Taken to their extremes, these disciplines (and others like them) grant talents that are often described as magic.
Until recently. science dismissed the idea of bodywork. Decades of research, however, have revealed incredible
connections between consciousness. the body, and energies that science cannot define. This holistic (meaning "the whole which
is greater than the sum of its parts") sense of Self transcends the "walking meat computer" concept. And by boosting the
elements that make up the Self, ancient arts and new technologies unlock human potential. At the pop-culture level, these arts
- massage, meditation, energy work, martial disciplines, and so forth - help a person look and feel better. On a mystical level,
a skilled bodyworker can reach beyond her limits and achieve great things.
Although the bodyworker's arts are timeless, her practice seems startlingly fresh. Conditioning her mind, body, and spirit
through meditation, dance, calisthenics, or aerobics, the bodyworker awakens energy flows that have been dampened by
everyday life. From there, she directs that energy and connects deeply with her subject and surroundings. This connection is
vital- without it, the bodyworker is just spinning her own wheels. Depending on her approach and circumstances, she could
be a warrior, shapechanger, teacher, healer, entertainer, witch, seer, or all of the above. Either way, her path illuminates an
alternative to our cyberflabby age.
Beliefs
f, Creation, and Divinity are One. All things are interconnected; by strengthening and refining our ties to all other things, we can
reach beyond our selves and accomplish the miracles we were born to achieve.
Story Elements
Bodywork is both physical and beyond physical. Weaving spells through this Accord demands concentration and activity.
Depending on what's being done,you might massage your subject or kick his teeth in. Either way,you must connect with
him. That connection doesn't have to be physical, but it must exist.
Roleplaying
The uncanny powers of Bruce lee or Daredevil show what Bodywork can achieve. Chances are, you'll be reflective, perceptive,
and sensual i n everything you do.
Vocations
Domestic, Athletics, and Metaphysics.
Instruments
Bodies and bodywork, brews and foods, celestial align ment (astrology), concentration, dance, gaze and energy-sharing,
medicine, meditation, music, sex/sensuality, and touch in general.
Bindings
Touch, gaze at, massage, hit, or have sex with your subject; meditate/trance; dance; focus and breathe deeply durin8lworking.
I
Echoes
I
Sudden health or sickness for caster or subject; surges of desire,joy, depression, or rage; intense jumps of perception (sharp sight,
hearing, touch, etc.); visions of past or future; mood shifts; blazing soul-colors; powerful charisma or repulsiveness; s""m! scemls
around the bodyworker (fair or foul); hallucinations; sudden sense of calm or terror; exhaustion or energy; tears or laughter.
Specialties I
Bodywork provides an excellent channel for healing, shape-changing, extraordinary perceptions, or bursts of physical
power.
Weaknesses
This discipline demands a healthy state of diet, exercise, reflection, and communion. It's self-contained and doesn't work
through distance or technology. To use the Accord, focus your energies through meditation or movement, connect with
your subject, and be careful of the echoes.

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 Faerie Wi sherafl

i is the whisper of a wish. Mortals have a hard time with that idea, but every day we survive affirms that truth. Each
0

breath is the promise of a new wish being born. Some beings breathe wishes like spring breeze, and for them this Accord is the
only way to live. �
•
This faerie magic is innate. It requires no rituals or tools. It does require an especially strong spirit (a Spirit score no less
than 7), plus imagination and a sense of play. Few mortals have the necessary faith to make the leap to Wishcraft. Those who
can do it, though, re-embrace childhood, when all things seemed possible if you just believed.
Does that sound ephemeral? It is. Wishcraft defies definition - it's the essence of faith made real. Devout people use
�. 0

� �
this Accord as well, though they interpret it as the work of God. The archetypal wishcrafter, though, is the child - the kid who's
too imaginative for her own good but who makes things happen all the same. Although she might focus her imagination
through toys, dance, play, or incantations, the wish alone provides her inspiration. The other elements are dressing - rules for a
�
•
•

game she plays within her self. •

For faerie Folk, wishcrafting is a natural talent. It flows from their connection to the elements and the world-song. If you 0
listen carefully (and have unusually acute hearing!), you might notice a very faint chorus riding upon a faerie spell. That's the
<> breath of a wish ascending. It may be beautiful or dire, but it's as true as life and twice as wonderful.
Beliefs
�
�
Wishing makes it so. If we simply believe in ourselves well enough, we can bring miracles to pass.
Story Elements
To wish, focus on what you want, name three things to bind that wish, and speak your wish aloud. The form that wish takes is
out of your hands; in games peak, however, the Guide determines what happens, when it happens, and how it fulfills the
conditions of your wish.
Roleplaying
Wishcraft runs all through traditional faerie tales, folklore, and children's games. For good and ill, faeries use it all the time.
Human wishcrafters tend to be children or childlike adults, uncommonly blunt, with sparks of mischief in their eyes.
Vocations
None - just a Spirit score of 7 or higher.
Instruments
Dance, faerie dust, incantations, songs, and of course the wish.
Bindings
Proclaim "/ wish that . (such-and-such would happen)"; promise three poetiC or symbolic things you will do if it does;
wish upon a star/weil/clover/etc.; make three knots; make a bargain with another being to do something in return for the wish.
Echoes
Capricious or childish behavior; weird phenomena (clouds of butterflies, rains of frogs, spontaneous activation of electronics,
etc.); sudden plant growth or withering; eerie or beautiful music in the air; clocks running backwards; toys or other objects that
o
momentarily seem to come alive.
Specialties
According to folklore, wishcraft can make almost anything happen.
Weaknesses
Unless you're one of the aelderfolk (not simply aelden). wishes don't manifest immediately. You can't just wish for a pony and
have it appear. A successful act of wishcraft, however, will set that pony galloping toward you soon enough. Magical wishes
take time, but they eventually come true .. so be careful what you wish for. No good wish is without its downside, and even ill
wishes have helpful outcomes.

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 H igh n i tual

To a n enlightened few, all Creation's secrets are revealed. For generations, these few have directed mankind's greatest accomp­
lishments - the pyramids, the Renaissance, China's eternal majesty, and America's shining promise. Through arcane disciplines,
these visionaries unlock mysteries of all worlds. Their practices may seem tight-assed in this day and age, but 4,000 years have
proven their effectiveness.
Traditionally (and this Accord is all about tradition!). the keys to this Accord were uncovered in the ju ncture of east and
west. Philosopher-kings of Mesopotamia, Egypt, and Israel were granted powerful secrets by their gods. Over time, these secrets
spread to each corner of man's world. In their wake, they inspired en lightenment. Despite upheavals and barbarities, these
secrets remained safeguarded by elite scholar-mystics. Worked into science, art, philosophy, even pop culture, those hermetic
legacies bred hundreds of sects, fellowships, cabals, and societies, each one ofthem influential in this world and the next.
High ritual magic has many names and permutations. Kabbalists, Catholic priests, Confucian sages, and Hermetic wizards
all practice variations on the basic theme. Essentially, this complex art wraps hidden knowledge, complex formulae, elaborate
correspondences, and Byzantine symbolism around a simple core: Thou Art Of God. Through rigorous discipline, the ritual magician
boils chaos into order. In the process, he refines his Self and his surroundings to better fit Divine purpose... and his own will.
Will stands at the heart of ritual magery. Through it, a crude human being attains the heights of spirit and consciousness.
On the way, he can remake the world as well. It's all part of God's plan,explained in hidden scriptures and revealed by secret
masters. The ritual magician heeds the masters' advice, forges through darkness, and emerges with the keys to heaven in his hands. _

Beliefs
Thou Art Of God. Man's will is an extension of Divine will, and vice versa. Both break down the imperfect prison of this realm,
allOWing the visionary few to ascend to a grander state.
Story Elements
To master High Ritual Magic, you must be focused. Although enchantments may be worked into a prepared talisman for quick
use, each ritual working involves copious amounts of study, planning, preparation and labor.
Roleplaying
Disciplined, well read, and often haughty, the ritual magician works hard and expects others to do the Same. Think of the
wizards from the Harry Potter series - or, in a postmodern sense, the obsessed antihero of the film 11.
Vocations
Academia and Metaphysics.
Instruments
Blades, books, charms, designs, elements, incantations, meditation, names and numbers, wands, writing, and often other
instruments as well.
Bindings
Invoking angels, demons, God, or a combination; inscribing complex diagrams; reciting sacred names, charms, or invocations;
burning incense, candles, or images; holding up a talisman while speaking the spell; brewing potions or powders; hosting a
ritual; prociaiming "My Will (or God's Will) be done!"
Echoes
Sudden interest from celestials, howlers and other spirits; insanity; obsessive, arrogant, or irritable behavior; god complex;faint
music humming in the air; elemental fluxes (flickering flames,gusts of wind, clouds offog, etc.); strange smells, shadows, or sounds.
Specialties
Spiritual and elemental mastery are hallmarks of this Accord. A skilled magus can perceive, influence, and transform his world
in very impressive ways.
Weaknesses
Time consuming and labor intensive, this art is not for impatient souls, clumsy fingers, or eaSily distracted minds! Every element
of a working must be performed just right. In gamespeak, this lets you Tune a spell for maximum effect - at the cost of speed
or flexibility.

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 Sham an ism

Creation is alive. Each element and item, every being and emotion, has a spirit. By stepping outside the human realm, the
shaman may commune with these spirits. Her journey will be treacherous. sometimes maddening. For her pains, however, she'll
receive a place of honor in the spirits' home.
Though the name shaman is Siberian, the Accord: Shamanism covers a diverse array of practices from all over the world:
Lakota medicine·work, Celtic Druidism, Slavic spiritcraft, Caribbean voodoo, Japanese Shintoism, Yoruban ghost.talking. urban
tribalism, and many others as well. At their (ore, these disciplines unite the shaman (female. shamanka) with the spirit world and its
inhabitants. Through courage, respect, wit, and occasional trickery, she can get the Unseen Ones to do what she wants... more or less.
A intensely personal art, shamanism demands total commitment. Despite trendy shaman workshops, the path of a true
spirit-worker weaves through treacherous la ndscapes. Often called against her will by the spirits, a true shaman sets herself
apart from human company. Various quests, rites, and sacrifices draw her into the spirits' domain while distancing the shaman
from her old life. Mysterious and often nonsensical practices make her seem eccentric, but her eyes behold a different realm. A
channel for the spirits, she now hovers - like a faerie! - between the realm of the body, the sea of the mind, and the spirit­
song echoing through all reality.
Beliefs
Respect the spirit within all things, and they'll return the favor. We've lost the path to Eternity, but with work we might reclaim its
gifts - and our proper place within it.
Story Elements
Spirit-dealings often involve trance-states brought about by drugs, meditations, music, chants, fasting and other ordea ls.
Whether she trances out or not, a good shaman makes offerings to those she wants to deal with. Those spirits usually take
strange forms, manifest in the elements, or even possess the shaman. When they're done, these entities leave traces of
their presence behind. (See Echoes.)
Roleplaying

-. . Each shaman needs a totem - a patron animal, ghost, saint, or other spirit being that shares a bond with the shaman. This
spirit appeals to some aspect of the shaman and influences the shaman's outlook, behavior, companions, and occasionally even

. �.
I
I her appearance!
I Traditionally, shamans are kinda loopy. The things they witness and experience make them crazy by mortal standards.
I
Even so, the shaman has a serenity few humans can appreciate. She knows the vastness ofCreation, and appreciates it all.
, Vocations
Art, Craftsmanship and/or Domestic, plus Metaphysics.
Instruments
Body, bodywork, bones, charms, clothing, dance, drugs, music, sacrifices, songs, trances, and many others.
Bindings
Making offerings, shedding blood, drumming, smoking pipe or smudging, prayer, dancing, wearing fur or feathers from appropriate
animal, chanting, trance.
Echoes
Troublesome spirits, eccentric behavior, sudden health or sickness, caster's shadow or reflection looks like an animal, caster
starts acting like or speaking for her totem, animals attracted to or frightened away from shaman, bright or dark clouds in aura,
sweet or foul smells nearby, phenomenal endurance, fearlessness or immunity to pain.
Specialties
Influence, perception, healing, and travel come easily with the spirits' help. Given her extraordinary awareness and unseen allies,
the shaman makes an excellent gUide and a terrible enemy.
Weaknesses
Shamanism demands sacrifice and self-integrity. A careless shaman quickly goes insane or worse. A shaman also remains some­
what subject to the spirits' whims - what she wants might not be what they want! Although traditional spirit-work falters
around technology, many modern shamans experiment with machine spirits and postmodern archetypes - and can work ...
their arts in any world at all. •
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 Spin crafting

Technology plays with your head. It makes you see things differently; it alters brainwaves, comprehension, DNA. Given these
truths, the spincrafier understands that reality exists at the whim of our machines. Use those machines to change your
thought-process, and you change reality as well.
An infant in the house of magic, spincrafting insists that you can remix your world. Although anathema to traditional
magicians, this concept is beginning to take hold. Clubgoers and ad agencies play with spincrafting all the time, whereas intelligence
DpS experiment with the shadow side of the idea. Few human beings regard this work as magic, but it is. Those who understand
what they're doing have already achieved wonders. What might they accomplish when the discipline has been truly refined?
The typical spincrafter is an independent thinker, reality-hacking her way across the club scene, m u ltimedia, or
Extropean cyberculture. Using computers, CGI, music, light, drugs, TV, and other stimulations, she juggles the normal concept of
reality with one more to her liking. This hypertechnic alchemy breaks down perceptions and l imitations, emphasizing some
while diminishing others. Melding impressions and overlapping sensations, she takes her vision out on the crowd. Though it's
risky work, the spincrafter has eager volunteers in this era - people so numbed or hyperstimulated that all change is good
change. Indeed, she may be the first kind of magician to have mobs craving her enchantments!
At the moment, spincrafting is limited within the mortal world and even more so in Faerie. That's changing, though.
Despite the technological barriers within Deliria, spincrafters excel at opening crossways, inducing faerie sight, and otherwise
pushing the boundaries between our realm and the fey one. Their work inspires new faerie types - fetches and kolamites
especially - and attracts other Folk whose curiosity outweighs their fear. Soon, this strange new art may take its place beside
the ancient ways of witchcraft and ritual .. or perhaps it already has.
Beliefs
To change the world, change perceptions of it! We get the reality we expect to see. Alter what you see, and you alter what we live.
Story Elements
Spincraft establishes an appropriate setting, then begins playing with the minds of people within that setting. This could
involve raves, interrogations, corporate mindgames, theatre productions, even TV broadcasts. All forms, however, demand tech
access. No tech, no spincraft.
Roleplaying
Timothy leary may be the archetypal spincrafter, though other technowizards can be found around Burning Man, Ibiza, the
Tokyo youth culture, and the psych ops of the CIA.
•
Vocations
Metaphysics plus Science or Technology.
Instruments
Brews/drugs, cameras and screens, cell phones, CGI, computers, dance, incantations, the Internet, media, music, TV, and other stimuli.
Bindings
Writing/executing computer programs; working light and mixing boards; showing films or videos; employing CGI; sampling sounds
and images; mind-rattling futurisms; filling a room with smoke; manipulating lights, airflow, water, or other environment systems.
Echoes
Electrical surges; malfunctioning eqUipment; addictions; hallucinations; compulsive inappropriate behavior (horniness, silliness, irritation,
etc.); mass delusions, group sex, or mob violence; brief periods of insanity i n caster or subjects; tendency toward technobabble.
Specialties
Influence, shape-shifting, perception-based spells and crossway-opening are cornerstones of this art. It's great for
affecting large numbers of people, changing their moods and beliefs radically, if only temporarily.
Weaknesses
Spincrafting requires elaborate tech setups, time to shift perceptions, and people whose perceptions will be
shifted. This makes it ideal for nightclubs, office bUildings, or other high-tech platforms... and useless almost
everywhere else. Spincrafting also has very little effect on primal elements - it can't make plants grow, though it
can fry someone with electricity.

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 Wi tchcraft

Dancing with the power of the land. the witch's art sings of dark forests and full moons. The heart of western faerie
tales, this craft of the wise draws power from hearth and home. I n contrast with high wizardry, this Accord uses
simple spells. Its tools are humble, its ingredients raw. Witchcraft ties you to the natural world, calling upon the
world-soul and weaving it into your own.
Folklore paints witchcraft with gruesome colors: eyes of newt and cauldrons of blood, sacrificed infants and hanged
man's hands. In a faerie tale setting, there's some truth to those tales. And yet, the ugly arts of wicked crones occupy small, dark
corners of this ancient craft. like life itself, witchcraft has its darkness; that sinister element, though, is only one aspect of a whole
that includes dazzling purity, wild brilliance, motherly comfort and intoxicating sensuality. Witchcraft encompasses them all.
The witch belongs to his world. Connecting with it on a primal level, he embraces light, darkness, and everything in
between. Binding his will to the elements of fire, water, air, earth, and spirit, he works through them rather than over them.
Traditionally, he lives in the midst of Nature; these days, however, he might commune with technology, forging new paths i n
man-made woods. Either way, the witch's craft i s one o f attunement with, not domination oj, his environment. The people
within that environment, however, may be another matter.
Beliefs
I and my world are one. My will shapes that world, that world shapes me.
Story Elements
Witchcraft is all about binding things together and gUiding intentions toward a goal. To weave a spell, you must have
something that ties you to your subject. From there, set up a bond and tug on it.
Roleplaying
Like Nature, a witch can be implacable, even cruel. This close relationship breeds both compassion and contempt for human
foolishness. As many a witch has said, magic is neutra l - not good or bad but guided by intentions. Those intentions (and the
Witch) can be harsh as a snap frost or gentle as a summer breeze.
Vocations
•
• Art or Domestic, plus Metaphysics.
•
Instruments
•
• Altars, artwork, beasts, blades, bodies and body parts, brews and foods, charms, dance, designs, herbs, gaze, incantations, music,
sensuality and sex, even computers and machines - all things that link the caster with his surroundings can be used for
witchcraft.
Bindings
Brewing a potion; sealing with blood; invoking gods or the four elements; tying a cord; creating artwork or a charm; burning
candles or paper; inscribing a circle; proclaiming "50 it is done!"
Echoes
Elemental fluxes (cool breezes, flickering candleflames, plants growing or dying, water rippling, etc.); strange music or voices;
sudden health or sickness; animals being attracted to or running from the caster; visions and dreams (good or painful); intense
soul-colors.
Specialties
Healing, harming, element work, growth, fate, and influence epitomize witchcraft. Generally, a witch's arts are extensions of his
personality - organic activities rather than mechanical systems.
Weaknesses
Like Bodywork, this Accord is intense, personal, and intimate. It's not for cowards or people who like to keep their hands clean.
Traditionally, witchcraft works better with natural materials than with machines. This remains true, but it's changing...

Permission granted to photocopy

for personal use only.
 M agi cal Worki ngs: So M ote i t Be!
/lyou waJ1t jt?1I
sill� question. I'D wanteD it back wben I lVas five, wben it lVas m� favorite w� in the 1V0r1D. A vintage Captain Laser, circa
late r96os, over a foot'S 1V0rth of barD-plastic grimace complete with reD-ligbt e�es, cbest emblem, anD, of course, laser gun. Fresh
batteries in bim, juDging from the brightness. He even baD bis belmet intact. Barel� a scratch in over 30 �ears. Impossible. of course
I lVanteD it.
I just Wasl1't sure I coulD afforD it.
Tbe DuDe il1 the Size XXX VlaD the Impaler T-shirt lVas sizil1g me Iotp. l'm l1ot sure bolV be got il1te this otherworlDl� slVap
meet, but bis steck lVas gooD. Reall� gooD. "Your Favorite To�s," bis Sigl1 announceD, al1D Daml1eD if it lVasn't the truth. I salV al1 olD
Ring Arthur's castle, Eas� Bake ove11S, Victerian til1 solDiers, evel1 a Furb�. His steck lVas fal1tastic. wbat it wasn't lVas cbeap.
oka�, I aDmit it lVasn't ethical, but I starteD thinkil1g of bolV I migbt obtail1 Captain Laser without going completel� broke. I
woulDn't steal the w� - coulDl1't live with m�self if I DiD - but there lVere wa�s w make things more afforDable.
I met the DuDe's gaze, levell� but without a trace of te11Sion. Breathing Deep, I starteD up a chi c�cle, feeling the cool buzz scoop
DOlVn from m� nostrils, riDe m� spine, pool at the base, anD gliDe back out again. I smileD. AlreaD�, I felt better. Cool cbi tingleD in m�
banDs. I reacheD out lVith one of them te shake.
"Man/, I breatheD, "this shor} is amazing." DuDe's e�es cleareD. He smileD back as be shook m� banD. I felt the conl1ectiol1, shareD
the glow, let m� e�es Do the bargaining for me. "Yeah, I lVant that te�/' I saiD. "Let's talk."

Working the Bones Channeling

The capacity o f magic i s infinite. I f you understand its principles
and have enough imagination and soul to make things happen. you
can theoretically do anything (within reason). A witch doesn't need
separate spells to fly her broomstick, prepare healing herbs, and
ward her SUV; assuming she's good at what she does, she can do all
of the above.
Most spells, however, fall into several basic categories. I f your
witch wants to fly, she's traveling; if she brews medicine, she's
healing; if she wards that S UV. she's using protection magics. The
details of what she does, how she does it, and what the end result
looks like - those are story elements. The only things that matter as
far as rules are concerned are: How big is it? How difficult is it? And
what does it accomplish?
That's what this section is all about.
For easy reference, we've hashed out many classical
enchantments, then ranked them according to how easy (or difficult)
they are to cast. Like the Activities and Tasks section in Chapter 5,
the following section presents an oveIView of typical magic feats.
Each task has been presented in bare-bones fashion, with a base
Challenge Level and a few notes. Details like the spell's size or
duration have been left to Tuning modifiers; simply slide the
Challenge Level up or down when your character works some mojo.
Leave the details to story elements and roleplaying, and use the
following guidelines to inspire spells that aren't covered below.
Each entry includes the following elements:
• Scale refers to the size and volume of the working.
� ChaUenge gives the base Challenge Level.
� Example features a feat of that intensity.
For full descriptions and details, see the individual listings.
Magicians can't leave well enough alone. They're forever twisting,
calling, and commanding physical and spiritual forces. The
following workings tum the environment to your wishes and cover
an area rather than a specific person or object. The Challenge Levels
below are based on an area roughly 20' around or less. For larger
areas, see Tuning Modifiers. For areas of 10' or less, subtract -I
Challenge Level from the suggestions below.
Once you've got a working relationship with your
surroundings, you have plenty of options. Breaking or
Restoring Objects involves bending, shaping,
cracking, or otherwise interfering with a structure or
object. Commanding the Elements takes raw, unshaped
fire, water, plants, and so forth, then makes them
dance. grow, dwindle, etc. Raising Power calls Vitality
from the surroundings and channels that life force into
either the caster or some other being. Refining takes a
raw or tainted element, then processes it into a purer
form. Spiritriding communes with spirit entities, and
Stormcalling changes weather patterns. Don't be
careless, though - when elemental forces get stirred
up, the effects quickly get out of control.
 Breoking/nestoring Objects nefining*
Scale Base Challenge Example Scale Base Challenge Example
Sotto (Quiet) 9 Shattering glass Sotto (Quiet) 6 Purifying food/water
Piano (Soft) 12 Warping thin wood Piano (Soft) 9 Neutralizing poison
Mezzo (Medium) 15 Warping plastic Mezzo (Medium) 12 Refining metal from ore
Fortissimo (loud) 18 Twisting metal Fortissimo (loud) 15 Turning coal into diamonds
Sforzando (KABOOMI) 21 Fixing/destroying brick wall Sforzando (KABOOM!) 1B Spinning straw into gold
· = Immediate area only.
Commanding Elements
Scale Base Challenge Example Spiritriding*
Sotto (Quiet) 9 Stirring a breeze Scale Base Challenge Example
Piano (50ft) 12 Lighting candles 50tto (Quiet) 6 Seeing spirits
Mezzo (Medium) 15 Making plants grow suddenly Piano (50ft) 9 Conversing with spirits
Fortissimo (Loud) 18 Animating tree · Mezzo (Medium) 12 Manifesting spirits
Sforzando (KABOOM!) 21 Conjuring and throwing fire · Fortissimo (loud) 15 letting spirits control you
• = To use this as an attack. see Healt h and Harm, below. 5fOlzando (KABOOM.0 18 Getting spirits to possess others
• = Immediate area only.
noising Power
Scale Base Challenge Example Stormcolling*
Sotto (Quiet) 9 Small Vitality boost Scale Base Challenge Example
Piano (50ft) 12 Five-point Vitality shunt 50tto (Quiet) 9 Changing temperature s lightly
Mezzo (Medium) 15 lo-point Vitality shunt Piano (Soft) 12 Changing temperature
Fortissimo (Loud) 18 Drawing considerable life drastically
force from surroundings Mezzo (Medium) 15 Calling down rain
Sforzando (KABOOM!) 21 Pulling nearly all life force Fortissimo (loud) 18 Thunderstorm
from surroundings 5for2ando (KABOOM.0 21 Tornado
• = Area i s beyond caster's control.
 Health and H arm Blindsiding (Cunings for Harming Attacks)
Whether you're a wicked witch or a medicine man, the power to Attack Challenge Level
harm or heal a living being is pretty significant. Naturally, there are Unnatural (throwing fireball) +2 Levels
many ways to do such things. Blindsiding Modifiers help you hurt Obvious (dropping a car on him) +1 level
someone indirectly; Enhancing a character makes her bigger. Direct (making computer blow up) +0
stronger, faster, or prettier... or smaller, weaker, slower, and uglier. Subtle (broken stairs) -1 level
Harming your subject is pretty direct - you might infect him with Invisible (poisonous gas) el s --
-2 Lev-'-'--
disease, wither his bones, or blast him with hellfire. Healing is a Area Effect (firestorm) -3 levels
good thing to do when some other wizard has been messing with
your friends; Transforming (the old "prince into toad" trick) is based Enhancing
on harming a person, hut instead of injuring him it changes him Scale Base Challenge Example
into something else. Sotto (Quiet) 6 Slightly altering subject
" Minor Transformation = Changing features within same species (+2/-2 Body ')
(altering skin color). Piano (Soft) 9 Cosmetic adjustment
., Major Transformation - Radical change of size, mass or species (+4/-4 Body)
(changing man into dog. horse, or other mammal). Mezzo (Medium) 12 Major adjustment
• Incredible Transfonnation = Phenomenal change of size. mass, (+6/-6 Body)
species, and overall type (man into stone. cockroach. pillar of Fortissimo (Loud) 15 The Hulk! (one or two level
flame, etc.) size Change; +S/- S Body)
(You can transform yourself at -I Challenge Level.) Sforza ndo (KABOOM.0 18 Turning subject giant- or
The rules for harming and healing someone depend on the pixie-sized (+10/-10 Body)
amount of damage involved and the importance of that character to • '" Body cannot be reduced below o.
the saga. In the case of major or central characters, some dramatic
means of healing injuries or reversing transformations should be Harming Minor characters
available - for a heroic cost or effort, naturally! (For details about (Thugs, walk-ans, bystanders, small animals)
Injuries. see Chapter 5). Yes, it is easier to change someone radically Injury Base Challenge
than it is to kill him. And it's also easier to transform a central Wound 9
character than it is a supporting character. Deliria is a game about Crippling 12/red royal
faerie tales, and certain hazards come with the territory! Mortal/Fatal 1sfTriumph
It usually takes time to heal or harm someone magically. If Minor Transformation 9
you want to try the instant-fireball routine. you must Tune your spell Major rra nsformation 12/red royal
for a one-round effect (generally adding 4 Levels). Harming spells Incredible Transformation lsfTriumph
work like any other fonn of injury, compounding story elements
with Vitality loss. Harming Major Characters
However. people don't generally stand around waiting to get (Vital supporting cast, loved ones, most animals)
cooked. If you're trying to off someone with a lightning bolt or other Injury Base Challenge
nasty business. use the rules for Physical Combat. with your Spirit & Wound 12

Accord providing your Prowess and the subject's Body & Martial (or Crippling 15

Spirit & Metaphysics. if that combination is higher) as Prowess to Mortal lS/red royal
avoid your assault. Fat al 21ITriumph
In Deliria, magic isn't a very effective way to kill someone. A Minor Transformation 12

gun is usually quicker and more efficient. However, tradition being Major Transformation lsfred royal
what it is. certain sorcerers prefer death-dealing spells to physical Incredible Transformation lS/Triumph
weaponry. If nothing else, leprosy is much more impressive than a
Smith & Wesson. even if the gun is faster.
 Harming Central Characters l nvestment
(Player characters, main antagonists, large animals, monsters) When a magician puts a bit of himself into an object, brew, or

Injury Base Challenge talisman, he invests it with his essence. In plain English, he makes
Wound 15 that item magicaL The item in question could be anything from an
Crippling 18 animated broomstick to a supercomputer. The material of the item
Mortal 21/red royal isn't important - it's the magician's talent that instills the power.
Fatal Typically, investment requires time, patience, and skill. Each
Minor Transformation 9 created item boasts a single magical power (flight, healing, etc.) unless
Major Transformation 12/red royal you add more powers to the mix. An item's enchantment lasts a certain
Incredible Transformation 1s/Triumph amount of time before wearing off, and this period - plus the quality
• Actually,you should never be able to kill a central character with a simple and complexity of the item itself- can modify the basic Challenge
spell -only with a dramatic flourish of sudden doom.
Level. Generally, the investment process ignores other Tuning
modifiers. The increased Challenge Levels aheady reflect the process of
Magical Healing 'Cime sitting down, crafting the item, and leaving a lasting mark within.
Time Challenge Level Story-wise, a character who invests himself into an object leaves
One Day +0 Levels mystic fmgerprints on that object. A character with the Legacy: Soulsight
12 Hours +1 level (or one who uses perception magic) might be able to recognize the
7 hours +2 Level s person who enchanted the item. Chances are, your enchanter will also
One Hour +3 Levels/red royal need a Vocation or two ifhe wants to make the item from scratch.
Inst ant +4 Levels/Triumph, plus one Vita lity from healer Vocations like Art, Craftsmanship, Metaphysics, and Technology are
essential if you're planning to make magical items of any quality
Healing Injuries/Diseases/Psychic wounds whatsoever. Oh, and yes - enchanted. items require the usual Vitality
Scale Base Challenge Example cost for especially powerful creations.
Sotto (Quiet) 6 Minor injurylcotd/sadness Sad fact oflife: things break. Magical items are no exception,
Piano (Soft) 9 Trauma/flu/depression though they tend to be a bit tougher than most trinkets. An enchanted
Mezzo (Medium) 12 Severe wound/diabetes! mirror can take more punishment than one bought at Qwest-Mart, but
mental illness it'll still shatter if you hit it with a sledgehammer. Generally, assume
Fortissimo (loud) 15 Brink of death/cancer/severe that an attempt to break an enchanted item will present a Moderate to
insanity · Extreme Challenge (12-21), depending on what it's made ofand how it's
Sforzando (KABOOM!) 18 Severed limbs/AIDS/catatonia being attacked. Generally, a broken item will be useless, though certain
or possession · treasures may, at the Guide's discretion, retain enough magic to make
• ::::: Demands 112 current V itality from healer. repairs possible.
Ifworking with magical items sounds like your forte, you have
several options: Animating the item brings it to life (think "Sorcerer's
Apprentice"); Crafting it involves making that brew, trinket, or machine
from scratch; Enchanting it instills your magic into an existing object.
Enhancing the item means making improvements. Repair, of course,
means fixing broken items - not only magical objects, but mundane

machines as well. assuming you have the skill. Again, you've got to
know your stuff if you want to craft or enhance magical items. Ifyou
don't know cars, you've got no business trying to make one fly!
Note: Enchanted items become story elements, like the Nimbus
2000 or the Bu/lYbot. As such, they belong to the Guide and often
manifest odd powers and side effects the creator never envisioned. The
item's powers manifest as things that happen, not as stored-up spells.
like the wizards who make them, magical treasures are mysterious and
unpredictable. Also note that many items (the One Ring, Stormbringer)
are way beyond the talents of player characters. These treasures possess
godlike powers and cannot be manufactured within the saga.
 Investment Cu nings Perception, l n flu.ence,
Item Challenge level and Communi on
Simple (Broom) -2 levels The stock-in-trade of faerie tempters and evil stepmothers, these
Basic (Sword) +0 levels workings help you relate to (and manipulate!) other people, animals,

Advanced (Car) +1 level and events. Naturally, it helps if you've got non-magical people
Complex (Computer) +z levels skills. too; as any Grimm's granny could tell you, medicine is best
Elaborate (James Bond Vehicle) +3 Levels served with sweets.
Fantabulous (Robot) +4 Levels The arts of influence can be incredibly diverse. A Charming
Shoddy Quality Item +1 level spellcaster can get into her subject's good graces - she can't
High Quality Item -, Level actually possess him, but she might override his better judgment.
Incredibly Precious Item -2 levels The witch's Cursing and the healer's Blessing put the subject at the
mercy of the Fates (and the Guide - see s ideba r ); a Disappearing
Animating wizard, meanwhile, barnes his pursuers. Illusions are the faerie's

Scale Base Challenge Example hallmark, whereas Luck tilts things in the caster's favor. Scrying lets

Sotto (Quiet) 9 Self-stirring spoon you read fortunes and distant vistas, and Soulreading helps you read
Piano (Soft) 12 Self-propelled lawnmower emotions and auras. Translation allows you to speak and understand

Mezzo (Medium) 15 Walking broom other languages and might help you read them as well. All told, a
Fortissimo (loud) 18 Walking statue useful array of enchantments!
Sforzando (KABOOM!) 21 Zoltar lives! Genera lly influence spells last until the following dusk or
,

dawn. If you want them to last longer, use the Tu n ing modifiers for
Crafting, enchanting, or enhancing Duration. Once ensnared, another character will have to use the
Scale Base Challenge Example Psychic Assault rules to resist or escape the enchantment; the caster,
Sotto (Quiet) 9 Sleeping powder however, may break the spell at any time.

Pia no (Soft) 12 Potion to cure acne Influence magics are rather unreliable. Their effects are

Mezzo (Medium) 15 Flying carpet ambiguous and their conclusions remain vague. Scrying reveals a

Fortissimo (loud) 18 Flying car short flash ofinsight; an illusion wavers in the air; an invisible
Sforzando (KABOOM!) 21 Supercomputer wizard still leaves footprints and exudes a scent. Influence magic
stacks the deck in your favor, but that doesn't mean yo u ll win the '

Qepai ring game. No spell, however great, ca n gua ra ntee ha ppiness .

Scale Base Challenge Example

Sotto (Quiet) 6 Snapped broomstick Charming
Piano (Soft) 9 Balky car motor Scale Sase Challenge Example
Mezzo (Medium) 12 Balky computer Sotto (Quiet) 6 He's interested
Fortissimo (loud) 15 Rusted-out motor Piano (Soft) 9 He's intrigued
Sforzando (KABOOM!) 18 Shattered mirror Mezzo (Medium) 12 He's smitten
Fortissimo (loud) 15 His heart belongs to you
Sforzando (KABOOM!) 30 He'll love you unto death •

. :: lasts until broken. Can be cast by a character with Spirit less than 10.

Cursing/Blessing
Scale Sase Challenge Example
Sotto (Quiet) 6 Minor hindrance or help
Piano (Soft) 9 Noticeable inconvenience or
assistance
Mezzo (Medium) 12 Major blast or boost
Fortissimo (loud) 24 Supernatural pain or pleasure
(see ladyhawke) •

Sforzando (KABOOM.0 30 legendary doom or happiness ..

• :: lasts seven years. Can be cast by a character with Spirit less than 10 .

•• '" lasts until broken. Ditto.

•
FVe: Curses and Blessings Luck
A successful curse or blessing becomes a story element. Scale Base Challenge Example
Essentially. it gives the Guide an opportunity to Satta (Quiet) 6 Something good or bad will
complicate a character's existence i n some fashion happen soon
that neither the caster nor the recipient can control. Piano (50ft) 9 little things go well or poorly
Sample curses include: Mezzo (Medium) 12 A specific task goes well or badly
.- The cursed person stutters uncontrollably. (Minor) Fortissimo (loud) 15 A stroke of luck goes very well
. The cursed person suffers massive heartbreak. ______ or very badly
(Major) Sforzando (KABOOM.0 18 Million-to-one shot goes your
• The cursed person is doomed to die a horrible death. way ·
as will his descendants. (legendary) • = Happens only once per spell.

And blessings? Perhaps the following could occur:

Scrying
• The beneficiary has a really good day. (Minor) Scale Base Challenge Example
• The beneficiary finds the love of his life. (Major) Satta (Quiet) 6 Get a hunch
.. The beneficiary enjoys a prosperous life, and his Piano (50ft) 9 Flash of helpful insight
descendants will, too. (Legendary) Mezzo (Medium) 12 Vague yet compelling images
Fortissimo (loud) 15 Flash of clear images or insight
Sforzando (KABOOM!) 18 Full-senses clarity

Disappearing Soulreading *
Scale Base Challenge Example Scale Base Challenge Example
Satta (Qu iet) 6 Eyes shift awayfrom you Satta (Qu iet) 3 Read someone's mood
Piano (50ft) 9 Muffled sounds, blurred image Pia no (50ft) 6 See her aura
Mezzo (Medium) 12 Fading into crowd or Mezzo (Medium) 9 Read her surface thoughts and
background impressions
Fortissimo (loud) 15 Silent or invisible Fortissimo (loud) 12 Commune telepathically
Sforzando (KABOOMI) 18 Totally silent and invisible Sforzando (KABOOM!) 15 Look deeply into her heart and
mind
I llusions • = Self only. +1 Challenge to cast on someone else.
Scale Base Challenge Example
Satta (Qu iet) 6 Trick of the light 'Cronslotion*
Piano (50ft) 9 Fleeting sound or image Scale Base Challenge Example
Mezzo (Medium) 12 Decent image ifyou don't look Satta (Quiet) 3 Understand simple
closely conversation
Fortissimo (loud) 15 Flawed full-senses image Piano (50ft) 6 Understand slang and
Sforzando (KABOOM!) 18 Utterly convincing full-senses subtleties
image Mezzo (Medium) 9 Read straightforward text
Fortissimo (loud) 12 Read or translate complex or
dead languages
Sforzando (KABOOM!) 15 Read or understand anything
in front of you
• = Self only. +1 Challenge to cast on someone else.
 Protection and Binding Binding
Humanity's earliest spells protected our ancestors from enemies Scale Base Challenge Example
and elements. Even in this safe age, we still use the basic arts of sotto (Quiet) 6 He's got better t hings to do
banishing and warding. especially in the uncertain realm of the Piano (50ft) 9 He actively avoids you
Dark Wood. Mezzo (Medium) 12 He suffers pain if h e comes
Protection comes in many forms: Adapting helps a person too close
survive a severe climate; Banishing keeps certain things at bay; Fortissimo (loud) 15 He can't touch you at all
Binding prevents an enemy from hurting you; Shielding erects a Sforzando (KABOOMO 18 He cannot harm you in any
magical wall against harm. Tracking helps you keep tabs on a threat, direct way
and Warding seals it out of your protected area.
Traditionally, protections and bindings lay out a sanctuary, Shielding'
prepare it through some form of ritual, then command that the Scale Base Challenge Example
people inside will be safe from whatever danger the magician sotto (Quiet) 9 Physical attacks fall short (+1
specifies. Generally, these spells guard a single person; to expand t o Chall enges against you)
the area of protection, use the Tuning modifiers for Range. Unless Piano (50ft) 12 Psychic and social attacks also
you increase the spell's Duration, the protection lasts until the next fall short (+1 level)
dawn or midnight. (Note that the echoes from long-term wards can Mezzo (Medium) '5 I mm ediate Coun te rd raw
get pretty weird.) Sadly, magic can't provide protection from against all attacks
everything - danger is a part of life, especially when you're living Fortissimo (loud) 18 Not h ing physical (good or
out a faerie tale! bad) can touch you
Sforzando (KABOOM!) 21 Even magical attacks bounce
Adapting' off, harmless
Scale Base Challenge Example • = This shield is pretty weird, and it's a bit louder than most magics.
sotto (Quiet) 3 Withsta nd heat. cold, or hunger
Piano (Soft) 6 Comfort in extreme climates 'Cracking
Mezzo (Medium) 9 Breathing water, fire, or smoke Scale Base Challenge Example
Fortissimo (loud) 12 Withstanding fire, water, ice, sotto (Quiet) 6 You sense one specific
etc. without harm t hreatening individual
Sforzando (KABOOM!) 15 Surviving deep space, Piano (50ft) 9 You know when that individual
radioactivity, etc. comes within 1/2 mile
• = Self only. +1 C hall enge to cast on someone else. Mezzo (Medium) 12 You sense when he's within
several miles
Banishing' Fortissimo (loud) 15 You know more or less where
Scale Base Challenge Example he is
sotto (Qu iet) 9 Keeps out bugs Sforzando (KABOOM!) 18 You can sense where he is
Piano (50ft) 12 Discourages higher animals anywhere in mortal world
Mezzo (Medium) 15 Discourages people
Fortissimo (loud) 18 Keeps out mortals; Warding'
discourages spirits Scale Base Challenge Example
Sforzando (KABOOM!) 21 Drives away mortal and spirit Sotto (Quiet) 12 Small things avoid warded area
bei ngs Piano (Soft) 15 Higher animals avoid warded
• Protects 20' area. area
Mezzo (Medium) 18 People, faeries, and spirits
avoid warded area
Fortissimo (loud) 21 No mortal being can touch
you; others shun area
Sforzando (KABOOM!) 24 Direct attacks bounce away;
everything avoids area
• := 20' area. This working combines banishing, binding, and shielding, and
it's very difficult to pull off. Wards cannot prevent indirect hazards like fire
or floods.
 Summoning, 'Crave!, and Conjuration Flying
Back when travel meant either a long walk or riding a mule, Scale Base Challenge Example
sorcerers wove spells to get from one place to another. These days, Sotto (Quiet) 6 Slow levitat ion
magical travel is less efficient than cars or airplanes . Still, cars Piano (Soft) 9 Slow speed, short distance
encounter traffic and planes require airport security checks. Mezzo (Medium) 12 Short distance quickly
Sometimes, you've just gotta hop a broom to get to work on time. Fortissimo (Loud) 1S long dista nce
It's not quite that easy, of course. Magical travel in the mortal Sforzando (KABOOMO 18 long distance, really quickly
realm is complicated. Between the challenge of the spell, fear of
heights, competition for air space, and the discomfort of a Slipping'
broomstick jammed. in your crotch, you're often better off catching a Scale Base Challenge Example
bus. Still, for those times and places when normal transportation Satta (Quiet) 9 10' or less
just won't do, the old spells still work. Granted, you must be careful Pia no (Soft) 1S 50' or less
- people tend to shoot at UFOs. But if you play it cool. magic offers Mezzo (Medium) 21 100' or less
several ways to make distance disappear. Fortissimo (loud) 26 One mile or less **
Pulling flowers out of your hat? That's Conjuration. The Sforzando= (KABOOMO 30 ___More than a mile ••
= ===-:-_�",-_
·

broomstick trick? Flying. When you step around one comer and '" In one or two rounds.
•• = Better know where you're going...
appear somewhere else, that's Slipping through the distance in
between. The classic Summoning brings someone (or something)
across space to you. And Worldwalking lets you cross from this Summoning'
world into Faerie on your own. Scale Base Challenge Example
Classically, travel and conjuration magic is difficult if other Sotto (Quiet) 9 Bunny
folks are watching. The ideas of space and distance are deeply Piano (Soft) 12 La rge Dog

ingrained in common consciousness. To defeat them, you must Mezzo (Medium) 1S Person
pretend they don't exist, and that's easier when you're alone. Long Fortissimo (loud) 18 Horse
ago, however, magicians realized you could fool people; folks want to Sforzando (KA800M I) 21 Monster
believe that magic and technology trump distance. Thus, magical • E Does not appear in st ant ly unless you Tune for immedi ate effect.
travel gets easier if you've set it up through high tech (a jetpack) or
stage illusions. Just watch where you're going - few things are worldwalking'
worse than falling off a broomstick 500 feet above the ground. Scale Base Challenge Example
Sotto (Quiet) 9 Wandering in on purpo�
'Crave I 'Cuning Pia no (Soft) 12 locating crossway
setup Challenge level Mezzo (Medium) 1S Making faerie ring
High Tech ---------------- �
-2 Levels ' Fortissimo ( Loud) 18 Opening gat eway
Stage Trick -1 Level Sforzando (KABOOM!) 24 Opening gateway to specific
Alone or Concealed +0 Levels place
In Public +1 level • '" Travel between mortal realm and Faerie isn't easy.
"Impossiblel" +2 levels •

• '" Tech is jetpack, teleport gate, or other weird technology; "Impossible" is 'Cransformation and Creation'
broom, wings, magiC boots, etc. In Faerie, these Tunings are reversed -
The most difficult kind of magic involves making things out of thin
brooms are acceptable and jetpacks impossible!
air or changing what is into something else. Although this sort of
thing happens all the time in faerie tales, it's difficult even for the
Conjuration' Folk. To reshape an object, you have to convince its essence that it
Scale Bilse Challenge Example must become something new. As any shaman could tell you, that's
Sotto (Quiet) 6 Flowers damn rude. Most objects enjoy being what they are, and very few
Piano (Soft) 9 Knife will change just because some sorcerer tells them to.
Mezzo (Medium) 12 Laptop Still, through mystic persuasion or raw power, amazing
Fortissimo (loud) 1S Trunk things are possible: Construction allows a wizard to spin raw
Sforzando (KABOOMI) 18 Car materials into a structure. Creation, the most difficult art, makes
• = Inanimate objects only; l iving things use Summoning. Conjuration objects out of nothing. Destruction tears materials apart from a
assumes the object already exists in a place where you ca n get it.
distance, and Multiplying turns one thing into many. Quickening
turns an inanimate object into living tissue, whereas Reshaping Destruction*
twists an object out of its original form and gives it a new one. Scale Base Challenge Example
Finally, Transforming turns one material, like wood, into another, Salta (Quiet) 9 Fragile materials (glass)
like metal. Pia no (50ft) 12 Thin materials (plastic)
Generally, physical effort is more effective than magical arts. Mezzo (Medium) 18 Solid structure or materials
However, projects like gingerbread houses demand wizardly (chest)
handling. (And as we know, wizards enjoy showing off) Of course, Fortissimo (loud) 21 large or tough (safe)
it helps if the wizard in question knows something about materials Sforzando (KABOOM!) 24 Large and tough (truck)
and architecture - a house spun out of candy glass may look cool, . :: Damage permanent; 20' area or less.
but it isn't terribly stable! Yet despite the difficulty of these arts, they
remain popular in faerie tales. Perhaps they reveal a key to the Multiplying*
strange love affair between humans and the fey - a kinship Scale Base Challenge Example
between Man the Maker and Faerie the Dreamer that no amount of Salta (Quiet) 6 Small (cards); five or less··
bloodshed can wash away. Piano (50ft) 9 Simple (bread); 10 or less··
Mezzo (Medium) 15 Solid (sword); 20 or less··
Creation 'Cunings Fortissimo (loud) 21 Large, simple (table); 50 or less··
Circumstances Challenge Sforzando (KABOOMO 24 large, crafted (desks);
One Week or More -2 levels looor more"
..
From Dusk to Dawn -1 level • = Objects last normal duration. = Quality or quantity, not both.

Building in Mortal World _____ Triumph Draw only

No Knowledge of Materic acc
ls__ _ _ _ _ _ _ _ _
Tri'-
_ ___ _ _
ly
u m ph D raw ono<
_ --'-_
Quickening*
These magics affect only inert materials - stone, plastic, dead organiCS, etc.
• = Scale Base Challenge Example
For living beings, see Health and Harm; for elemental forces, see Cha n neling. Salta (Quiet) 15 Rock into beetle
Piano (50ft) 18 Plant into monster
Construction* Mezzo (Medium) 21 Puppet into boy
Scale Base Challenge Example Fortissimo (loud) 24 Statue into man
Salta (Qu iet) 15 Basic (shed) Sforzando (KABOOM!) 26 Flowers into woman
·
Piano (50ft) 18 Simple (coltage) = Normal duration.
Mezzo (Medium) 21 Complex (house)
Fortissimo (loud) 24 Ambitious (large shop) neshaping*
Sforzando (KABOOMO )0 Elaborate (palace) Scale Base Challenge Example
* = Based on taking several minutes. Structure permanent. Salta (Quiet) 9 Small, flexible (branch)
Piano (Soft) 12 Simple, malleable (metal bar)
Creation* Mezzo (Medium) 18 Simple, rigid, or fragile (glass)
Scale Base Challenge Example fo
__rt_
_ iss
_ im
_o (L_
o_
---'- ud
-'
_) ____' '___
_ _La rge , tough (porch)
-' __ _
Salta (Qu iet) 15 Simple (fork) Sforzando (KABOOM.0 24 Large, complex (c
"=a,,,
r)"
_ ___
•= New shape permanent. .. = Don't expect it to run afterward.
Piano (50ft) 18 Crafted (table)
Mezzo (Medium) 21 Involved (food)
Fortissimo (loud) 24 large or complex (pool table, 'Cransforming*
computer)" Scale Base Challenge Example
Sforzando (KABOOMO )0 large and complex (car) ** Salta (Quiet) 12 Small and simple
• = Based on taking several minutes. Object permanent. (box into wooden chest)
..
= No guarantee it'll work... Piano (50ft) 15 Simple (rock into tomato)
Mezzo (Medium) 18 Flowing and complex
(water into wine)
Fortissimo (loud) 21 large and simple
(statue into trash can)
Sforzando (KABOOM!) 24 large and complex
(pumpkin into carriage)
• = Normal duration.
 InDex
Gr.tces . . . see Graus
A . . .
D
H""ns see HwrlS (Th1il)
Acrord(s) (frail) . 61. 136, ns. uS, :an. :a68, 2.86-305
• • • . . . . .

. .
Keys and Aspects see Graus; TNit;, Vomrio.... D;ndng with F;erit;S It. 26·27. 8}, 91. 9... 102
• . . . . . . . .

D....k Wood. the . .1. 111. J8-}9. 54. I}O. '47. '''9. 'p. 'SS.
. . .

Artisanship . :196':197. :199 . . . . . . . . . . . . .

Quirks . . . . . . . . . :1.-42
jOO see �lso Bodyworl:
. . . . . . . . . . . . . . . . . . . . . . . . .

Bodywork . . . . . . . . • • .
Saga P�r Levels .11S. 2JO. 2}4 .2-40-.2-41 see aJso 160. ,66. ':"92. 211. )11. lIS
. n. 69. 251
•

F;K:ne wishcnon )01 see �Iso W�Ji D.ashwoods . .. .

. . • . . . • . . • .
TItm l.eIds ofPio>f . . . . . . . . . . . . . . .

High Rituol . :196, }01

. . . . . . . . . . . . . . . . . . . . . . . .
Scores 1:1.-4 De Unl. Cha,les 71. 75. 80. 152
• . . . . • . . • . • . . • . . . . . • • .

Prime Accord . .
. • . • • • • . • • . • • • • • • • • • • • • • • • • • • • • • • .

. . . . . . :a¢-:l97 228, 2}2., 2}} Deliria (place) . . . . . .1. Ill. a, ,,, 5, 58

Starting Points
. . . . . . . . . . . . . . . . .

SNrNIIism 1¢. 30} see also Sltamanl �

. . . . . .

.•
11uee Wishes . . . . TItm WisIw
. . Stt
Deliria (Trail/ StJte)lI1 .:...... S. 58. 1)2 .:..sa·255. 27). aSa
• •

see Hawkrls}
. . . . . . . . . . .

Spincn.ru1l8 :196, }04

• . . . • . • • . • . • • . . . . • . • . . . . .
Traits see Tltlits Demonls) . . . . . . • . . . . . . . . . . . . . . . . . . . . .

:196-:197. )O} see :also WilCllcrlft l Demon LoYer (as Archetype)6}-6.t. 10). III. 1Z<)-1)0. 141. 16]
. . . . . . . .

Witchcr.lfi • . • . . • .
Vocations . . . . . . . . . . . . . . . . . . .see VoaltioM
Activities and Tuo . . . . . ,,&8" 94 see also eMits
. . . . .
ChalXie", Deeply Helpful with lndes n...�k )'Oil. Megall! . • . . . . . .

Arts. Sci, Tech . . .

. . . . . . . . rB9. 191 . . . . . . . . . . . . . . . . .
Amber . . . . . . . . . . . . . . . . . . . . .16. 211 Disaster (Rule) . . !Iee Rilla . . . . . . . . . . . . . .

. . 5. 25. )7. 62. 92

.

Dirty Work 1119. 19'

• . • . . • . • • . • . . . . • • . • . . • . • . .
Autumn ."]0. 178-179. 200. 112'11). .2-47 .:..87. 29S' Oominion{s) . . . . . . . . . . . . . . . . . . . . .

. . ,'90. '92., :I}'

•

Physicil Feats . . Doom, the 1':"S·126. a75'276

."
. . • . .
.

Social ()cQsioru -'90. '93 . . . .

Brimstone Green 11. 69, '78°'79, 200 Dr.tgonl, II,), 97, Itl, "7. ,}o·'p, .86. '92. 210 see also
au",.'len: /.Qdy fir""...
. . . . . . .

Survival . . . . .190. '94

Briska the aue Fairy . . . 1,,,. 120. '78
.

. . . . . . . . . .see Rilla
. . . . . . . . . . .

Tr,IVe! . . . . . . . . . . . . . . . . . . . . . . " 90, '94 152-153. IS8. 179. 2}7. .lSI Draw (Rule)
Bryce • . . • . • . • . .

. . . . . . ,78. '.40 .......;

. . . . . . . • . • . . • . • .

ADD/ADHD . . . ........... Oet. Caroline Reve� 6S. 179 Dreamsturr . • . • • . • . . . . . . . . . . .

Advanttd Ruks . . . . . . . . . . . . . see Rwla

. . • . • . . • . • .

. . . . . . . . . . . . . .
Inkboy . . . '7S. 110, '79. 2l' Dn:a.m·Walking }I. ..8. 2'0. no. 271'17':"
. . . . . • . • . . • . .

':"28. l}'. a}S. """"247

. . . . . . . . . • . •

Aelden .'.4.0. 104. 10'],114,,,6.1:11-112.,1:15'(:16, 1:19. . . . . . .a89. 295"296 Drives (l"r.tit) . . .

)oe Thunde,hor.;e
. . . . . . . .

,6:1, :107. 1'i!. :l88-:a89. }or Kelly Shocket . . . . . . . . . . . .0. 7}. 172·17}. 197. :1.-41 Obstacles . . . . . . . . .. . . .1..j5
. . . . . . . . . . . . . . . . . . . .

Adderl Adderl"olI< .}. ... +4'''�' 67. 1o", 107. 117.11:1. ]::I.�. King of Sleep 116, 1':"0. 1..5
. • . • • . • . . • . • . . • . • • . • .
Passions • . • . . • . • .
24P..6 . . • . . .

126. I}I. '}4. :1.-49. 254. :l8&-aS9. JOI Secrets . . . . . . . . . . . . . . . . . . . . . . '.2-46'247

I..;tdy Ekovia. 96. 195
. . I�. +4'''5. 60. &'. 1,
. . • . • . . • . • .

Adderblood . . . . ..·,,6. 1}4. 2�

. .
I..;tdy Raven . . . . . '7S. 110. '79
. . . . . . . . . . . . . . . . .

�f·ShOi . . . . .9'. 109

. . • . . • . . • . . . . • . . • . • . .

Aliu� AdlolUllIIIQ' in Wonderland ...6. 57'57. 71. 'O). 150.

to,d Smoke . . . .
. . . 6... 99. 2S1. 29)
. . . . . . . . . . .
E
I..ucton 81. 1:1}. .2-45. .:..80. 291. ':"96
see Magil: Rliks
.

Echoes ofMagic .
. • . . • . . . . • . • . .

1'9· 154. 155 Malachi Fortune 0. 11,7"

. . . . . . . . .

Echoes, Ripples . .... 121. '24. 127. ,)8

. . . . . . . . . . . . . . . . . . . . . .

Alien}. II. 15. .:..6. 1}6. Melpomene . . . . . . . . . . . . .115. 120. a89

Al� Consciousness Elemental(s) .11. 67. 97. III. 11"'116. I}O Ill. In. 1};'1}6
. . . . . . .

a5-4. }O}. }� see aJso Dt/iriQ- Rachel Forrest 156'158. 160-162

Elements (Mag;.: 01)
• .

""" of .... 17. "S. '04. ,16. '31. 1}6, 269"-171.

. . . . . . • . . . . . . . . .
.

Raymond Cross 211. 24}. }15

271.198. )OI.}OS·}07 see also UgnQa: Ekmm/al Affi" itt
• . • . • . . • . • . . • . • • . • .

AltwaJd. the . . . . . . . . . . . . . . . . . . .111. 5. }4. }7,,,1. "9. 95

RoUie .as·129, '57" 59. ,87. 27}. 29':"·29}
see Cdeslial(s} End of Book .What. You Nw:i " OUII Fairy or SO....tlring?
. . . . . . . .

Angel(s) . . . . . . . Wendy CarleIl5':". 158. 161. ':"}I. ':"92 .:..}6-2}9, 260.

Pl1Si 1M //Id(x!
. . . . . . . . . . . . . . . . . . . . .

An {M;gic 01}
•

56."]0. I}}. .:..6a .:..87. 196. a9S

. . . •
279. .:..81·.:..8}
Aspects (Tr.tits) see Traits Energy·Sharing 259. ':"98. }QO
227 see also End of Book
. • . . . . • . . • . . . . . . • • .

Char.>Cter Sheets
Esb .2-4, 49, 1«
• . • . . • . • . • • . .

Astral There . . . . . . . . . . . . . . . . . . . . . . . . . . . .5. }} .

Or.:artssee aJso 0..._ Oafting RIIks.. Magic Rwlos; RIIks;
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Astral Tr.tvel . . . . . . . . . . . . . . . . . . . .5. 2S-},. "0. ..8. 271 Est6. Dr. Clarissa Pinkola . . .1 "7. '''9. lS'
""""" ...
Even Success see Rliks
Aur.tJ Soul-Colms 19. 5S. &,. S}. '59. 1:10. 155. 257. 27}. Activities and Tasks . .. . . . . 19H9"
. . . . . . . .

Extropun 17. 56. 80. )0..

. . . . . . . . . . . .

a7l. a9<>. 300. )0}. }O�. }Io-}II Aura Ruding 1)7. 17)
. . . . • . . • . • . . • . .

Experience Points . . . .u5·n6. nS. .2-49, a51, a79

. . • . . . . • . • . . . . . . . . . . . . • .

OWlengoe I..evek . • . . • . • . . • . • . . . . 1']6, ISO

B Oi.:..ncter Cl2f"ting u7,u9
F
• . . • . • . . • . • . . • . • . . • .

Compact System Rules ,"]6.177

Ibckstory . . . see TltlilS
. . . . . . . . . • . . . . • . •

Deliria . . . . . . . . . . . F2Oe{s)nS. 111. 2}11. .2-4'·.2-4l see also a...- 0tIftiz0g /bolts
. . . . . . . . . . . . . . . . . . . . . . . . . . . .

. . . 25}
Bard a7. 6S."]O. '19. aSa
. . . . . . . . . . . . . . . . . . . . .

176 . . . ..2-42'245
. . • . • • . . . . • • . • . . • . . . . • • . • .

Draw . . . . .
Basic Rules see Rwlos Badstory
. . . . • • . • . • . • .
. . . . . .

Motifs see Morift

. . . . . . . . . . . . . . . . . . . . .

Experience Points . . . ':"':"7. 279

Beating Up Conan . . . . . . . . . . 19a
. . . . . . . . . . . . . . . . . . . . . . . . . . . . .
. . . . . . . . . . . . . . . . . . .

Feats ofSlN:ngth . '92. ':"5' Portr:ait . . . . . . . . .241·24}

&.owJy ond 1M BuosI 6). 69, 71. .. 1 7. 151. 166. }IS
. . . . . . . . .

. . . . . . . . . .2S5
• . . • . • •

!ki>'g)oM MrJkol,ildo . 1"7. 16"'16�

Fortune . . . . . . . . . Fader!s) . . . . • • . • . • . • • . . ':"9')1 . . . . • . . • .

.1"]6. ':"0)'':''0'' ·5. ",. ..3. ..7

. . . . . . . . . . . . . . . . . .

Injum Faeligh�
Beb.nshay! 8ebnshay;t I'''.''�. '30. 'M. :1.-4} see aJso Wise
.
. • . • • . • . . • . . •

M;gic Rules . . . . . . . . . . . . . . . . . . . .a90-a9'

.... Faerie (as an�) . .
Magic Workings . . .J07'}'" 11. I.}. '':''9. 150. }I"
Big Bad Wolf . . . . .11. 60. 69. ,oJ. '1). 1:10 .2-4'
U). uS
. . . . . . . •

Modifien . . . . . . . . . . . . ·171. 190-291 Faerie aanishmen�! De;th

Bbck Royal . . . . . . . . . . . .175'1"]6. ,Sl
. . . . . . . . .

. . . .,86. 19}'19-4 .60-62. 10S'I08

.

B�U'I Cove Ig Movement . . . . . . . . . .

Faerie Etiq�lte . . . . . . . . . . . . . . . . . . . . .

1"]6. ISO
. . . . . . • • . • . . • . • . . • . • . . •

Blind OWIenge . . . . . . see Rwlos . . . . . . . . . . . . .

Multiple Actions . . . .
Faerie Folk . . . . . . . . . .S6·,.... 257. 267. 275 .

Results . . . . . . . . . . . . . . . . . . . . . . . . ''76 Faerie GWses86. 9':"-<)}. 97. I�. 109"112. !.lo. 126. lag-I..)
Block. Frarx:esa Lia . . . 80. Ip. 165. 1:16
.
. . . . . . . . . . . . .

Roy;tls . . . . . . . . . . . . . . . . . . . . .176 i\elf 119

Bluebeud 69. 166. 1�.:I.-47 . • . • . . . . • . . • . • . . • . . • . • . . • . . • . . . . . • • .

see ;Iso AIle"

. . . . . . . . . . . . • . .

159. 1"]6. JOO. JO} Siu: Ma�ters 192 .:..08 Alien

Bodywork
• . • . . • . • . . • . • • . • . • . • • . • . . • . . . . . . . . . . . . . . . . . . . . . . . . . . .

Anirml . . . . . . . . . .J29·1}0 see also Wi.. &I/.sI

. . . . • .

Story Elements/ Injury 20}·2�

. . .

1Ioorui! Oaths . 6,. '07,,08

. . . . . . . . . . . . . . . . . . .
. . . . . . . . . . . . . . . . . . . . . . . .

Triumph. Disaster. No S"",at 176 Beast-M;n I}O

Bramble. the . . . . . . . 5. }4. ,,1. 1S}. 255
. . . . . . . . . . . . . . . . . . . . . . • . • . . • . . . . . • . • • . . . . . . . . .
. . . . . . . . . . . . . . .

Violence Systems . . . . .10}·20... 208-110 Beauty 1)0

Brick. 1he . . . 21. 17 • . • . . . . . . . . . . . . • . . . . . . . • • . . • . . . . . •

':"57 see also "'lUll &.>di� ViIalliy '}O !lee aJso Ckild! CkUdulI! Ckildkood
. . • . . . . • . . • . • . • • . . . . • .

Vitality Child
Brothers Grimm . . . . . . .72. 150. 160. 166. }IO
. • • . • . • . . . . . .

W""p0n5 and Anno, Chronopath . . . . . . . . . . .1}6-1}7 see also a......uaI

.

208-aIO
8wJf"1 1M Vampi� Slayu 6.., 69, 72. 7..-75. 9', ]::1.5. '52.
. • . • . . • . • . . . . • . • . .
. .

Cheat Sheets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ·'59. 175 Critter . . . . ... . 1}7·1}8

,60. 165.,66, 201, "'10. ':"75. 299. J09
. . . . . . . . . . . . . . . . . . . . . . .

l dren, Childhood 7. 10. I}. '9. 51. n. 88. 97.

Child, Chi . . Cybrid • . . • . • . . . . • • . • . • • . •. . . .1}8 .

102, 10}. 117. 121. 1.2-4, I}o-I}I. In. Il7·,}8. ,,,0. 1..6. Dr.tgon I}o-I}I !lee also Dragon
C
. . . . . . . . .

,..8. ,6... ':"5l'2�, lOI . • . . • . • . . • . . . . • . • . . • . • . • . . . Elemental . . . . . . . . " }' see also a.:....lli1J1; !lfda"""
c.:.brdlion . .
. . . . )6. ..}. ..8. 62·6,. 7... 9':". 96
. . . . . . . . . Cinderella 62, 7'. 'l'. ,6... 167. 21}. 20'S, 2':"0 .2-45. ':"5'.
. . • Fetch . . . . . . . . . . . . . . . . . . . . . . . . • . . . . . . IJ8. )0..
unoU. lewis . . see A1iu'5Adl'Ul'ulQ' ill Wondtrland
. . . 26S. .:..87. }I" Glitch . . . . . . . . . . . . . . . . . . . . . .1}9 .

Cats (Faerie andl or Magic)}S. 60. III. 1"'1. 129·1}0. 16.:... Circle (Vital Ustings) HI. 127. 155·,69. m·175. 178 . .2-40. Godparen� 1}].!}2 see also FlUm! FIJi')' Godmolku
'67, "'Il, 272 a80. a9} Gremlin . . . . . . .')9 see also a......uaI
. . . . . . . . . .

Celesti.al(s) ..11.,. II. 25, &" ,oa. 111.1:10. 257. 2n 302 Circle and Guide Hints see Gllid< and Cirdo: Hill'"
. . . . . .
Hag,/ Nasty Old M;n 1)2 . . . . • . . . . . . . . . .

OWlenge (Level) . . . . . . . . . . . . . . . . . . � o...rIS. Rwlos CoUective Uoconscious. the 5. 16} see ;lso )"'ng. Dr. Carl Hybrid Beastie ll2
. . . • . • . . • . • • . . . . • . . • . . • • . . .

Chance (Rule) see Rwlos

• • . • . . • . . • . • . . • . • • . . . . • . • . . . Compact System. the see Rwlos . . . . • . • . . • . • . . . Irmginary Friend . . . . . . . . . . . . . . . . . . . .1,,0 .

Channeling 259, }06·}07

. . . . . . . . . . . • . . . . . . . . . . . . . . .
Conlt;St (Rule) . . see RIIks
. . . . . . . . . . . . . . . . . . . .
Kolamite . . . . . . . . 1lI. 1}9·I
. . . ..o. }o"
. . . . . . . . . .

Or.:ar.tekr Cr.tfting Rules .2"'1·2SJ see aJso a...m. Troib Counterdntw (Rule) . . . Stt RIIks
. . . . . . . . . . . . . . . . .
Little I}H)) see � L.iUIt Ptoplt
. . . . . . . . . . . . . . .

.. Steps . . . . . . . . . . . . . . . . . .2"'1-115. 1:1S. 2}0,,:,,lS Cr;ver(s) . . . . .60. 115. I)). 219. ':"57'259. 276
. toroJ l..;tdy Il} see aJso FlUne PoiiIIQ! COIU1$
. • . . • .

Characte, Growth . . • . • • . • . . • . • . • • . • . • . ':"78-2S} Crossing into Faerie .2-4'}4. }I}

. . . . . . . . . . . . . . . . . . . . . . Muse! Gilitea • . • . Ill . . . . . . . . . . . . • . .

Creation Options . . . . . . . . . . .1:18, .2-40 Crosskey • . • . . . 11. I. �, 27'28. 95

. . • . • . . • . • . . • Ogre! TroU! Giant . . . .. . IJ)·'}4
. . . . . . . . . . . . . . .

Elgmple Character . . . . . . . . . . . . . . . .2}6·2}9 Crossw.ty .0, 1I, �, 9, u. 20. a... ':"7. 92, 95. 96, "�I. 247. Psiren! Narcissianl,,1 Stt also &awty. DemDII l.wu
Experience Points . � Experiula Poi'll.! 25}. ':"9'. ':"98. }0... },} Spri�e I}" see also Wile People; Home Sprite
. . . . . .

Faces . . . . . . . . . . . � F_ Crystalvine . . . . . . .5. "I. 96. 99 Stranger 1}4

. . • . • . . • . • • . • . . • . • . . . . • • . . • . . • . . .

hvor Points . . • . • • . • . • • . . . . • . 1:15. 2aS, 2M'2}; n..m " ,,1 see �lso "Homdand S=lriIy"
. . . . . . . . . .
 Inoex coHtiHHeO
TOIem . . . 1)4·llS see also TOIcm Spiri.
. . . . . • . Guide and Circle Hint!; . . .. . . . . . . . . . . . . . IH·,61, ISo Uttk MerlNid. the . . . . . . . . . . . . . g'. '01. '15. 100. 168
ViUspri.e . . . . . . . . . . . . . . . . . . . . . . . . . .llS 7 E1emmlS ofS,aga . . . . . . . . . . . . . . . . .156 Uttk � . . . . . . . . . . . . . . . . . . . .1)1-1)4
Woodbn\kr . . . . . . . . . . . . . . . . . . . . . . . . . .In·I)6 7 Hints Good Circle( Guide . . . . . . . . IS04 . . . . . . Locus .. .
. . . . . . . . . . .
. . . . . . . . ·5. 9. 17
F� ldomtily . . . . . . . . . . . . . . . . . . . . . .109'117. I�}. 141 Assistan. Guidt'l . ,,61
, . • . • , . • . • • . • , • • • • . • , . • L«d I{w Rings. J"kt; . • • . .see Ttdial.}.R.R.
F� Magic . . . . . . . . . .. laQo'�I. 13().1�7. }Ol
. . . . . . . . Cheat S� IS9',60
. . . . . . . . . . . . . . . . . . . • . • . . .

Fame Morality . . . . . . . . . .. 104'108 Ci�Slillred Setting •6<>-,6,

. . . . . . . . . . . . . . . . . . . . . . . . . • . • • . • . • . .
M
Faftie Rt'3Im, AspeclS of , . , . . . . 1'51. )04
. • • . • , • • . • • . • E¥Oaoon . . . . . . . . . . . . . . 158-159 . . . . . . . . . . . . . .

Ruilding Ma\eri>.1s . . � Improvisation . . . . . . . . . . . . , . . . . . . . . . . .159 Magic • . • , . . . . . . . . . . . . . . . . . . . . .1H. 171. 17). 185')15

"tip: Rules • . • • . • . • . . . . . .1.58. 1.86')'4 � aJso 0...".
. . . , . . . . . . . . . . . . , . • . • .

CrOS!li", o.er . .1.7·n l\.tSt '�use . . . . . . . . . seeJ..st. -c"use

Accords
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

F�ull.J . . . . . . . . . .
. . . . }8-J9 . . . . . . . . . . . . . . . . . . . Krystonrs . . . . . . . . . . . . . . . . . . . . . . .,60
. . . . . . .
. . . . . . .. . . . . . . . . . . .1&;'1.88. 197")05
Magic in F;>erie , .188·aS9. 191. 199
• . • • . • • . • , . • Plot Threads .. .. . . . . . 160 . . . . . . . . . . . .
Rindi", . . . . . . . . . . . . . .aS7. 194·I¢. 1<)8-)05
Poiilial c...urts 44·4S. 60. 10']. 114
. . . . . . . . . . . . . . Routing Guidt'l 161
. • , . • , . . . . , . . . . . . . . . . . . , . •
Bre�ki", . . . . . . . . . . . . . . . . . . . . .1&;. 1¢
. . . . . .

Population . . . . . . . . . . . . . . . . . . . . . . . . . . . . .44'4S Sensual SplendOf"$ ,61 Echot'I 287. 295'1<)6. 198-JOs. }II. )'S
, . • . . • . • . .

Harmony( Dis50nancr
. . • . • • . • . . • . . . . • • • • • • • • •

Sens..wf Sensory Impressions . . . JS·}6 . . . . . . . . . . Venues . . . . .'58 I« also LARI': lIo1cp/<lyi". c.._ .191. 19)
. . . . . . . . . . . . . . .

TIme Ind Distance . . . . . . . . . . . , . . .}1. }6. 44. 76 Gui5es . . .see Faa;, Gui., Instruments . 188. 194'195. a97')os
. . . . . . . . . . . .

Mortals VI. Faeries . . . . . . . . . . . . . .

. . . . . . . . . . . . . . . . . . . . . . . . .

Tr:anllpo<Ution ,}6, 44. 1'1

. . . . . . . . . . . . . . . , . • . • Gundmmnnfs) SqUilre . , ,4). 47. ,66
. • . • , . • . . . , . , . •
. . .188-189 .

Faerie Ringjs) .14, n. 16. )7. 51. 99. ,69. �77. :lSs· �91, Muncbne Skill, . , ,
. • . • . . • . •289. l<)8-)OS , . • . • . • .

JI) s« also Fr/lCIQI �'Mrie Ri..p Resistance . . . . . . . . . . . .190

H Roleplaying . 191'196. 1<)8-)05
Faerie Roles 101'104
. . . .
. . , . . • , . " . . . . . . • .

Faerie nit'S jas Uter:al)' Form)(V, 7. 61. Cry. '46·,p. IH. Happy Monkey. the . . . . . . . .7·8 Scale . . . . . . . . . . . . . . . . . . . . . . . . . .aS7. a91
.

.64. u,. :l.p. 169, 179. aSo, loS), l.S6. lOS, J'S Harry Potier • . .,71, 75. 151. 110. loa. )09 , . • Tuning .. . . . 18;7'188. loa, )06
. . . . . . .

Faerie-Tales. Elements of , . . . . . . . . . . . . . ,6)·,69

. •
�I>zita's Dt<:ree 94. 'is
. . . . • . . . . . . . • . . • . . . . . . . . . . . . Workings . . . . . , . . .288. j06')'4
Ad�rurif!'l , ,65·,67
. • . . • , . , . • . . • . . • . • . . . . . . .
HeaUng . . . . . . . . . . . . . . . . . .see VIOk_ Rwlts Ma,rix. '1u: . . . .7). 80. ')7·,)8. '4'.140
Ch>lIengt'l , .,65·,66 He�rts (frait)ns. 117·1.a8, 1)0. a)1I)), 1)8, 151'160 see Mazilo:eens. the . . .99 . . .

. . . . . . . . . . . .see Dupl¥ Hdpfol "",h Inde"

. . • . . , . . . . . . . . . . . , . • . • , . •

a..""icl Modern EienJentl ,64·'Cry also Clu"Dan Oajti"1! Rwlel Mt'gan .

Deliria . • . . • . •116, .). If't also Eltmm'..t

. . . • . . , . . , . • . •

Hdpmf'tls . . . . . . . . . . . . . . . . . . . . . . . . . .,64, ,67 . . see Ddiria /TTI1'I)

. . . . . . . . . . . . . . . . . . . . Melaval' Mebvanti . • ,

Hooks , . . . .,65. 158. 1S1

• . . • . . • . . • . . • . . , . • , . •
Fortune . . . . . . . . . . . . . . . . . . . see FOI"tw"" (TTI1" ) Mermaid/ Meri'olkl SirenJ4. 40. 49. Cry. !)S. III. ,,6. 115.
Microhistory . . .. .
. . . . . . . • . . • " 49'151. . • • • • , . • .
Vitality . , see Viudily (Trail)
• . . . • . • . . • . • • . • . . • . ')0. I)'. a69
Settings .,64·,6S He�rIsong . • . 101-109 , . . . . . . . . . . , . • . . • Metropolis . . . . . . . . . . . . , . . . . . ,5. 1.5. 44'45
. . .)4. 'o�. ,65• •Cry. 111 Mindcutings, as·)o. n. no. 27H71.. 1;r6 lee also,wtul
. . • . . • . . . . . • . . . . • . . • . • . . • . • ,

Helprn«I/.)
Tal'�l\Is. Myths " 4S" 49
. . . . . . . . .
. . . . . . . . . . . . . . . . . . . . . .

Themes . . . . , . . . . . . . . . . . . . . . . . . . . . .,64 Herllkles( Hen:uks . .

. . .. . . . . . . 101 . . . . . . . . . . . . . . . . TID"": UpcioJ
Heroes (Wh.a. ....re?}
. . . , . •

Wh .. do We learn? , . 11·111. H·s5. 148. . . . . . . . . . . . .II. 54'55

. . . . . ModifleJjs) . .. .
. . . . . . . . . . . . . . . If't R..ln
. . . . . . . . . . . .

HoIicbys
. • . • • . • . •

Wlut ill? . .. . . . . .54·S5, 146'149

. . . . . . . . . . . . . . .
15. 19'
. . • • • • .• • • • . • , . • • . • . • • . • , . • . • • . • . • MOIifs . . . . . . . . . . . . . , . . . .6). 65. 6-;-81. 119. 1.41. aSl
,

Faerie Tales! Nt-w Millrnnium 9. SS. 154. 164 "Homebnd Security" ,']6, '4'. 16-;, l.to. 181.
. • , . • . • • . • ....n., t ofOrder . . . . . . . . . . . . .. . . . . . . , . . .']6 . . . .

H(lfne-Soul Ebrd . . . . . . . . . . . . . . . . . . .68-69 � aJso 8IJrd

• . . • . • . . • .

FaeneTrutm . . . . . . . . . . . . 1°4 . . . . 5. S.g

. . . . . . . . . . . . . . . . . •. . • • . . .

House-Sprites . . . . . . . . . . . .7.g. 79. 9). 97. 112 . 181 �ast

. . . . . . . . . . . . . . . . . . . . .

Fame WeaklJeSSeS In·IaS. '17 . . . . . . . . . . . . . . . . . . . . . . . 69 . . . . . . . . . . . . . .

Howler!.) , . .0. 11. So. 6-;. 147. 1.'9. 11.0. 15-4. 17). )oa
• • . • , . • . • • . • . • • . • . . . . .

Faerirl Fairy Godmother-50. Cry. 69. 91. 'OHO}. I" , '1" . • Chipper . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .77
1)1. 147. 164. 16-;. 101. aS8-aS9 CIuysalis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . '77'78
Faerie/ Fey Sight 1'1. Ill. 'J9. 1)1. 15). 17). J04 I« also I Cy!ebrity . • . . . . . . . . . . . . . . . . . . . . . . .,&.79
l.rpria: SoIohi&/U . . . . . . .. . . . . . . . Oronr . . . . .79
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

i
Ib� '0. 6-;. 8). )0.. Faerie Godmo1oo . . . , .69 � also FIMril/ Fairy
. , . • . • , . • . . . . . . .

21S. n8. 1)). 1)8. 168-177 see 1150 CMn>du

. . . . . . . . . . . . . . . . . . . . , . •

Favor(s)
1 11
. .

Icons jDescriptions of Icons) . . .

. •

Godmodlcr
o..jtJ.., Rwlts; Au....&; l..pria: W)'nU
, . . . . , . . . . . . . , . • .

IUusiOrl$! Glamour ), .U, " o-J"

. . . . . . . . . . . . . . . . . . . •
Fa� Singer , .70 If't also Bard; Mwsic. (Map: cfJ
Favor Point!; see CMfDCU, Oajt!", RwkI:
"I'm Mdling!" •as. 175
. . . . . . . . . . . . • .

Fireball SpeU . . 1.4'. �96. )07, JoS

. . . . . . . . . . . . . . . . . . • . • . . • . . . . .
Good Parent . , . . . . . . . . . . . . . . . . . . . .70
7'. 9', '01. '07. 1)1. ,6-; I« also Sa.:mI
• . •

In:l.I.,or.rta . . . . . .7' set' also /""""""'"

. . . . . . . . . . . . . . . . . . .

Fortune (fr:ait) . . . . . nS. l)1. 1)5. 151. 15s-a56

. . . . .
lnamor:at:r. . . . . . . . . . .

M<lmag.
. . . . . . . .

Fract:r.1 Faerie Rings 111. 1)8-1)9 Innoant . . . . . . . . . . . . . . . . . . . . . . . . . . .71

Initiati� jRule) , . . . . , . . . . . . . . . . . . . . . . ,see RwkI: . . . 71 set' also K..iglr.1
, . . , . • , . , . • , . •

FuU Moon , . " 9. 15. 88. 1°4. )05 Knight . . . . . . .

Fu....�. . . . . . . . . • . . • . . • . . . . • . . • .)6. 41'44. 48

Injury( Injuries see VioItIl(� RwkI:
. . . . . , . • . • . . • . • • . • . .
Miracle Merclillnt . . . 71 s« 1lso Gobi," M�rka . . .

Innoxel>(e, ChaUeng<:. Tr:ansfOrm:ltion ,55, 8j. '47, ,64

.

.
Nt'gatisl . . ,......
. • . • . • . . . . . .79.80
Insulting Sri.ne}' SpelIrI . . . . . . . au Nwmancer 80 set' also NcomallU,; T",�noIagjo
G Internet jMag" 01)1. '). IS. 19. jl. )). 41. 49. 98. 99. I)S. (Ma.gic oj)
Gaiman. Neil . . .• . 7', 151.. ,6o
. . . . . . . . . . • . . . . . . . . . • .
1.5•• 27'. 196, 198. )0.. . . . . . . . . . . . . . , . • . . , . . . . • . .
Primitivis. , . 80
, . . . . . . . . , . • , . • . . .

Garden. the . , . • . . • . . • . . . 6. )7·)8 , . . . . • . . . . . . . . . . . .

Iron . . . .96. '06. 111" 1) Prince . . . . . . . . . . . . . . . . . . . . . . . . . . .71.
Gatew:oyj.) . . . • . . • . . • a7. )I)
, . . . . . , . • . . • . . , . . • . • , • . Prin<:6. . .7�·71 If't also Prinuu
Ghfflt
Ghost
. . . . . , . . . . . . . . .115
If't Wlris,..,rli"f!
. . . . . . . . . . • . . • . .

J Rogue
Urban Tribalist
. • . . • . . • . . • . . • . . • . . • . . • . .

. . . . .. . . . . .. .8,
'71'74
Jrl jHero) 6}. 6... 74. ,06, 15" 'sa
. . . . • . . . . . • . . • . . . . .

.8) Waif· · · · , · · · · · · · , · · · · · · · · · · · · · · · · , · · · · · · ·74

. . . . . . . . . . . . . . . .

Ghos. Gangs . . . .. . . . . .
lung. Or. �rl . . . . . . . . . . . . . . . . . . . . . .149. 151. 16)
. . . . . . . . . . . . . . . . . . . . . . . .

Gkn . . . .. .. . . . . , 5. 17. )8 Wayfarer 7"'7S If't also Lift·, 1Io....ty: W�yfotcr

lusl '�use . . . . . . . . . . . . , . . . . . . . ,1.5. 106. 161.. 13g
. . . . . . . . . . . . . . , . • . . . • . . . . . .

. .. . . Wi.eh . .75 I« also Wit-ked Wild!; Wild!; WildlcrllJI

,

Gliller TrJde .see GobIl" MQna

. . . . . . , . • , . • ,

Goblin Marlcet .1. S. U. '9.11. 1.7. n. 44. 71.. 94'95. 98.

. Young Talent , . • • . • • . • • . . • • . •7S
. • • . • , . • . • • . •

106'107. 115. a80. J06 K MO\'ement IRule) . . . . . , . . . . . . . . . . . . . . . . . .sco: RwkI:

.

Goosetelkrj') , ,'5. 56. 79. 1.10

•• , . • • . • . . • . . . • . . . . . . .
Key (fr.rilS) . . . . . . . . . . . . , . . . . . . . , . . .1« ,,",its
. . .
Mulliple ActioIu . . . . . . . . . . . . . . . .see RwkI:
.

G�.) .u6. 111. 1.,). a'7. us. aaS. 319. a)l. ln. a)8- Kibble .
. . . . . . . . . . . . . . . . . . .56. 81 Mtdic jMagio:of) 17. 94. '04. 105.106. 110.111. 1'4. Ill.
139. 1.48-151. 158. J79 I« also CM_ Oajti.., Knight !as Archetype) . 6). 6-;. 68. 71. 107
. . . . . . . . . . . .
16). 16g. a86.1.S8. 194·1gs:. 198 . . . . . • , . • • . . • • . •

Rtoks: r",iIs 1(01 . . . . . . . . . . . . . . . . . . . . . . . . . . .)4. 47. 91. "5

. . . .
Musicil . . . .
. . . . . . . . . . ·70. '04. 1.66
. .

Body • . • • . • • . . •. . • , . • • . • • . . , • . . . . 117'119. IS' Musicill Artist/s) . . . . . .. '07. 151 . . . . . . . . . . . . . . . . . . . .

Agility . . . . . . . . . . . . , . .1.�9. lSI Myslerium. theS. 9'19. 55. 51. ¢. 60. 6a. 6-;. 64'96. 116.
L
. . . . . . . . . . . .

Ikauty . . . . . . . . . . . .. . . .1.1g. �5'

. . . . . . . . . . . ,6a. 155, 1.81.. �91
Health . . . . . . . , . . . . . , . . . . . . . . . . . . .119. 1S' " Bouoty
ur.... . .. . . . .
. . . . . . .. . . . 60. 74, ']6
. . . .

Strength , . . . .119. 1S1 LARPIV.ls8. q8. 187

. • • . . • . . • , . • , . . . . • . . •
N
Mind . . . • . . • . • . . . .. .. • ,1.17'119. aSI. I&;
• • , . • � (fr:ait!;) 6). 6-;. u6. '75. ,So. ,a.·,Ss. 110. lIS.
Imagination . . . . . . . . . . . . . . . . . . . . . .119. aSI all. 168-174. 282 Namrive Rules . . . . . . . . .. . , . . . . . . . . . . . .sco: RwkI:
, .•

Inlell«. . . . .. . . 119. 1.5' BardicGift . . . 1)8. 169. a80 . . . . . . , . • . . . . .

Navalon Project . . . . . . . . . . . . . . . . . . . . . . .99 .

'()..'1. 1). 80-81. 154·a55. 157. 181

. . . . . . . . . . . . . . . . . . .

Perception , . . • . . • . . • , . • . . • . . • . . . . . 119. 151 Eiemet11 Amnity 16g-a71

. • . • • • • . . • . • . . • . • • . • . . Nwmano:er . . . . . . . . .

Wisdom ,........., . . , . .119. 151 Mindcasting . 27H7�, 296 If't �Iso MirukllSli".
. . .
Nerhallow . . . . . . . . . . . . . . . .17. 48
Spirit . . . . . . . . . . . . , . . • . . • . . ,.317'319. lSI. I&; Shape-Shilling .272·27J � also lkW�slwr: SIw,..,. Neros ,5. q. )4
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . • • . . • •

Iklid" . . . . . . . • . . . . . •1.19, 1.5' Clwlnging/ SIwI,..,·Cho."Fr No Sweat Rule . . .. .. . . . . . .. . . . . .sco: IboSts

. . . . . . . . . .

Clillrm , . . , . . . . . . . . . . . . . . . . . . . .1�9. 1.5'

, . • Soulsight . . , .1)8. as8. 173'1.74, 176. )og If't also
Pauion . • . . . . . . , . . , . .119. 151 , . •
FMrie/ Fey Sig�1
Will 1.�9.1.SI
. . . . . . . . . . . . . • . . • . . . . . • . . • . . •
Wealth . . . . . . . . . . . . . . . . . . . . . .174
Guide (Vital Llstings) .III. 65, ,a7. ')7. '$4·,61. ,65. '75. . . . . . . 17
��,. 1.40, 1.50. aH·lp. 17S. a80.)" UnJe Debbit'S • . • • . . , . ·1.47
 Il10ex conti>1well
s.ag. 111. 65.117. 155·1�.169. 179. 11•. H5.1",·lJS. Physial Violence ,<)6. 101. 105·110. )og
o . .

140-1..41. 1..49"15°.180. lS). 191

. . . . . . . .

PJ)'Chic Asuult JI. 1<)6. 101'101.110. 117'111. 15)'

Oaths . . . . . • . • • . • . . • . • • . . • . • . . . . . . . . . . . . . . '07·,08 »nclOf"ll . 11. n
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2SS. )10
Offrringo . . . . . . . . . • • . . • . • • . • . . • . • . . . . . . 93. ,06-'01 SCaDs . . . . . . . . . . . . . . . . . . . . .56. 68. 71.;76. n. log Re'SlISCltation and Resllrrec:lion .lDo-l0l. loS-J09
Old Law . . . . . . • • . . . . • . • • . • . • • . . • . • . • • . . . . . 107-,03 Scores (TDil) .5ee eM_ o..ftin, RWn Socgl Warfue '96. 201-:102. 110-116. 147
Old 0Ms1 Old Rxr 11. ')0
• . • , • . . . . . . . . . . .

. . . . . . . . . . . . . . . . . . . . . . . . .
s...sons (Magic: of) )6. 104
. . . . . . . . • • . . . . . . . . . . . . . . . Story Elements of 1.01-10)
. . . . . . . . . . . . . . . . . . . . .

Ser (Magic: oj) ,06. '4'. "59. 1:;76. 193. )00. )05
. . . . . . . TypnofV!OIence I9l'
. . . . . . . . . . . . . . . . . . . . . . . .

p Slukespeare . . . 17. 68. 71. 91. 99. 106. '50. 1)1. 145'147 Vitality Loss '96. '99'100. 1°4. 159"160
. . . . . . . .

Slumanl Slumanism .I. H. 80. 90. 91. '5'. )oJ. )') see Weapons. Shields. Armor 106-109
P�lt:noch. th.o .III. S. '4_ 10. •, 95, 96, 97. 99 1ft' �lso
. . . . . . . . . • . • •

also AeconlJ Virtue'S and Sms

. .

.61
. . . . . . . . . . . . . . . . . . . . . . . . . . . . .• ,

GoWili MQrttl
Shap«:ha�,/ Shape-Clunginll .11.). 60.67. 104.111. VitaliI)'(Tl'3it) j. 1)1. 151. 156-160.1]0. a;r6. 287. )06-)07
P�SSIOItI .5ft Driws (T...i.}: Pa�s
11). 14'. 157. 160). 171'17). lSi. )00. )04 see also
• . • • • • • • • • • • • • . • •

VOCation/I) ,S2. '90. 198. 2'1'1'4.117. 110. 11S. 1*

Plxe-I_' of Pon
.... 16·,8
. .

119. 1)). 1)8-1)9. 259"267. 2SI.)09 see also �

. . • . . • . • • . • . . . . . . . . .

IItlIJnsl...}'I2; UgPrin.: Skap.,.skiJIi",

Plants (Magic oij _.06. 112. U . • l71, 37]. 294. 298 Shimmerling .).7. )S. 6]. 79. 9). 1°4. 111. 117. 111. In o..fti"f ,twks
. . _

PNTV . . . . . . . . . . . . . . . . . . . . . . . . . . . . . IS. 79
.

115'116. 119. 'H. ,)S. 188'139 Academics

.

, . . . . . . . . . . . . . . . . . . . . . . .119. 162
Poetic Tone _lao. ''ll, .60. 293
. •

Shingo's Art . .H9. :161'16) see also Arr IMIlJic <fI

• . . • . . • . . • . • . . . . • . . . . .

1l
POrbl 9
. . . . . . . • . . . . • . . . . . . . , . • . . • . • . . . . . .

Athletic.
. . . . . . . . . • . . • . • . . . . . • . • • . • . • . . . . . . . . . . . . .

Sil,�. Se�. the . . . . . .5.14. )1. ))'}4. 40. �7a 119. 16)
POncHO (al Archet)'PI=1 6). 67. 72'7). u4. 27'. 28)
• . . . . . . . . . . . . . . . . . . . . • . .

Size (Rule) , . • . . • . . . .S« IIw""

. . . . .

Cl'3flsllt�nship . . . . . .229, 16)'164

f'rinasJ Bridt. ,,,,,,60. ,6•. 100. 201. au. lIS. l16. 2.6-247
. . . . . , . • . . . .

Songl World·Song the!. 'I. 5. 16. 90. 9). W. 101. "7. "97. Domestic . . . . . .129. 264
Prowns (Rule) . . . . r26. '17. '58" 59
.

Inn'len«
. . • . . .

'0' . . . . . . . . . . . . . .129. 165

Psychic Aspull IIH Yiok_ Rwla
14, 21. 56. ']0. S). ��1. 196 , . .Zi9. 165'166
. . • . . . . . .

Sophistic�ti . Langll.ges
Psychic T31ent ,I). 67. 79.80
. . . . . . . . . . . . . . . . .

Soul·Colon , Martial . . . .129. :166 Stt �Iso VlOItnlt Rliln

. . . . . . . .

. . • . . • . • . ........ Au... . . . .KC

Soulsight . . . see FlUrk/ Fry Sigll/; l.lf>c"": Soulsighl Metaphysics. . .119. 166'167
.

R Speed (Rule) . . . . . . . . . . . . . . . . . . . , . , . . , . • . . . . • . . 1)7 Technology . 119. 167

. . . . . . . . . .

Rac�l's Saga . . . . • . . 1�6" S7. 160. 161. 161

, . . . . • . . • . .
Spincf�fting . . . . . . . . . . . . . . . . • • • . . • . see Aerords
78. 11,.. aj.04. a8). )04 Spiriral AII'IIY . . . .160
��(f) • . . • . . • . . . . . . . . . . . . . . . .

Sprites
.,

see Uuk Propk Ho",,,, Sprilrf

w
Red Roy;ol In. 1;76. 198
Wayfarer .1. ). :1S. :17. n. )S. 60. 70-n ;76. 91. 96. 109.
. . . . . . . . . . . . . . . . .
. . • . . • . • . . • . . • . • . . • . . . . . . . . .

R�ncyl R�m 5. 11. 4�'46

. . . . . • . • • . • . . • . . • . • . • . . .
Story E1ement/s)116·,17. '75, [99.200. 101. 116.117. 1)1. .

,8,
R�ki 56. 1<)6. )00 s« al.., Iiod)"ori:; Enu,y·SIso:Iring 14". 151. 1j9. 175'1]6. lSI. 186. 19[. 198·)06
....
...., V .. RIllrt
. . .

Weapons IOU
Remisunce IRen) Faire I�. aO']. 161 Stridingf S�ppiog , . . . . . . . . . . . . . . . . . . . .5. )1)
. . . . . . . . . . . . . . . . .
. • , . • . •
. . . . . . . . . . . . . . . .

'We're All Mad Here!" (Especiall)' after this Index!) . ,58.

Result (Rult) S« Rliln
. . . . • . . • . • • . • . . • . • . . . . . . . . . . .

l}04
Ripples S« EdwlcJ T
. • . . • . • • . • . • . • . . . . . . . . . . .
. . . . . . . . . . . . . . . . . • . • • . • . • • . • . • . . .

Whisper"ngJ. 9. II. '4. '7" S, 79.101. "9. 15]. 17). 2S1

Ro\epbying Cames .11. H. 147. I�. 160. 17S. aOI. 114
Ttthnology (Magic: of) .7. 1i·1}. 16'17. 19. }4. 6). So. 98. WIlIte lUbbit/ RabbIt Hole ').}4. 58. ,01 ...., 11$0 Alit¥...
..

RoIepbying yourself 114

w'"""''"' '
. . . . . . . . . . . . . . . . . . . . . . . . . . .

110. 123. 1)8. 1)9. 16]. 196. 19.8-199. )0)')04

Rula '7"'H' Is« also �r o..fti"l RiJa; eM,.,.
Technology ni Deliria )1. )5.]6. "9'. }04 Wded Wild! " 0). uS. 156. 16j·I6]. IS9. 196. 119.141.
lIpIda;. Mggk Rwla: TlllilJ; Wpds) . . . . •

Tendl'3gon S�u . . . . . . . . . . . . . . . . 111. 4N8. 95·<)6. en 191. JOS

Action t]<). 11I9
Wise Beul(s)l4. 91. 1'4'115. 119. IJ.t Stt also IItlIJnska}'ll;
. . . . . . • . . . . • • . • . . • . • • . • . • • . • . .

Thought·Fonn . . . . . . . . . . . . . . . . .19.)5.49. Ill. 1)0

ActiYitin and Tasks IS1. ,88-'94
. ,

Three I.eYd5 of Pt:.y . . . . .see II",,,,,

. . . . . . • • . • . • • . .

, SIso:I"".a.....,..,
Blind �Ilengn ISI
. . . . . . . . • . . . . . .

Three Rings/ Aw;I.eness Wiliw:l'3ft see also Accon&

. . . . . . . . . . . . . . . . . . . . . . . . . .

. .111. )01
�J1c� (Level,) " 7". 174'1]6. 130. IS9. 186')'4
. . . . . . • . • . . • . • . . . . • . . . . . . . . . . . . . . • . . ,

57. 59. 64. S). 181 Witch (as A.chet)-pe) [5. 49. 65. 67. 7S. 91. 110. 157. 19J.
�nce '7". 175. 191. 156. 186
Three Wishes . . . . . . .
, . • . . • . • . . . . . . . . .

In· 1)9 198. J06. )15

�eMrh
. . . • . • . . • .

�""
Tiodert:.nd)). )5. 40. 49. 144 Witciw:l'3ft 47. u6. 2S7. �96·J.97. 101. )05
• . . • . • . . • . . • . • . . • . • • . . . . . . . .

Contest{s) 175. lSI. 198

. . . . . . . . . . . .

Tink(s) . . . . . . . . . . . . Wolfl Wolves .11. H. 6). 111. 119. I)S. [47. 165. IG<}. '91.
. . . . . . . . . . . . . . • . • . . • . . • .

. . . . . . . . . . .8)
CounlerdDw 175. Ih·IS). 19S. 106
• . . . . • . . • . • . .

Tokyo . . . . . . . . . . . . . . . .11. 1). 67. 80. S). 11S. )04 169. �7"· z74
DiUlter 174'1]6. 181. IS4. 198. 186. 1119. :190
Tolkien. r.R.R. .2. SS. 75. 98. 10). 106, I)). IH. I)S. 146. World.Tree
. . . •

. . . . . . .)8
DDW . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17"'175. [39
. . . . . . • , . . . . . . . . .

151. )09 World,,;nd , . . . .5. 40

Dra,,;ng for lnitiati� . . . .179
. . . . . . . . . . . . . . • . . • .

. . . • . . • . • . . .

TOlem Spirit . , 111. "7, [H·'JS. )01 W)',ds (Traits) 6). 65. I1J. 1:16. 175. 226. 12S. 1)1·�)5.
Failurel Success , .174. IS)
. • . • , . . . • . . . . . . . . . . • .

Tl'3its (Ru�)
. • . .

In 111. 114'18, 169. �74·ln. 181

Fo.,une (Use of) 175. ,Sl. 197
. . . . • . • • .

Cannibo.l
. • . . . . . . . . . . . . . . . .

Dri"es u5. 117·11S. 1JO . . . . . . . . . . . . . . . . . . .174

Fou. Stept; 17"
. . . . • . • . . . . . • . . . .

Cursr .
. . . .

Faces 215. 117·nS. 1)0 lJ8. 174'175

. . .171-17). 179
. . . . . . . . . • . . • .

How do RuIn Work� .

Fa''OTS ... . . . . .115·nS. Doom ,z7S'176

• . .

Initiati�e.. , 175. '79

. . • . . . . . . . . . . . . . . • . . • . . .

Graces S« CmcQ
. . . . . . . • . . •

Ufethief . .1SII. 259. 2;76'�n

, . • . . . • .

Injury/ lniuries . . . . . . . .J« VIOk"'t Rwlts

, . • . . . . • . . . . . . . . . . • .

Hearts . see Hearn IT""I,); �lso (Xliri,,; Forr"'nl; Poo;erty . . . . . . . . .1)11. 1n

Modiflen 175. 184'185. 214
. .

Season , . . . . .In
. . . • . . • . . • . . , . • . • . . . .

VilQlily
M....n
., ..nt 180. ,S5·186. '9)
Secrel Nemesis . . . . . .1)S. 176
. . . . • . • . . • . . . . • • . • .

Keys lnd Aspects ,17.1. '7S. 181. 190. 11s·n6, .U9.

Multiple Actions r;r6. 180
1)1.1]5.1)9. 149. 15S. 160
. . . . . . . . . . . • . . • . • . . . .

No Sweat 17�. lSI

Vocations . . . . . . . . . . . . . 1C'e �"""'J
I
• . . • . . . . . . . • . . . . . . . . . . . . . . . .

Prowns. UM' of171. 174" 75. 181. IS9. 197. 1S6·lS7.

. . . . • . •
X
Tricksier In Arch.et)-pe) 11.914.51.6]. 10). 104. II'. I)S.
'97
'47. '5' X·Fila. ike . . • . • . . . . . . . . . . . . . . . ]6. 180. 1..40. 147. �S4
Result ,'7".175. IS)·IS4. 186
S« RWn
. . . . . . . . . . • . . . . • . •

Triumph
Rules. Ad'OInced .17). 175. [Sa. ,S9·19O. 199. 106.
. . . . . . . . • . . • . • . . • . • . • • . • . . . . . . . .

lli. :1l5·H6. uS. i)l. 149

TUmllOOuI . . . . . . . . . . . . . . . . , . • . • . . • . • • . • . • . 111. 116 y
Twilight People (Definition) 1. 5. 11. 11. �S)
Rula. Ibsic " 7). 175. IS1. '90. 106. H5·116. lp. Yoga . . 6,. 166.)00
. .
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

1..49. 186
Rules, NmaIiIoef7)·f7S. I31. 18,.. 187· 'go.1l5-1}l. Z49 u z
Size Manen 186·IS7. 19i Unicorns in the Woods 15. 5"'5). 99
ZOIT)'
. . . . . . . . . . . . . . . . . . . . . .

nothing 10 see �.e

. . . . . . . . . . . . • . . • . .

Speed 1]6. 180. 19)

. . . . . . . . . . . . . . . . . . . . . . . . .
. . . . . . . . • . • • . • , . • . • • . . . • • . .
U.mn FoIIUore , . . . . . . . . . . . . . . . .11. 14'15. W. 141
Three Levels ofpby
. • . •

17). 175. 1}4

. . . . . . . • . . • . • . .

lime . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . " 7S'I80

Triumph 174'1]6. IS4. 193. 186. "119·a90
• • . • . . • .
v
True Narr.lllr.-t 174. IS7
• . • . . • . . , . • . • • . • . . • . . . . . Va,h. d
... 5. )7. )9'So
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Tlying Again 18,.

. . . . . . . . . . . . . . . . . . . . . • . • . . • . • ViUsprites . . 1)5. 1)9
. . . . . . . . . . . . . . . . . . . • . • . • , . • . .

Violence . , . . . . . . . . . . . . . . . .S« Vio/tna Rliln

. Violence Rules . .18,. 18). 19S'111. 152'260. loS·)og see
Vocalions (UM' of) 190-194. Ig!. 1°4 see also
. . . . also eMrrs
TIII;'J; �"tiD"J Ch�rI$ . . . • . . • . • . . • . • . . . . . . . see 'karrs
Rllmplestiltskin . . . . . . • . . . . . n). 115. 117.11). 164.)07 Death . . . . . .:1QO·10[. 10). 1.56. 159. J08'J09
Effects of. . . . . . .199. 101'1°.1. 116
Healing . . . . . .101'201. 157. �60. )OS')09
s
Ick! . . . . . . . . . . . . . . . . . . . . . . .101
Sacred Marriage . . . . . . . . . .88 Injury/ Injuries . . 176. 19S·10J.159·160. J08'J09
Sacred Sp.ace . • . ·5· '7· 19S Law is Not Mocked , 110
. . . . . . • . . . • . . . . • .

- 116 -
 �
Cncrrvu:te'r

Se refs