™ by John Snead and Sarah Link A Sourcebook for Ars Magica™ 4th Edition C REDITS Authors: John Snead and Sarah Link Product Manager: Jonathan Tweet Line Developer: Wade Racine Art Director: Daniel Gelon Latin Consultant: Carol Monahan Interior Illustrations: Amy Weber, Anson Maddocks, Bryon Wackwitz, Chris Rush, Doug Shuler, Eric David Anderson, Jeff Menges, John T. Snyder, John Ueland, Julie Baroh, Mark Tedin, Rosemary Roach, Susan Van Camp Graphics & Layout: Daniel Gelon Editing: Bob Kruger Cover Art: David O. Miller Cover Logo: Maria Cabardo Print Coordinator: Keith Kentop Fans of Ars Magica discuss the game on an e-mail discussion list. To subscribe, send the command “subscribe ars-magica” (no quotes) in the body of an e-mail message to [email protected]. To subscribe to a digest version of the list, send the command “sub- scribe ars-magica-digest” (no quotes) to the same address. Project: Redcap archives and links to many of the fan-created Ars Magica pages on the World Wide Web. To get to Project: Redcap, point your browser at http://redcap.org. Errata for the first printing of the fourth edition of Ars Magica is available on request. Send a self- addressed, stamped envelope to PO Box 131233, Roseville, MN, 55113. Up-to-date errata is also post- ed on the Atlas Games World Wide Web site. Ars Magica, Faeries, and Mythic Europe are trademarks of Trident, Inc. Atlas Games and Charting New Realms of Imagination are trademarks of John Nephew, used under license. The Atlas Games logo is a trademark of John Nephew and Trident, Inc. Order of Hermes and Tremere are trademarks of White Wolf, Inc. and are used with permission. This book was original published in print by Wizards of the Coast, 1995. ©2002 Trident, Inc. d/b/a Atlas Games. All rights reserved. Reproduction of this work by any means without written permission from the publisher, except short excerpts for the purpose of reviews, is expressly prohibited. PO Box 131233 • Roseville, MN 55113 [email protected] • www.atlas-games.com Digital Edition Version 1.0 • August 2002 • Stock No. AG1110PDF 2 C ONTENTS Chapter One: Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4 Part I: Faeries in the Mortal World Chapter Two: Mother and Child . . . . . . . . . . . . . . . . . . . . . .10 Chapter Three: The Four Estates . . . . . . . . . . . . . . . . . . . . .20 Part II: Faeries in Legend & Lore Chapter Four: Monk, Dryad, Duc . . . . . . . . . . . . . . . . . . . . .30 Chapter Five: Customs and Curiosities . . . . . . . . . . . . . . . . .40 Part III: Faeries in Arcadia Chapter Six: Songbird . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .60 Chapter Seven: Advice to Travelers . . . . . . . . . . . . . . . . . . .70 Part IV: Faeries in AArrss MMaaggiiccaa Chapter Eight: Faerie Places . . . . . . . . . . . . . . . . . . . . . . . . .78 Chapter Nine: Faerie Folk, a Bestiary . . . . . . . . . . . . . . . . . .90 Chapter Ten: Playing Faeries and the Faerie-Touched . . . .126 Faeries at a Glance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .141 Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .142 3 Welcome to the world of Faerie. 4 Illus. ©1995 Doug Shuler “T he followers of Jerbiton, and some foolish oth- ers besides, say we can learn nothing of mankind and the world from faeries. This is untrue. Faeries live as we could live, if we would only renounce the twin curses of iron and the Church. If the foolish Seekers wanted true answers as to the origins of magic, they would leave their tomes covered in dust and journey into the cool sunlight of Arcadia.” —Paradoxia, filia of Jerga, follower of Merinita 5 CHAPTER ONE: INTRODUCTION About this Book These first three parts of the book remain firmly in the time and the voice of the The idea of faeries speaks to us of the individuals relating the narratives, and so mystery that surrounds and permeates all game-related information is presented the mortal world. The faerie folk are the in sidebars alongside the text. mysterious, bizarre, and intensely magical beings that live beyond the normal reach The fourth part of this book—Faeries of mortal understanding. To understand in Ars Magica—is comprised of three them, one must enter into their lives, per- chapters presenting faeries in game haps even their world. terms. Chapter eight discusses Faerie Places such as trods, regios, and the This book is a guide to incorporating faerie land of Arcadia. Chapter nine the world of faeries into an Ars Magica presents Faerie Folk in a bestiary format, saga. Actually, it is a useful reference for as well as notes on common faerie fleshing out any medieval or fantasy set- Powers and a sampling of faerie-related ting in which faeries exist. This supple- plants. Chapter ten instructs players ment provides storyguides with extensive and storyguides in Playing Faeries and insight into who and what the faeries the Faerie-Touched, with rules for faerie are, allowing the storyguides to make Companions, new Virtues & Flaws, and full use of faeries in their sagas. It also the like. offers rules and background for players whose characters hail from or are well- We offer speeches on the topic by mor- acquainted with the land of the faeries. tals and faeries of the Ars Magica world throughout the book. Take this counsel with caution: the speakers may be wise or igno- rant, truthful or not. And nothing is certain What’s Ahead when speaking of the fey. This book is divided into four parts. The first three—Faeries in the Mortal Keep in Mind World, Faeries in Legend & Lore, and Faeries in Arcadia—are comprised of two ongoing narratives told from the point of It is important to dispel many of the view of two people. In the first narrative, modern ideas about faeries. Faeries are Gerin, a wandering troubadour with faerie much more than the fantasy notion of blood, describes his encounters with the “high elves,” which is simply a modern fey as he sets out to free his sister from the interpretation of a few faerie stories of Faerie Queen of Winter. The second narra- the British Isles. They are also more tive is a treatise on how to interact suc- than the gossamer-winged little folk cessfully with faeries, written for magi by that flitter about in cheery woodlands. Rebecca, a member of House Mercere of Ars Magica faeries are based on real the Order of Hermes, and chief librarian of faerie tales of medieval Europe, not on the covenant of Harco in northern Italy. modern fantasy novels or Victorian chil- 6 Links with Mortals dren’s stories. It is very important for the storyguide and the players to keep In some ways faeries need mortals. in mind this concept: this is not typical While faeries do not have children nor fantasy roleplaying material. Standard reproduce in any way on their own, fantasy races such as dwarves, elves, faeries and mortals may interbreed. and halflings bear little resemblance to These children are usually mortal, but anything in this book, so clear your often have special powers because of mind of expectations. their faerie blood. Faeries also highly value all forms of mortal creativity, and sometimes capture especially-creative What Are Faeries Like? mortals for their own strange plans or to indulge passing whims. Physically, faeries are incredibly Faeries sometimes seem to know the diverse. Not only do faeries come in a secrets of mortals they meet. This would multitude of shapes and sizes, but many indicate their having a strange invisible faeries can change shape and size at connection with the mortal world, even will. The powers and power levels of with that which is found inside the faeries are also highly varied, though Dominion. It is thought by some that invariably faeries are highly magical. faeries can see the reflection of our world in Some faeries can only perform minor theirs, the realm of Arcadia, and thus can tricks and illusions; others can do the learn our secrets. work of ten mortals in a single night, and a few are of such truly awesome The fey are mimics of sorts and will power that people made sacrifices to often copy the mortal society they per- them in pre-Christian times. ceive from Arcadia. They may copy the courtly graces and appearance of the However, in spite of the physical and nobility, or they may wear clothes like magical diversity of faeries, there are some those of local peasants. There have important traits they all share that should even been faeries encountered who be known by any who would deal with pretend that they are the inhabitants them. These are described below. of a covenant. Immortality Beyond Human Morality Faeries are immortal and ageless. Faeries are never evil in the human Unless mortals kill them, which is usual- sense of the term. They may be cruel and ly quite difficult, faeries will remain as vicious, but their cruelty is akin to that they are forever. One consequence of of a cat playing with a mouse. Faeries their immortality is their lack of an are not demons or angels and do not immortal soul. Faeries have no Heaven come from either Heaven or Hell, nor are for which to hope and no Hell about they particularly influenced by diabolic which to worry. For this reason, faeries or divine forces. have no gods and no religion. The whole concept of worshipping a deity is foreign to them. Although they do not have Faerie Magic behavioral rules imposed on them by a religion, they may have their own quite- strict rules about such things. These rules Faeries are magical creatures, but they are often curious and may not make do not cast magic spells as mortals do. sense to mortals. Do not ignore them, Rather, magic is something they create as however: only those mortals who know of naturally as mortals work with their hands such rules and heed them can deal favor- or speak. The least powerful faeries can do ably with faeries. things such as bring good or bad luck, 7 Faerie Realms strike mortals with paralysis, slay cattle, or feed on the goodness of grain or milk, leav- Most faeries live either in small ing it spoiled and useless. An important groups or as solitary hermits, but they faerie Power called Glamour involves the are occasionally found in courts or vil- making of illusions that can be indistin- lages. The areas where faeries live are guishable from real things to the mortals entirely different from mundane lands. who encounter them. Magic pervades every aspect of the place, making one’s dreams there seem more Faerie magic generally involves real than the hours spent awake. Every directly controlling some natural phe- different faerie area can be considered a nomenon or feature: winds, trees, fire, or faerie realm. Each of these fantastic even something as broad as every living places usually has its own unique struc- thing in a certain forest. Faeries associat- ture and operates under its own unique ed with humans often have limited con- natural laws (which can be very different trol of the natural world, and specialize from the natural laws of the mundane in controlling the thoughts and feelings world). In some ways, a faerie realm is a of humans, the actions of humans, or the very hard environment to describe to crafts of humans. your players and to roleplay in, but it can also be an extremely evocative and While some faeries seem wholly wicked compelling setting. to mortals, many are quite kind. All need to be treated with respect, however. Many a helpful brownie has turned into a mali- Arcadia cious boggart because some fool spurned or misused its gifts. Faeries are creatures of strong emotions, and it is perilous to trifle There is a realm beyond the faerie with their feelings. realms described above, farther from the mortal world than the deepest faerie forest The magic made by each faerie may or pool. It is called “Arcadia,” or display itself differently. Some faeries do “Faerieland.” There are many different not have any control over their magic ways to enter Arcadia, but you always nor any awareness that they are using it. need to do so from some spot within a Other faeries may express their magical faerie realm—usually the place that seems nature through superb craftsmanship, farthest from the mortal world. Once with- making creations impossible for a mortal in Arcadia, one perceives the mortal world to match. All faeries may speak any lan- as but a shadow. The mortal world may be guage as long as they are within the felt dimly, for the mortal things and places bounds of a faerie realm, a faerie aura, that mean most to the faerie world have or a regio. This ability is an element of reflections there, or “correspondences.” All their magical nature. else is strange to mortal eyes, and even time and direction cannot be determined using mortal standards. Where Do Faeries Live? The simple answer to this question is “Wherever it pleases them.” This is not just frivolity. Most faeries have strong correspondences to certain kinds of places. Faeries related to the Lands of Summer will be found in fields and thickets, while those related to Winter may be in mountains and caves. Where a faerie lives is where it feels it belongs the most (though other occupants of the area may disagree!). 8 Bibliography The following sources were consulted during the preparation of this book and are rec- ommended to those looking for more material to use in a saga. Quick Reference Arrowsmith, Nancy & George Moorse. A Field Guide to the Little People. London: Pan Books, 1978. Briggs, Katherine. An Encyclopedia of Faeries. New York: Pantheon Books, 1976. Froud, Brian & Alan Lee. Faeries. New York: Peacock Press/ Bantam Books, 1978. Useful Nonfiction: Baring-Gould, Sabine. Curious Myths of the Middle Ages. New York: Oxford University Press, 1978. Calvino, Italio. Italian Folktales. San Diego: Harvest/HBJ, 1956. Ivanits, Linda J. Russian Folk Belief. Armonk, NY: M. E. Sharpe, Inc., 1989. Kvideland, Reimund & Henning K. Sehmsdorf, ed. Scandinavian Folk Belief and Legend. Minneapolis: University of Minnesota Press, 1988. Lindow, John. Swedish Legends and Folktales. Berkeley: University of California Press, 1978. Yeats, William Butler, ed. Irish Fairy and Folk Tales. London: Walter Scott, 1893. Useful Fiction Cherryh, C. J. The Dreamstone. New York: Daw Books, 1983. _____. The Tree of Swords and Jewels. New York: Daw Books, 1983. Garcia y Robertson, Rodrigo. The Spiral Dance. New York: Avon Books, 1991. 9 A peasant woman tells faerie tales while the village blacksmith makes charms to keep the children safe from faeries out of horse- shoe nails. The horses in the stable are pro- tected from evil faeries by a horseshoe above the door, and the stable brownie is given his daily bowl of milk. 10 Illus. ©1995 Doug Shuler