Houses of the Blooded: Revenge, Part 1: The Duel

The ven are civilized creatures. They agree upon a set of laws, and abide by those laws, surrendering certain civil liberties in exchange for safety. Without this mutual agreement, the ven would be reduced to chaos. Nobles are the keepers of civilization, the watershed against that chaos. Even still, there comes a time when words and rhetoric fail, and when they do, the only recourse is action.

The noble caste recognizes this, and recognizes a citizen’s right to defend his honor, and defend it with blood, if necessary. Violence is a part of ven culture, but if arms must be taken up, they will be taken up with a mind toward justice and fair play. Two opponents, each with the same weapon, facing off to prove or disprove a claim of honor. This is the purpose of ritual bloodshed: to address the necessity of violence in a civilized culture.

As we’ve seen mentioned elsewhere, for the ven, revenge is a sacred part of their culture. Not to be trivialized, disrespected or abused. The ven right of revenge is sacrosanct. But, in order to perform revenge properly, you must know the proper rituals.

Most matters of honor can be settled with a duel as outlined in the book aptly entitled The Duel.

The Duel
The Duel is a small book—only a few pages—outlining and making clear the Senate’s overly complicated and convoluted system rules for revenge. Over the years, the ven have continued to manipulate the system, creating a labyrinth of laws. As the author of the work himself writes:

Before all other considerations, my sense of fairness and clarity in this matter bears the greatest weight. If the matter of violence is not made simple and straightforward, we are lost.

Authorship of The Duel is one of the most disputed in all of Shanri. The book was written under pseudonym, but many assumed it was the hand of Uthali Rondo, House of the Wolf, Baron of Taven who penned the document. It was only recently that some have come forward making the claim that his brother, Uthali Pennin, House of the Fox, Baron of Grendir was the true author. Evidence stands for both claims, but too much time has gone by for any truth to be discovered.

The Duel makes clear the procedures for a seeking revenge, starting with causes—both just and otherwise—and moving on to ritual.

Three Offenses
If a man so finds himself in a position where his honor is questioned, it is true that he may consider himself under grievance.
—The Duel

Senthal’Ushanaja. I have translated this word as “dishonor,” which is a tad bit weak. The original ven word literally translates as:
The moment my integrity has been so stained that it may only be cleaned with blood.

Please pardon me if I use “dishonor.”

The anonymous Author goes on to discuss what exactly constitutes an offense to one’s honor. He defines three offenses as valid arguments for grievance. The first is insult, the second injury, and the third serious injury. Each calls for a specific duel with its own rules and outcome.

Insult
“Insulting a man’s honor – chiefly by questioning it – is the least serious of offenses. Calling him a liar is the highest of these low offenses. Intimation is one thing; exclamation another.”
– The Duel

“Insult” is publicly questioning another noble’s honor. Calling him a liar, an adulterer, a welcher or a thief is cause for the claim of insult. According to the Duel, insult cannot be claimed without a witness willing to testify to the insult before a jury. This is why so many nobles couch their insults in word plays and innuendo, thus avoiding a duel.

Injury
“Injuring a man is inflicting a wound that shall leave a scar on his person, his livelihood or his heart.”
– The Duel

“Injury” is a more serious crime, one that results in physical, spiritual, or financial scar. The wording of the Duel is ambiguous, a fact many nobles have used to make claim to injury. Like a claim of insult, it must be brought before a jury to decide the validity of the claim. The discovery of an affair is the most common cause for a claim of injury, as well as theft, a loss of honor or Reputation.

Serious Injury
“Some injuries cannot be healed by words. Only blood.”
– The Duel

Finally, “serious injury” is reserved for offenses that cannot be undone. In other words, injuries that cause permanent and irreparable damage. This is the rarest of all three duels as most juries try to avoid declaring them. But in the most extreme cases, such injuries can only be settled with a duel to the death.

Declaring the Duel
Once the insult or injury has been made, the offended party must make a claim within two days of the incident. (From The Duel: “to prevent any meddlesome voices from fanning dying fires.”) Claiming revenge must be performed in a specific way or revenge has not been declared.
If no claim is made, no insult or injury has taken place; the offending party is assumed to have spoken the truth. If the offended party does make a claim, all further details are handled by “seconds.”

A second is a trusted friend or relative who speaks for and supports a noble engaged in a duel. The Duel forbids both parties any further contact until the duel, giving them space and time apart, allowing time for their tempers to cool.

The Jury
“A jury must be made op of men and women who are neutral in the affair, who have no vested interest in either the success or failure of the duel. An odd number is preferable, in the event of a tie. The jury is selected by the most distinguished peer at the site of the alleged grievance.”
– The Duel

When a claim of injury or insult is made, a jury must be formed to judge the validity of the claim. A jury is made up of an odd number of nobles. The Duel calls them “peers.” These peers are chosen randomly or by the seconds. Typically, the noble with the highest social rank chooses the jury.

The Duel does not list a number of peers for the jury. Hence, most nobles pick an odd number. However, it is implicitly understood that if the noble intentionally picks an even number of peers, he wishes the jury to come back with a split decision. If a clear decision cannot be made, no revenge can be declared.

The jury hears pleas from both seconds and decides who is the offended party in the claim. This can be a tricky situation, as both duelists want that title. Here’s an example to give you an idea. I took this from The Duel verbatim to demonstrate how complicated this can get.
Lord S______ claims Lord B______ has cheated him, claiming insult. Lord S______ rebuts that such a claim against him is a slight against his own honor, and thus, Lord S________—the accused—also has a rightful claim of insult. It now becomes the duty of Lord S______’s second to prove the claim, for if he doesn’t, Lord S______ becomes guilty of a claim insult, which can quickly escalate to a claim of injury (of character).

Like I said. Complicated.

Essentially, it boils down to this. If you make a claim of insult or injury, the person you make the claim against is fully within their rights to return the claim. That doesn’t always happen, especially when witnesses are present, but it can.

The jury hears all the evidence and testimony, then votes on the validity of all claims and sets them in order of injury. This becomes important later, when letters of apology are sent or a duel commences. The most serious injury is set at top, followed by less serious injuries, followed by the most serious insult and all subsequent insults.

Apologies
Once the jury agrees on the crimes, the seconds draft letters of apology for the opposing party to sign. Typically, three copies of the letter are drafted: one for the offended party, one for the offending party, and one for public notice.

A noble can refuse to sign a letter of apology, thus ensuring a duel. Letters are typically drafted with one signature addressing all the claims.

Arranging the Duel
If apology won’t settle the matter, all that’s left is bloodshed. The seconds meet to arrange the details of the duel. There are many factors to discuss, including time and place, weapons used, distance of stance, and the seriousness of the duel itself.

The Duel demands the offending party be given the right to choose the weapons while the offended party chooses the time and place. The seconds carry the demands and details of the duelists, sometimes making multiple meetings to finalize the details. All of these details are used as leverage points to either arrange for an apology (thus, dodging the duel) or to further enrage the other duelist (thus, ensuring bloodshed).

Choice of weapons is important and the primary concern of the seconds. They must make certain the weapons are identical to ensure a fair contest between the duelists. The offended party may waive his rights to “fair weapons,” allowing the offender to bring whatever weapon he likes to the duel.

Time and place are also important. Just as the offender has choice of weapons, the offended has choice of time and place. Duels usually occur just before dawn as the sun is rising, but not blinding. Noon is also a prime time for duels. Midnight is reserved for duels not approved by a jury, usually fought under a full moon to provide ample light for the duelists.

Finally, the seconds discuss distance of stance. This is how many steps lay between the duelists when the duel begins. This can also be an important factor, depending on the weapons employed in the duel.

The Duel
When the duelists finally meet on the field (having not seen each other since the whole affair began), weapons are chosen and the distance is taken. This is the first opportunity for apology.

In matters of insult, an apology may be made before the duel begins. The offender may make an apology, offering the offended party the opportunity to end the affair before bloodshed occurs. If the offended party accepts, letters are signed and the matter is settled.
In matters of injury, no apology can be offered until blood is spilled. Whether that’s first blood or a duel to injury is up to the duelists.

Duel to the Touch
In the case of minor insults, a duel to the touch may be appropriate. Both duelists stand a few steps apart and at the drop of a handkerchief, they draw swords quickly, trying to gain the first hit against his opponent. The duelist striking first is declared the winner and the affair is ended.

A duel to the touch is rare, usually insisted upon by the elders of a family who don’t wish to see their young killed in a senseless affair of honor. One duelist called this a “lady’s duel.” He was subsequently blooded and beaten by a woman duelist who overheard him and decided it was a matter of honor to defend her insulted gender.

Duel to the Blood
Also known as a “blood duel,” duels to blood are used to settle serious matters of insult. Claims of insult are resolved when one of the duelist is wounded to bleeding. This is the most common form of dueling, the others reserved for more serious affairs of honor.

Duel to Injury
More serious matters of honor call for a duel to injury. The duel proceeds until one opponent is blooded (as above). He is then allowed the opportunity to apologize (the offending party) or claim satisfaction (the offended party). An apology or concession ends the matter. If no apology or concession is given, the duel continues, breaking with each blooding. The offer of concession or apology is made again, and if none is made, the duel continues. If a duelist cannot continue for his wounds, the duel is over and the matter is finished.

Duel to the Death

For the most serious matters, a duel to the death is the only way to gain satisfaction. The duel ends when one duelist is mortally wounded. No offers of apology or concession are given, no breaks between blooding. The fight continues until one duelist falls, injured unto death.

After the Duel
Once the duel is over, the matter is settled. No further claims from the duel or its outcome may be made. The seconds are present to ensure a fair fight and prevent dishonorable actions. If they are honorable men, it is assumed the duel ended fairly.

Revenge for a fallen friend killed or wounded in a duel is forbidden. Both men agreed to enter into honorable violence and accept the consequences as honorable men. Plans of unjust revenge are dishonorable, left for men of lesser stature and spirit.

Houses of the Blooded: Falcon’s Courage

Blooded of the Falcon rejoice! I have made your Virtue cool! Take a look below and check it out.

___

Before any ven can take an action that may cause serious physical injury or death, he must first make a Courage risk. Jumping across rooftops, challenging a superior swordsman to a duel, or even flirting with your enemy’s wife. Danger. Injury. Death. Risk.

Most Courage risks are simple risks. The only thing you are competing against is your own fear. Target number 10.

FAILURE
If you fail the Courage risk, a couple different things happen.

First, if the dangerous action you are about to undertake is not a risk, but an action (no dice rolled), you must spend a style point to perform the action. You have to overcome your fear.

Second, if the dangerous action you are about to undertake is a risk, you lose two dice from your pool. Your fear influences your actions.

SUCCESS
If you succeed the Courage risk, a couple different things happen.

First, if the dangerous action you are about to undertake is not a risk, but an action (no dice rolled), you convert your wagers into style (two wagers per style, remember). This represents the panache with which you perform the dangerous action in question.

Second, if the dangerous action you are about to undertake is a risk, every wager you make adds an additional die to your dangerous risk. If you cannot use your wagers in the subsequent action, you can convert your wagers into style as usual.

For example, Shara’s been insulted by Duke Rinheld, a known swordsman of great skill and little mercy. She has a choice. She can accept the insult or challenge the man to a duel. The GM tells me doing so requires a Courage risk.

Shara’s Courage is 3. I get three dice to roll against a 10. I look at Shara’s aspects and find nothing to help me. I get three dice.
Roll. 3, 2, 2. A total of 7.

Because Shara’s next action—challenging a superior swordsman to a duel—is not a risk, but an action, I have to spend a style point to do it. I can opt not to spend the style point and let Shara back down, or I can spend the style point and have Shara slap the Duke’s face.

I decide to spend the style point. Shara has to overcome her fear. That costs her a little. Even if it is a little bit of style.

Another example.

Shara’s been cornered by a jealous Lady Talza. Lady Talza’s swordsman stands behind her, his hand on his pommel. The wife asks, “Did you sleep with my lover?”

Shara actually wants to tell the truth in this circumstance, but everyone is watching. And that swordsman is right behind the Lady Talza. So, the GM says, “Make a Courage risk.”

Again, Shara has three dice to roll. But, I announce that one of Shara’s intentions in telling the truth is breaking Lady Talza’s heart. I point at one of Shara’s aspects. I Know How to Hurt You. The GM admits this is an appropriate aspect. I spend a style point to invoke the aspect (because I already used it at the party once) and I get to roll six dice. Three for my Virtue and three for my aspect. I tell the GM I’m using two of those dice for wagers.

Roll. 6, 5, 4, 1. More than 10.

“Of course I did,” Shara says. “And I have to say, I’ve had more difficulty convincing my butler to bring me a cup of mead.”

Not only does Shara get to do what she wants without penalty, but I get two style points for doing so as well.

ORKS
Some orks have a Terror rank. This represents the terror they invoke. When a character first sees an ork–ripping through the treeline, its jaws drooling, its claws wet with blood–we call for a contested roll. The ven’s Courage against the ork’s Terror. Roll dice.

If the ork rolls higher, the ven loses one die from every risk it takes against the ork. The ven loses an additional die for every wager the ork made with its Terror roll.

If the ven wins, he gains a number of bonus dice in every risk he takes against the ork equal to his wagers.

__

I think I finally got it.

Anyone who takes Strength or Cunning or Prowess as a weakness is at a serious disadvantage. Now, whoever takes Courage as a weakness is also at a serious disadvantage.

But the advantage is there as well. Its no wonder the Falcon are who they are. They’ve got Courage on their side.

LA Con

I planned on making it out to the LA Con this year, but circumstances have conspired against it. I even took time off from work, planned on grabbing my stuff out of storage and moving it all out to my new place. Lost the deposit on the rental car, the deposit on the truck.

I was looking forward to seeing folks, running & playing games, and getting my drum kit back. No luck.

Darkpages: Wicked Heroes

As soon as I get a final copy of Jared’s Darkpages, I know what setting I’m using.

(Heroes/Aberrant/Rising Stars similarity caveat.)

Everybody makes a character. Normal, average, everyday Joe. Cop, cheerleader, Federal agent, painter, whatever.

Then, the Event happens. Each player draws a power out of a box.

Here’s the trick. Everybody is Syler.

Kill a hero, steal his power.

Let the game begin.

Rush: Far Cry Video & Lyrics

Pariah dogs and wandering madmen
Barking at strangers and speaking in tongues
The ebb and flow of tidal fortune
Electrical changes are charging up the young

It’s a far cry from the world we thought we’d inherit
It’s a far cry from the way we thought we’d share it
You can almost feel the current flowing
You can almost see the circuits blowing

One day I feel I’m on top of the world
And the next it’s falling in on me
I can get back on
I can get back on
One day I feel I’m ahead of the wheel
And the next it’s rolling over me
I can get back on
I can get back on

Whirlwind life of faith and betrayal
Rise in anger, fall back and repeat
Slow degrees on the dark horizon
Full moon rising, lays silver at your feet

It’s a far cry from the world we thought we’d inherit
It’s a far cry from the way we thought we’d share it
You can almost feel the current flowing
You can almost see the circuits blowing

One day I feel I’m on top of the world
And the next it’s falling in on me
I can get back on
I can get back on
One day I feel I’m ahead of the wheel
And the next it’s rolling over me
I can get back on
I can get back on

It’s a far cry from the world we thought we’d inherit
You can almost see the circle growing
You can almost feel the planets glowing

One day I fly through a crack in the sky
And the next it’s falling in on me
I can get back on
I can get back on

from thelastmehina

3 things from my interests list: Duty, Harlan Ellison, Loyalty.

Duty and Loyalty first. They go together.

A long time ago, I learned about Aristotle’s trinity of virtue: Compassion, Temperance and Courage. Compassion is the ability to understand the suffering of others. Temperance is the ability to say “no.” Courage is the ability to know that some things are more important than you.

These are Aristotle’s big three. I can’t really argue with those.

On the other hand, there are his other virtues. One of them is Duty.

Duty is the compulsion we feel to do what we feel is right. Compassion, Temperance and Courage are virtues, but Duty is our desire to be virtuous. Aristotle argued that every human being feels this compulsion, but weakness leads us away from proper action.

Loyalty is something else. Not Aristotle, but the virtue I learned reading the Arthurian romances. The difficult path–the sword bridge–between duty and love. Selflessness and desire. All the romances–all of them–break down to this basic conflict. Loyalty to your liege or the love of your heart.

That particular conflict still fascinates me. I don’t think I’ll ever get bored exploring it.
___

Now. Harlan.

I met him. Briefly. The Museum of TV & Radio in LA. He was there as part of a “Speculative Fiction on TV” talk along with a bunch of other people. Afterward, he was signing books. I bumbled the whole thing. I wanted to say something important. Bumbled.

Harlan is a brilliant, troubled man. Medicated now, he’s better. I understand that kind of pain. Compassion. His writing pushes me to be better. And his refusal to compromise on what he believes is right.

It’s interesting to hear people talk about who he hates. Ask the right people, he hates whites, blacks, women, Jews, whatever. When I ask those people, “Have you read what he actually wrote?” they usually lie and tell me they have. A few quick questions and I know they haven’t.

He’s funny. He’s scary. More than that, I think he cares too much. So much, it hurts him. And it hurts the people around him. I know how that feels, too.

HEROES FINALE (This Will Not Win Me Any Fans…)

Sometimes, the ideas talk back.

Last night, I watched the season finale of Heroes. At the end, I felt sad. Let me tell you why.

Writers are supposed to be true to their characters. Supposed to be true. Sometimes, the ideas talk back. We send out signals to “ideaspace,” to “imagination,” to the place where characters and stories come from. And sometimes, the ideas talk back. They send us signals.

Robert E. Howard did not create Conan. He summoned the Cimmerian. Felt the Barbarian was over his shoulder, watching. Listening. Alan Moore talks about the time he met John Constantine in a pub. The bastard smiled, winked at him. Don’t ask me about Kachiko.

We send out the signal. Sometimes, the ideas talk back.

Ideas are just as real as we are. Made from the same stuff. (Lord Strange talked about this months ago.) We are all made from the same stuff. Even our ideas. Even our characters. Huck Finn and Sherlock Holmes. Hannibal Lecter. Jesus, Buddha, and Aslan.

All just as “real” as you and me.

So when I watch the season finale last night, this is what I saw…

They’re all supposed to confront Syler. The scene is there and everybody’s there. The Psychic Cop, the Cheerleader, Tylera Durden, Mary Sue Hiro, the Absorbing Man. They’re all there. I think to myself, “Aha. Here’s how it works.”

The Psychic Cop gets shot with his own bullets. Okay, he’s gonna read Syler’s mind and tell everyone else what Syler is going to do before he can do it. He’ll shout it out, bleeding to death, using his last minutes on Earth to save that same Earth.

The Cheerleader takes the punches. She can do that. She uses the Psychic Cop’s shouts to cut off Syler’s every move.

Tylerna Durden kicks the crap out of him.

All the while, the Absobing Man is using all the powers he’s absorbed to knock around Syler.

It’s almost not enough. Syler keeps getting moments of advantage and takes advantage. Because that’s what he does. He sees how things work. And then, finally, Mary Sue Hiro gets him in the gut. And he has the opportunity to kill Syler…

… but he doesn’t. Because that’s not what heroes do. “I’m a hero, not a killer. That’s not what heroes do.”

“No,” says Cheerleader’s dad. “That’s what I do.” And then, he kills Syler.

That’s the ending I saw. That’s not the ending we got.

Instead, the Psychic Cop gets taken out of the fight at the very beginning. If that’s your favorite character, fuck you. Your favorite character’s lame.

Then, Tylerna Durden smacks Syler around for a little while, but he takes care of her quick. She’s out. Too bad, chumps.

Then, here comes Hiro. He’s gonna save the day. He guts Syler. Great! The Mary Sue character wins. Syler is on the ground, bleeding to death. And what happens next?

For no reason at all, the Absorbing Man is gonna explode. The Cheerleader has the gun. “Holy shit!” I think. They’re gonna do it. They’re gonna put her in the position of having to choose. Who is she? Hero or villain?

Oh, wait. She doesn’t have to choose. Because big brother flies up and takes that choice right out of her hands. And he flies away with little brother.

Say… wait a sec. Can’t the Absorbing Man fly himself? Can’t he just absorb his brother’s power–even if he hasn’t already–and fly away himself?

Lame. Lame, lame, lame.

And then, to top it all off, Syler’s really not dead.

Suck it, Hiro. Suck the big fat cock of you weren’t even smart enough to kill Syler when you had the chance.

Nor was anyone else. Not Psychic Cop, not Cheerleader’s Dad, not Cheerleader, not Tylerna Durden, not nobody. NOBODY bothered to check and see if Syler was really dead.

The heroes of Heroes were cheated out of a smart ending. Cheated with lazy writing.

No, sir. I did not like it.