The SroRyrelling Qame of OOodeRn Fanrasy

Changeling: The DReamingTCD CReared 6y CDaRk Rein@Hagen,

Sam Chupp and lan Lemke Luirh Joshua Qa6Riel H
Second Cdirion 6y lan Lemke

CRedirs

Playtesters: Charles J. Rodgers, Jean L. Rodgers, Mark K.

Rodgers, Erin Rodgers, David P. Spencer, Christopher A. Smith,
Original Concept and Design: Mark Rein'Hagen, Sam Bobby Sinders, J.D. Hubble (Indiana); Wayne Peacock, Deena
Chupp, and lan Lemke with Joshua Gabriel Timbrook
McKinney, Thomas Deitz, Gilbert Head, Brian Finneyan,
Second Edition Design and Development: lan Lemke
Catherine Little, Forrest B. Marchinton, Catehrine Hackett
Written by: Brian Campbell, Jackie Cassada, Richard (Athens); Jackie Cassada, Carla Hollar, Heather K. Williams,
Dansky, Chris Howard, Steve Kenson, lan Lemke, Angel Leigh Nicky Rea, Tadd McDevitt, Andie McDevitt, Beth Bostie
McCoy, Deena McKinney, Neil Mick, Wayne Peacock, Nicky (Asheville); Neil Mick, Arwyn Moore, Jamar Andrews, BenRea, Michael Rollins
jamin F. Stanton (San Francisco) Angel Leigh McCoy, Gilbert
Additional Contributions by: Phil Brucato, Richard Isla, Joseph W. Johns III, Marshall S. Bash, Kenneth Aunchman,
Karin Arnst (Blacksburg); Stephan Herman, lan Gurudata,
Dansky, Rob Hatch, Ethan Skemp
Tracey Ellison, Kateri Belanger, Rene Van Den Bosch, AnEditing: Cynthia Summers
Additional Proofreading: Ken Cliffe, Donna Hardy, Jen- thony Green, Alan J. Pursell, John F. Zmrotchek and many
others who helped make this game possible.
nifer Hartshorn, Laurah Norton, Allison Sturms, Fred Yelk
Dedicated to Jim Henson, whose inspiration continues
Art Director: Aileen E. Miles
to
return
us to our childhood, and to Neil Caiman, who tears
Artists: Andrew Bates, Tony Diterlizzi, John Dollar, Jason
aside
the
veil
to show us our hidden dreams.
Felix, Richard Kane Ferguson, David Fooden, Michael Gaydos,
I would also like to thank everyone at White Wolf who
Rebecca Quay, Anthony Hightower, Jeff Holt, Mark Jackson,
supported
this project and everyone else who contributed to
Brian LeBlanc, Stefani McClure, Heather J. McKinney, Rick
making
this
book a reality.
O'Brien, Shea Anton Pensa, Paul Phillips, Steve Prescott,
Adam Rex, Drew Tucker, Valeric Valusek
Cover Design: Aileen E. Miles, Joshua Gabriel Timbrook
Typsetting and Layout: Aileen E. Miles

735 PARK NORTH BLVD.

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TE W O L F

USA

GAME STODIO
1997, 1998, 1999, 2000 White Wolf Publishing, Inc. All rights reserved. Reproduction without the written
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be reproduced for personal use only. White Wolf, Vampire the Masquerade, Vampire the Dark Ages and Mage the Ascension
are registered trademarks of White Wolf Publishing, Inc. All rights reserved. /Eon, Werewolf the Apocalypse, Wraith the
Oblivion, Changeling the Dreaming and Werewolf the Wild West are trademarks of White Wolf Publishing, Inc. All rights
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The mention of or reference to any company or product in these pages is not a challenge to the trademark or copyright
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PRINTED IN CANADA.
Changeling: The DReamlng

Ta61e of Conrenrs
IntRoduction

PRologue: The young Knight

10

booh One: Childling

28

ChapteR One: The DReamigf|

30
50

ChapteR lluo: A (JJoRld qf Bieams

ChapteR ThRee: The Kk

book TUJO: CJJildeR

ChapteR Si;c Basic Rules

112
114
170
190

book ThRee: CJRUinp

200

ChapteR Seven: QamouR Systems

202
228
258
274

ChapteR FOUR: ChaRactel

ChapteR Five: ARts and Re

ChapteR Cight: DRamatic Systems

ChapteR Nine: StORytelling

Appendi/:

Doubting, dreaming dreams no mortal ever dared to dream before.

The Raven, Edgar Allan Poe

The gates to the Realms of Faerie are closed. Humankind

has turned its back on the magical in favor of a new dream a
dream of a sterile, banal world with no mysteries or wonder. A

world where all the questions have been answered and all the
puzzles of the universe solved. And yet, in the quest for this
Utopia, much of humankind has lost a little of themselves. They

have forgotten how to dream....

When the last trods to Arcadia closed and the gates

slammed shut, there still remained a few of the Fair Folk living

alongside humanity. These stranded fae were forced to adopt

a new way of living in order to survive the sheer power of
humanity's collective disbelief in all things magical: they
became mortal themselves, sheltering their fragile faerie souls
in mortal flesh. And yet these fae continue to dream of a day
when humanity will once more return to the mystical. In the
centuries following the Shattering, the fae have quietly fostered the dreams of mortals, seeking to usher in a return of the

When you play Changeling, you will come to understand that

faerie tales aren't just for children (not that they ever were), and
that they don't always have happy endings. You will discover what
it is like to be exiled from your homeland, persecuted for your true
nature and unable to express the beauty welling up from your soul.
You will know what it is like to be alone in a crowd, to be aware of
the power of dreams and to be able to tap the power of magic. And

you will learn what it is like to be helpless in the arms of Fate and
unable to stop the crushing weight of Banality from robbing your
memory of all you have discovered.
Enter into the realm of the Dreaming a place of
unimagined wonder and impossible terror.

A6our This book

Changeling is a game of make-believe, of pretend. But it
is not a "game" in the normal sense of the word; Changeling
is more about storytelling than it is about winning. If you've

halcyon days when the fae were welcome and could openly
walk among mortals.
Changeling is a storytelling game about the Dreaming.

never played a storytelling game before, you may be confused

by the whole premise of such games. Once you grasp the basic

It's about lost innocence, about the cynicism of adulthood

that strange.

and make-believe come to life, about imagination taking

fruit. Herein you will find an invisible world of fantasy that
exists alongside our reality a place of delight, mystery and

You and your friends are going to tell stories of wonder

and delight, tales of love and romance, tragedy and peril,

enormous peril.

stories are the lost fae.

Changeling: The DReaming

concepts, however, you'll find storytelling games aren't all

lurking evil and heroic triumph. And at the heart of these

These stories will capture your imagination far more readily

than any play or movie. Likewise, they are of a darker tone than
the children's fairy tales you might remember (although those,
too, were rather grim in places). This is because you are inside the
story, not just watching it. You are creating it as you go along,
and the outcome is always uncertain.
What you need to do now is read this book, a little bit at
a time, and enjoy it. You don't have to study it like a textbook

or devour it like a newspaper. Just browse. Later on, when

you're playing, you can consult and refer to whatever you
need. You don't need to memorize anything just have an
idea of what your character can do and understand the world
in which she adventures. Don't let anything in this book
scare you out of having a good time storytelling is, first and

Today we no longer tell stories we listen to them. We

wait to be picked up and carried to prepackaged worlds. We have

become slaves to our TVs and VCRs, permitting an oligarchy of

mythmakers to dictate the content of our imaginations.

It need not be this way. Storytelling on a personal level can
be returned to our culture. This is essentially what Changeling
is about: not stories told to us, but stories we tell others. Through
the game and art of collaborative storytelling, we create new
stories and claim the ancient myths and legends for our own.
Storytelling allows us to understand ourselves by giving us
a medium to explain our triumphs and defeats. By looking at our
culture, our family and ourselves in new contexts, we can
understand things we never before realized. Storytelling is
entertaining because it is so revealing, exhilarating because it is

foremost, about fun.

so true. Our fascination with stories has a purpose to itof that

Changeling Kind

there is no doubt.

You lead a double life, alternating between reality and

fantasy. Caught in the middle ground between dream and
wakefulness, you are neither wholly fae nor wholly mortal, but
burdened with the cares of both. Finding a happy medium

between the wild, insane world of the fae and the deadening,
banal world of humanity is essential if you are to remain whole.

Such a synthesis is by no means easy. Mortal affairs seem

ephemeral and trivial when you stand amid the ageless magnifi-

cence of the Seelie Court. When you don garments spun of pure

moonlight and drink wine distilled from mountain mists, how

can you go back to polyester and soda pop?
Alas, you have no choice. Although your faerie self is
ageless and eternal, your mortal body and mind grow older and
less resilient as you move through life. Sooner or later, nearly all
changelings succumb to one of two equally terrifying conditions: Banality, the loss of their faerie magic; or Bedlam, the loss
of their mortal reason.

But is this fate inevitable? Can you retain your childlike

wonder while fighting against the frigid Banality that seeks
to numb your mind and steal your past? Can you ride the
currents of the Dreaming without being swept away in the
maelstrom of Bedlam?
You stand alone in the mundane world. No mortal will ever

understand the depth of your alienation, strangeness and uniqueness. Though you may try to communicate your condition
through art (and many have tried and failed), only those with
faerie blood will see, understand and appreciate what you are.

An exile among exiles. Lost among the lost. The stranger

in every crowd.
Hail, fellow traveler welcome to the Dreaming.

SroRyrelling
Long ago, before movies, TV, radio and books, we told each
other stories: stories of the hunt, legends of the gods and great

heroes, bardic epics and tales of ravening monsters. We told

these stories aloud, as part of an oral traditiona tradition that
we have virtually lost.

Roleplaying
Changeling is a storytelling game, but it is also a roleplaying
game. As a Changeling player, you not only tell stories, but
actually act through them by assuming the roles of the central
characters. It's a lot like theatre, but you make up the lines.
To understand roleplaying, you need only think back to
your childhood and those wonderful afternoons spent playing

Cops 'n' Robbers, Cowboys and Indians, or Dress-Up. What you

were doing was roleplaying, a sort of spontaneous and natural
acting that completely occupied your imagination. This playacting helped you learn about life and what it meant to be a
grown-up. It was an essential part of childhood, but just because
you have grown up doesn't mean you have to stop.
In Changeling, unlike pretend, there are a few rules to
help you roleplay. They are used mainly to avoid arguments
"Bang! Bang! You're dead!" "No I'm not!" and to add
a deeper sense of realism to the story. Rules direct and guide
the story's progress and help define the characters' capacities
and weaknesses.
Changeling can be played with nearly any number of
players, but roleplaying games in general work best with six or
fewer players. Mystery and flavor are diminished when players

must compete for attention.

The essential rules of Changeling are described in Chapter Six.

The SroRyrelleR
Changeling is structured a little differently from the games
with which you might be familiar. In the first place, there is no

board. Second, one player must assume the role of Storyteller

the person who creates and guides the stories.
Being the Storyteller is a bit like playing the Banker in
Monopoly , but bears greater responsibilities and rewards than
control over a handful of play money. The Storyteller describes
what happens to the characters as a result of the players' words
and actions. She decides if the characters succeed or fail, suffer

or prosper, live or die. Storytelling is a very demanding task, but

it is equally rewarding, for the Storyteller is a weaver of legends.

IntRoduccion

The Storyteller's primary duty is to make sure the other

players have a good time. The way to do that is to tell a good tale.
Unlike traditional storytellers, however, the Storyteller doesn't

simply tell the story. Instead, she creates the skeleton of a story,
and then lets the players flesh it out by assuming the roles of its
leading characters.
Storytelling in Changeling is a careful balance between
narration and adjudication, between story and game. Sometimes the Storyteller must set the scene or describe what occurs,
but mostly she must decide how the environment responds to
the characters. She must be as realistic, impartial and creative
as possible.
As the Storyteller, you are in charge of interpreting and
enforcing the rules, yet you are also an entertainer you must

struggle to balance your two roles. This book was written to help
you do just that. It won't make being a Storyteller easy, because
it never will be easy, but it will make you better at it.

The role of the Storyteller is explained in more detail in

Chapter Nine.

PlayeRS
Most Changeling players will not be Storytellers. They
will instead assume the roles of the central characters in the
story. Being a player does not require as much responsibility

as being a Storyteller, but it does require just as much effort

and concentration.
As a player in a Changeling chronicle, you assume the
persona and role of a changeling a faerie being whom you
invent and then roleplay over the course of one or several

stories. The life of your character is in your hands, for you decide
what the character says and does. You decide which risks to

accept or decline. Everything you say and do when you play your
character has an effect on the world.

You must also be an actor. You speak for your character and
act out whatever you want your character to do or say. Whatever
you say, your character says, unless you are specifically asking
the Storyteller a question or are describing your actions.
As a player, you try to do things that allow your character
to succeed and thus "win the game." This strategic element of

the game is essential, for it is what so often creates the thrill and
excitement of a dramatic moment.
Often, after describing the actions "you" want to take, ydu
may have to make dice rolls to see if your character successfully
accomplishes what you have illustrated with words. Your
character's Traits

numbers quantifying her strengths and

weaknesses dictate how well your character can do certain

things. Actions are basic elements of Changeling, for it is

through actions that characters change the world and affect the
course of the story.
Characters are central to a story, for they alter and direct
the plot. Without characters you can't have a story. As the story
flows, the characters, not the decisions of the Storyteller, direct
and energize the progress of the plot.
To some extent, each player is an assistant Storyteller.
Players should feel free to add ideas and elements to the story,

Channeling: The

although the Storyteller may accept or reject them as she sees fit.
In the end, a good story is the most important goal. Players and
Storytellers work together to make a story come to life.

ChdRacrcRs
Many different elements compose what we think of as the
"self too many, in fact, to separate or identify. We really
don't know who or what we are. It is from this essential diversity

of self that our desire and ability to pretend to be someone else

originate.
Characters are the literary versions of real people they are
not real, but they do capture some aspects of reality. Only when you
enter the world of the story can your characters become complete.

They are real only with you as the animating force the soul, if
you wish. Treat your characters as unique individuals, as works of
art, or as fragile expressions of your poetic sensitivity. You must
treasure the characters that you create.

Changeling characters are easy to create. It takes less than

half an hour to choose all the Traits that describe your character.
It takes more time and effort to turn this collection of numbers
into a living, breathing character. You must reach deep inside
yourself to produce a complete character. The Frankenstein

monster was easily assembled from available body parts; it was

the breath of life that proved difficult.
Character creation is discussed in detail in Chapter Four.

(JJinneRs and LOSCRS

There is no single "winner" of Changeling, for the object is
not to defeat the other players. To "win" at all, players need to
cooperate with each other. Because this is a Storytelling game,
there is no way for one person to claim victory. Moreover, the
Changeling world is fraught with danger: monstrous chimera,
implacable Dauntain, ever-encroaching Banality and the machinations of the Unseelie Court. Players cannot afford to squabble
with their brethren, for so doing leads to death and the only

true measure of success in Changeling is survival.

If, however, a character has some overwhelming motivation (such as aneed for vengeance), accomplishing this goal also
becomes a measure of success. Stories and extended chronicles
often come to conclusions that either benefit or harm the

characters. If the players can turn stories to their characters'

advantage, they have "won," at least for the moment. When a
group of changelings manages to rescue a fellow changeling who
has been captured by one of the Dauntain, those changelings
can be considered to have "won" a temporary victory. If the
Dauntain has powerful friends among the occult underground,
however, attacking that individual may prove a dangerous
exercise in the long run. A "victory" under these circumstances
can become worse than defeat.

To achieve even partial victory, characters must usually

become friends, or at least watch out for and have a modicum of
trust in each other. The World of Darkness is a dangerous place,

so trustworthy allies are essential. A divided group will not

survive for long.

Playing Aids
Changeling was designed to be played around a table.
Though the game does not require a board, a number of props
require a table to use properly. Dice, pencils, paper and photocopies of the character sheet are the only other necessary items.
The dice required are 10-sided; these you can purchase in any
game store. The Storyteller may also want paper (to sketch out
a setting, thus making it easier to describe to the players) and a
few other props to show the players what the characters see
(photographs, matches, scarves anything to make the expe-

rience more vivid).

How ro Use rhis Boofs

The information in Changeling has been divided into three
books for easier access:

Book One: Childling: These three setting chapters offer

a wealth of information about the history, society and cosmology of changelings. The actual rules for playing the game can be
found later on, but reading these chapters allows you to understand what Changeling is all about. Chapter One: The Dream-

Book Two: Wilder: These three chapters contain the

core rules needed to play Changeling. Chapter Four: Character
Creation contains all of the information you will need to create
a character. Chapter Five: Arts and Realms explains the
magical powers of the fae, known as the Arts and Realms.
Chapter Six: Basic Rules covers the basic ideas of how to play
the game, converting ideas and situations into dice rolls.

Book Three: Grump: These final chapters contain some

extra systems and Storyteller help to add a few bells and whistles
to your Changeling game. Chapter Seven: Glamour Systems
offers all of the rules pertaining to changeling magic. Chapter
Eight: Dramatic Systems outlines a number of different ways to
resolve conflicts during a game as well as showing how a character's
Traits increase or decrease during the course of a chronicle.
Chapter Nine: Storytelling is intended as an introduction to
Storytelling, giving both new and experienced Storytellers ideas
for chronicles and advice for how to keep things moving. The
Appendix provides a range of potential enemies and other characters for changelings to interact with, including mortals, chimerical
beasts, wraiths, vampires, mages and werewolves.

ing examines the realms of the Dreaming as well as the chimeri-

OrheR Changeling SouRce&ooks

cal creatures that changelings often interact with. Chapter

Two: A World of Dreams offers a complete history of the fae
as well as an in-depth look at changeling society. Chapter

The following books offer you a range of possibilities

beyond the basic rules, and are recommended for serious Changeling players.

Three: The Kithain details the various races of the fae as well

as the noble houses of the sidhe.

Nobles: The Shining Host offers a detailed look at the

nobility of the fae, plus a new noble house and new Arts.

InrRoducrion

The Shadow Court is an invaluable book for Storytellers

who wish to have a strong Unseelie presence in the chronicle.
This book not only offers complete information on the Unseelie

Court, but has complete information about the three Unseelie

houses and new Unseelie Arts.
The Immortal Eyes Trilogy (The Toybox, Shadows on
the Hill and Court of All Kings) is a series of settings and
adventures that mirrors the novel series of the same name. Each
of these books offers a complete setting for Changeling as well
as mini-adventures that can be inserted into any chronicle.

Dreams and Nightmares presents an in-depth look at the

realms of the Dreaming.

con
The fae have a distinct patois that draws on many different
tongues and gives many new shades of meaning to mortal words.
One can often identify a changeling's age or station by listening
to the parlance he uses.

Common Parlance
Following are the most common general terms in use
among changelings.

Arcadia The land of the fae; the home of all faeries

within the Dreaming.
Arts The ways of shaping Glamour.

Autumn The modern age.

Balefire The fire that is the focus of Glamour in a
freehold.
Bedlam A kind of madness that falls upon changelings
who stray too far from the mortal world.
Banality Mortal disbelief, as it affects changelings and
their Glamour.

Bunk The price Glamour exacts for its power.

Cantrip A spell created through Glamour by using a
combination of Arts and Realms,
Champion A warrior chosen by one of higher rank to
fight in his stead. A champion always wears the token of his
patron, which he keeps if he wins the duel.
ChangelingA fae who has taken on mortal form in order
to survive on Earth.
Childling A child who has come fully into his changeling nature; this lasts until he becomes a wilder, around 13 years
of age. Childlings are known for their innocence and affinity
with Glamour, and are well-protected by other changelings.
Chimera A bit of dream made real; unseen by mortals,
chimera are part of the enchanted world. Chimera may be
objects or entities.
CommonerAny of the changeling kith who are not sidhe.
Dauntain Faerie-hunters, deeply twisted by Banality.
Deep Dreaming, The The furthest reaches of the
Dreaming. The most powerful Dream Realms, such as Arcadia,
exist here.

Changeling: The DReaming

Dreaming, the The collective dreams of humanity.

Changelings often travel in these realms both to seek adventure
and to gather the raw dreamstuff that can be used in Grafting
chimera.

Dreamrealms The lands comprising Arcadia and the

other realms of the Dreaming.

Enchant To imbue a mortal with the power to see the

faerie realm.
Escheat The highest faerie laws.
Fae, FaerieA being indigenous to the Dreaming (though
not always a current resident thereof).
Fae Mien A changeling's faerie visage, visible only to
other changelings and enchanted beings.

Far Dreaming, TheThe Far Dreaming is only attainable

through the Near Dreaming. Many Dreamrealms exist here.

Fathom A deep-seeking, protracted use of the Art of

Soothsay. Also called the Taghairm.
Fior A contest, the point of which is to determine
justice.
-^
Fledge A newly awakened changeling of any age.
Freehold A place that is infused with Glamour. Important to all changelings, freeholds are proof against Banality

for a time.
Gallain 1) "The Outsiders," those who may be Kithain
but whose origins, customs and magical ways are not under-

stood. 2) Any inscrutable creature of the Dreaming.

Glamour The living force of the Dreaming; changeling

magic.

GrumpA changeling of elder years, usually beginning at

about the age of 25. Very few changelings reach this age most
succumb to Banality long before.
Hue and Cry 1) A hunt called out against a criminal. 2)
The call of all changelings to come and defend a freehold.

Kin Human relatives of a changeling who do not possess

faerie blood.

Kinain Human kinfolk of a changeling who possess

faerie blood and frequently have strange magical "gifts" because
of it.

Kith All the changelings of a kind, or race. One's kith

determines the nature of one's faerie guise and soul.
Kithain Changelings' self-referential term.

Liege One's sworn noble sovereign, whether baron,

count, duke or king.
Long Winter, the The prophesied eradication of all

Glamour.
Mists, the A metaphysical curtain of humanity's collective disbelief. The Mists are responsible for the following: 1)
The tendency of mortals to forget the effects of Glamour and the

presence of changelings after a very short time; 2) The tendency

of Banality-tainted changelings to forget their faerie lives.
Mortal Seeming The mortal appearance of a changeling. This is how mortals perceive a changeling.

Motley A family or gang of commoners.

Near Dreaming, The The realm of the Dreaming most

easily assessable from Earth, usually by a trod.
Noble Any changeling raised to noble title; although

nobles are traditionally sidhe, lately commoners have begun

receiving noble positions.
OathbondThe mystical bond created by the swearing of

an oath.
Realms The five aspects of the world with which
changelings have affinity.
Resurgence, The The time when the sidhe returned in

1969.
Retainers Any servants of a liege.
Saining "The Naming"; a ritual performed on a newly
awakened changeling to determine his kith, his True Name and
his place in the Dreaming.
Shattering, The The time when the last sidhe departed
and the last trods to Arcadia closed.
Sundering, The The time when humanity first began to
turn away from their dreams; the Iron Age.

Tara-Nar The great freehold castle of High King David.

Beneath it is the Well of Fire, from which all balefire comes.
Time of Legends The age when magical powers ran free

in the world.
TrodsMagical gateways, faerie roads; some lead to other
freeholds, some to the Dreaming itself.

Tuatha De DanannThe mysterious progenitors of the fae.

Vassal The sworn servant of a liege.
^
Vellum A specially preserved chimerical hide on which
changeling scribes write.
Wilder A changeling of adolescent years, usually from
age 13 to age 25. Known for their wild undertakings and loose
tempers, wilders are the most common changelings.

Yearning Also called "the Gloomies," the Yearning is

the utter longing for Arcadia that overcomes grumps as Banality

encroaches upon them.

Chummery A particularly hospitable freehold.

Cozen To cheat someone or steal something.
Fancypants A nickname for sidhe or any self-absorbed
noble.

Foredoom When a use of Soothsay prophesies very bad

news.

Jimp To create a faerie token or charm.

Mew A commoner freehold, typically controlled by a
motley.

Mux TO reaSy screw up something; to add chaos and

disorganization to things. "You really muxed things up this time!"
Sots Mundane people; "sothead" and "sot-brain" are
popular epithets.
Old FoRTD

These are the terms used by nobility (especially sidhe) and

more sophisticated grumps. These words are seldom used by
younger exiles, but are still fashionable vernacular among the
older members.
Burgess A mortal; sometimes used to refer to commoners.
Crepusc The period at the end of any faerie festival
when activities have begun to die down, but the night is not yet

over. It is said to be a particularly mystical time, when the

perceptive will discover many secrets.
Clarion A call to war made by a noble to his vassals.

Covey A group of changelings united by an oathbond.

Chrysalis The dawn of fae consciousness, the great
awakening into one's changeling nature.
Dan Fate; one's destiny and karma.
Draocht Cantrips and other changeling magic.
Driabhar A treasure, usually one of great power.
Entrant A worthy rival, one assumed to merit prolonged
struggle and respect.
Gosling A childling changeling or very young faerie.
Fychell 1) A chesslike game played by nobles. 2) A
stylized dance popular among grump nobles.

Fuidir The vassals to whom one owes fealty.

These are the words most frequently used by commoners,

and have been picked up the wilder exiles (even those of the
noble houses). They tend to be somewhat crude and abrupt, and
carry with them a certain disregard for tradition and rank. Many

of these terms are very ancient, others are quite new, but all of
them are quite in vogue among wilder nobles. During the
Interregnum many commoners formed or joined circuses in
order to escape the stupefying Banality of mortal society, and
much vulgar argot originates from that culture.
Churl A vassal; insulting if used to describe a noble.
Codger A word for grump.
Callowfae Self-absorbed faeries with no purpose higher

than that of play; often said in reference to childlings, insulting

if used to describe any other changelings.
Chiven Craven, cowardly or wimpy.

Gloam, the 1) The blackest part of the night. 2)

Midwinter's Night, also called "the Gloaming."

Greybeard A grump; a term of respect.

Grandame A powerful female sidhe, often used when
speaking of a queen.
Knarl A special magical knot that serves as a type of ward.
Laud To receive the glory of courtly acclaim. Often
some sort of token is bestowed as well.
Mot An adage, maxim or saying.
Privy Council The inner council of a liege and his highranking vassals.
Retrorse To revert to one's mortal seeming.
Reune A noble rendezvous, often a secret negotiation.

Trollop A promiscuous fae.

Voile Chimerical clothing, garb and/or jewelry.
InrRoducrion

Once upon a time in a not-very-magical land called Suburbia there lived a perfectly ordinary little boy named lustin.
lustin lived uiith his father and his father's second uiife in a splitlevel ranch house rnith uihite aluminum siding, a larnn uiith three
sycamore trees and a driveuiay that lustin's father refinished
every other summer, lustin had a room at the end of the house
that had tmo mindouis; he decorated the malls uiith pictures of
dinosaurs, lustin's stepmother disapproved of the dinosaurs and
said that the malls of lustin's room should just be uihite, but lustin's
father let him keep the dinosaurs. It mas better,
lustin's father said, than trying to keep the malls
uihite, then coming home from uiork one day
to find that lustin had covered them in crayon
drauiings of dragons and knights. At least that's
rnhat lustin said

they mere. Truth be told, they i_>uAed more like green-andred squiggles, or maybe overly aggressive pasta, but to lustin,
they mere dragons. And dragons, like beauty and magic, live in
the eye of the beholder.
lustin's mother died uihen lustin mas very small. His father,
uihose name mas lake, had remarried mhen lustin uias only a little
bit bigger, and lustin could barely remember his mother at all.
His stepmother, uihose name mas Leah, didn't seem to like hjm
much, and sometimes lastin could hear her fighting uifth
|
his father. On those nights, lustin closed the door jr '
to his room and put his pilloai over his head,
pretending not to hear and mishing that he
mas someuihere else. Occasionally he
unshed he mas in the land of his crayon dragons, but most of the time he just
mishedhemassomemhereelse.

.m
.*?ss.--

'.#

i>'

7.

There aias one other little boy mho lived on lustin's

block, and his name aias Devin. Devin and lustin mere best
friends, uihich uias funny because they mere complete
opposites in many mays, lustin uias tall and clumsg, uiith blond
hair and blue eyes, mhile Devin aias Short and quick, and had
brouin skin and black hair, lustin and Devin did everything
together; they raced their tricycles and Big IHheels, dug
holes in the backyard, explored the mysteries of Around
The Corner, drem pictures and matched cartoons - everything, lustin sometimes got the feeling that his Stepmother didn't much like his being friends uiith Devin, but
he didn't care.
So it uias Devin that lustin told uihen he first Started
Seeing things - flashes of butterfly uiings and curious faces
peeping out from trees. Devin told lustin that he saui these
things too, and had been seeing them for a uihile. After that,
mhenever one sam a magical shape, he mould laugh and
Smile and point it out to the other. It became one more
Secret for them to share. "But," Devin said, "you can't tell
your parents about this, or something bad uiill happen."
"fflhat could they do?" asked lustin.
"I don't knoui," said Devin, "But I can tell that it
mould be bad." And he uient home shaking his head,
because he already knern that lustin uiouldn't be able to
keep the secret
Sure enough, lustin forgot Devin's maming and told his
father about rnhat he had seen. The second he had done so,
lustin knern he'd made a mistake. Later that night, he heard
his father and Leah talking. They used uiords he didn't understand, like "therapy" and "boarding school." Leah used
them a lot, he noticed.
The next day, lustin's father told him that he mould be
going to a neui school, far auiag. lustin asked if Devin uias
coming uiith him, but his father said no. "This i$ going to be
an adventure just for you," he said.
And so lustin uient to the school far auiay. The visions
of strange and magical things, though they didn't vanish.
He jam more and more of them every day. He'd daydream
for a moment, and suddenly his teacher uiould be eight
feet tall and blue - uiith horns! Or, late at night, after all of
the lights mere turned out and he'd been sent to bed, lustin
mould hear the strange voices of the Monsters llnder the
Bed in secret conversation.
lustin had learned from experience, though. This time
he told nobody rnhat he saui.
<
Then, one day on the playground outside, lustin jam
something uionderful and terrible. As he played uiith the
other children, he heard phantom footfalls loud as thunder. Finally, he could ignore it no longer. He looked up,
and there he saui all his dreams and nightmares come true
a dragon! It uias green and gold, and inhere the sunlight
sparkled on its scales it shone so bright it mas like a knife to
the eyes. Its neck mas long and thin, its clams huge and sharp,
and its roar loud enough to call rain douin from the skies.

; \v\\

7/A

i, Wi

./I

5'

lustinthoughtthathe
mas the onlg one to see the
dragon, but his teacher saui it, too. Ms.
Lombard ran to a&ere the dragon stood, and as she ran Inlfin $aai that his teacher more armor andheld a,
huge suiord that aias so brightthatitgleamed.Hone of the other children saui, butlustifi'aiatched Ms. Lombard (mh%^
mas blue, of course - lustia had expected no less) battle the dragon. Stroke and counterstroke, challenge and echo - Justing
matched it allin rapt fascination. > '
.:
'.-'' . ' " . : ' ;'":'
^ .**
Ms. Lombard uion the battle, arid the dragon turned toiaa. Bleeding from a score of cuts, it
/
turned to her just before It vanished and spoke three tuords. "I shall return," it
said, and then vaaished into the roms of corn begond
s, the distant soccer field. Ms. Lombard sheathed
her suiord, then turned back to her charges.
She seemed rather surprised uihen lustin came ap to her and said, "I =
s
didn't kaoai that dragons could tjik."

Late that night mhen everyone else aias asleep,

lustin sat up in his bed. He kneui that it mas important
that he be auiake, just as Devin had knoain so long ago
that to share their secrets mould somehom be folly.
Quietly he dressed and rnaited for the door to open.
He only had to mait a fern minutes. Ms. Lombard

came for him, beautiful and cold in her armor. She mas
not at all surprised to see lustin ready for her, and he in
turn mas not surprised to see that his skin mas the same
color as the sky. "Come uiith me," she said, and he did.
Out in the hall tuio others, garbed and visaged like Ms.
Lombard mere malting, also armored and unsmiling.
They took up positions to lustin's front and rear, and
refused to speak a single mord. Somehom he kneui,
though, that the man mho marched before him mas Mr.
Simms, the janitor, and that the rnoman behind him uia$
M$. Loveless, mho taught the girls' gym. And even
though no one said a mord or even so much as looked
kindly upon him, lustin could sense a secret joy bubbling up out of the three mho escorted him.
They led him out of the building into the night,
and shimmering firefly globes sprang into existence
to light their may. Out past the main courtyard they
uialked, across the soccer field and past the utaving
Stalks of corn. Finally, they came to a place that lustin
had never seen before, mhere laughter and music
heralded their approach.
At the edge of the uioods mas the most uionderful
and most terrible thing lustin could imagine. Seated
upon a throne of glass that sparkled like it encased a
thousand stars mas the most handsome man lustin had
ever seen. The man's hair mas black and fine, and his
face mas thin and pale. He more armor of black and
gold, and a naked suiord thin as a mhisper lay across his
lap. At his brorn the man more a thin circlet of gold, set
aiith a single green gem.

Around the throne dancers cavorted, graceful mea aad women like the maa mith the circlet.
In a mider circle mhirled other dancers, but dancers like none that lustia had ever seen. Men
mith the features of animals cavorted mith elegant, dark-skinned momen, rnhile faerie m}si-"""T>
cians made sounds that mould call the moods themselves to dance. Thin, sad-faced maifs in tattered
'f*T'~
;
f inerg maltzed as mine mas poured and songs mere sung. Gloming lanterns hung from everg tree bough, and the verg I tJx*" ' ' ; ,
grass seemed to put forth a dem of pure silver.
The dancers parted for lustin and his escorts, though the music never faltered. To the verg base of the throne ^foar; walked^
and the man mho sat upon it greeted them. "Ulell met," he said, "and melcome to gou and your charge, Aaneke."
- ? ;: ^"" f
"I pray that he mag fiad melcome here almags, Duke Hamish, for I think that his is ah old soul, and one that has greatnfesJ ia it'' the
marrior moman replied.
iv,^,
"ffle shall see uihat the future casts for him, Anneke," said the dake. "But there is a more presstli'nvatter." I* ; v o ^ ; N
i-'^-'M^fl^^l : ." : ; -;, - H : ' / ' :.;"v':' : : ~:"; : >'..;:*" ' ' :7h"?/;:\^;^^
iU>:>;v< *Yoiir Grace?" '
"I have it on verg good authority," said the duke, nodding ata pair of pastg-faced uiaifsia flouting dresses utho mere uialtzing a score
of feet amag, "that gou siagle-haadedlg faced aad defeated a chimerical dragoa of some mickle might this dag - aad that gou did so
mith aid of aeither cantrip nor charm, but onlg the strength of blade and arm. This," he said, rising to his feet "is a deed of greatness!
To honor gou, and gour deed, Anneke, I declare this night to be a night of revels! Mag all mho are here shooter gOu with praise and
gifts, for gou have earned them. And as pride of place here is mine, I give gou the first gift of this night Pages!"
From behind the throne came tuto gouths, thin and imperious as their master. Theg bore in their arms a great shield rnhich shone:
like silver, and had the shapes and forms of mang beasts upon it The pages bore the shield to Anaeke, mho took it from them. They'
bouted, and vanished back into the shadoms.
"That shield utas taken from a trollish champion during the fires of the Accordance Olar, Anneke, and it has charms and spells <
moven tightly about it. You have merited its return to gour people, and knoutledge of its pouters. Of all the images of beasts that
dance on gour shield, gou mag choose oae this nightfrom uthich gou mill henceforth be protected. I grant you leave toselect
any, save the dragon, for you have shoutn that gou need no magics to defeat one of that brood," the duke cried.
"I thank gou, my duke," said the uioman mhom lustia had oace kaoata as Ms. Lombard. She kaelt then, aad made obeisaace
to the maa oa the shiaiag throae, thea rose and utalked amag. The others walked arnay mith her.aad saddealg it mas just lustia aad
the man mho more the croutn.
"Aad gou, mg youag marrior," said the man verg softly, "do you knout gour name get? It mould be a verg good thing if
gou did."
And suddenlg lustia kaeul - kaeut that he'd borne another name time aad time again, in mang skins and ia maag
lives. The details of those other dags mere a blur of blood and blue skg, of riagiag steel and crashing glass, but
theg mere real, he somehow kaem.
,
Moreover, he kaem that ia those bggone lives, he'd been called "Hlf," rnhich means "tie
molf" in mang lands and mang tongues, and that oaceupoaa time, it had beea a aame to
befeared.
"I do knom mg name, Your Grace," said lustia. "And I mould fain take service
uiith gou, if gou mould have me."
"Bold uiords, bog. Tell me gour name, and I mill consider it"
"lllf, Your Grace."
The man on the throne mas Silent for a minute. "Qlf," he said softly, "fflell,
then, lllf, if y ou mould take service uiith me, say these uiords: I smear fealty unto you, Duke Hamish
Starguided. Your command is mg desire and gour request mg desire.'Mag mg service
please, aad mag mg sight groat dark if it does aot As the tides to the mooa, mg mill to yours, mii
liege."
'.':' . *
' - ' : ' - ";,:' -.o.^"'.,' : ' .". ;- -^'Y^O- '^:~'~
And so lllf srnore the Oath of Fealtg, and became a part of the court of Duke Hamish. Then
Duke Hamish suiore the Oath of Noblesse Oblige unto lllf, and accepted him as vassal, and heris-began lustin's true journey into the lands of the fae.
' '

>Jt

Lombard taught
It mas later that same y ear uihen trouble came' to ]u$tin. He had spent his days in school, learning alhat Hs.
him, and that (as far
him about reading and uiriting and arithmetic. He had spent his nights learning alhat Anneke could teach
as he aias concerned, at least) uias far more interesting.
than Duke Hamish
She instructed him in the use of suiord and shield, until his skill mas lauded bg no less a personage
did not tell him as utell.
himself. She taught him the rules of court and the mag s of the fae, and he learned much from uihat she
school a much more inHe learned the small magicks called cantrips, and used them in mays to make his dreary, dreary
teresting and magical place. And he learned about honor, and uihat it might cost him.
Justin - or lllf - mas a very apt pupil, and never had to be taught anything tmice.
jchool uias home, and that the
Occasionally, lustin mould go home for a holiday, but he found more and more that the
his
father dmelt School mas alhouse he'd lived in uias simply the place inhere
much preferred it uihen his father
together more magical these days, and ]ustin
of course, never came to visit
came to visit him there. His stepmother,

The first time lustin aient home, he tried to go see Devin,

but strangers noui lived in the place inhere Devin's family once
had dmelt lustin asked his father uihat had happened, and lustin's
father said that they'd moved auiay. lustin asked if they'd left an
address so he could uirite to Devin, but lustin's father said that they hadn't. And so, lustin became

convinced that he had lost his best friend.

Iflhen he returned to school, he told the
Kithain he kneui from court about uihat had
happenedMelinda the sluagh, and dashing Desmond the satyr, and Sir
Reginald the pooka knight,
uiho had the features of a
squirrel. They all said that
it sounded like this uias
a quest in the making,

and they uiere sure

that ere too long,
fllf mould find a
reason to go seek
out his friend.

Duke Hamish, on
the other hand,
claimed that bigger magics mere
afoot, and refused Ulf
permission to questfor
the boon companion
of his sandbox dags.

nif even tried to ask Anneke for help in questing, but she
refused. "You have suiorn an oath," she reminded him, and his
face drooped in shame. "It mould be a disgrace to all of our kind
if you mere to forsake your oath to seek gour friend. Besides,
the uiorld is large; gou are still small. You're not readg get for
the dangers it holds."
"But you could come mith me," said lllf plaintivelg.
"And uihat," replied Anneke uiith afrouin, "mould gour father
jag about that?"

And uiith that rebuke ringing in his ears, the magic fled from
Ulf, dribbling out in little streams of faerie Glamour all over the
floor. He uient to bed that night just sad little lustin once more.
It uias not long after this, houiever, that a tap-tap-tapping
came at lustin's aiindoui one night All of the other bogs uiere
asleep, so lustin didn't dare turn on a light to
See uihat uias doing the tapping. He
turned, and in the uiindoui uias a creature of enchantment - a chimera, as
Anneke had taught him. It had huge
round eyes like a tarsier, and splayed
fingers uiith suction-cup tips that let it
cling to the glass of lustin's uiindoui. Its

body uias small and gray, and covered

uiith soft fur. At its uiaist it more a belt,
and on the belt mas a pouch that
bulged ominously, no doubt hiding
some treasure uiithin.

,, and maj regarded aiilh ajo/rtef-riiump" as riit; c/eaoire;

bacl\ u^ ro'fii;: tiii!idoi!ijiil, oiiis/e if executed a luojt cou/feous bom.

,.

"M, ciicii J baar yfcai uiui^joi ^oa; nor,

'
mitf'iitj] iirtsdijcoyer
ojiyj K

alhs ffld ffleii, rnoucjji iudiiy ijui-, JTOIU ui c .ana

tiieiecifbiS o/liis ffilsj5y=."

i3a^^^,jw^Jwweibseii!iBcwaji^offi.
ii=. .iiii> ir

also bdiifi ijbu too <jl/cs

:*' '"

. . ""- > ': ., ' .:.".

"I mill take them, Ceeker, though I'm afraid I have nothing to
offer goa in retarn."

Theg mere hoping that perhaps Devin mould find his mag back to

the old neighborhood, and that if he did so, lustin's father mould

"Ho," and the chimera's eyes greai even bigger, "nuts, even? take him in until they coald come get him. ]ustin'$ father told
Ah, mell, 'tis but a moment's fancg. The first gift I bring goa is that Justin not to aiorrg, and that evergthing mould be all right
"I'm not morried," said Justin, and hung up.
of prophecg. Devin uiishes gou to knoui that gou and he shall
meet again, and not to be disturbed bg ang neuis gou hear of him
in the dags to come. He has soothsaged the future, and knoais

these things to be true.

"The second gift I have for gou, houiever, is something
more tangible." And uiith that, the chimera reached into his
pouch and dreut forth a ring of silver. The band uias polished
smooth, and an amethgst sat atop it in a setting like the clams of a
dragon. "Devin said gou might have need of this," said Ceeker in
a more sober tone. Silentlg, Ulf took the ring and placed it on his

@e

The talk of Devin's disappearance mas all the buzz at court

for several dags. It aias deemed likelg bg Isidore fflebberg, the
other sluagh mho visited on occasion, that Devin mast be a
changeling himself, possiblg a tale-telling esha. Others bent lllf's

ear aiith sympathies and soothing aiordj. Dake Hamish, of coarse,

merely offered saggestions on mays in aihich lllf might better
perform his daties.
But talk of Devin vanished on the foarth night, mhen mord

finger. The stone began to gloui softlg; the glom mas brightest came that a chimerical dragon aias again loose in the land. Olhis-

mhen lllf pointed his hand in the direction of the coming sunrise. pers flem like daggers: the beast aianted vengeance for some
"Thank gou, Ceeker. If gou see Devin before I do, tell him imagined slight; the creature had been born of Dake Hamish's
I miss him."
dreams; it mas the dread beast that had laid uiaste to Caer Dhomnaill

"Oh, I most certainlg shall, most certainlg shall," said the

chimera, and then aiith a hop and a skip and no small amount of

and all aiho dmelled therein!

But Duke Hamish did not heed rumors, or perhaps he kneui

thrashing in the leaves, the creatare uias gone.

precisely uihich ones to heed. He called for the services of
]u$tin shut the mindoai and ment to sleep. In the morning he one of his knights mho had already vanquished a dragon of this sort,
aaioke to find that there mas a ring of mire and paste on his finger.
and set a getf on her to slag the beast so that it mould
trouble the f ae no more. Anneke, mhen told of her
Hliselg, he decided against taking it off. Ms. Lombard looked
, merelg boaied her head, then retired to
oddlg at it during class, bat said nothing. She uias a troll, after all,
her daielling to sharpen her chiand kneui the value of silence.
merical blade. The dragon, she
Later that dag, lastin received an emergency
aias sure, uioald find her soon
phone call from his father. He aias verg apset,
enough.
and didn't uiant to alarm lastin, bat

needed to tell him some verg bad

neuis: Devin's parents had called
becaase their son had run auiag.

And so it did indeed come to pass. The verg next dag after class had ended, ]ustin heard the familiar roaring in the fields and saui
the touiering head of the dragon, breaking through the rnaves of corn like the prom of a Viking ship of old. The beast bellomed a
challenge like thunder raining douin from the skies, and uiaited for an ansmer.
Anneke came forth to anjuier soon enough, uiith blade in one hand and gift-shield in the other. She strode out to uihere the
dragon stood and commanded it to take itself to a place uihere it mould trouble neither mortal nor fae ever again. The dragon
just laughed, homever, and struck at her rnith one cruel clam. Anneke ducked under the bloui uiith ease, and taunted the monster
a$ she did so. "Is that the best you can do, uiorm?" she shouted. "I've a student mho's onlg seen seven summers; he could have
avoided that!" Then she raised her blade and struck at the dragon's belly, onlg bg recoiling like a serpent from a fire did the beast
avoid certain death.
Then the battle uias joined in earnest, rnith Ulf matching in uiide-eged horror and fascination. He longed to go domn to the field
and aid Anneke, to give her an allg, or, at least, a distraction that might enable her to strike a fatal bloui. But he kneai that his skills mere
not get ready for such a challenge. Furthermore, it had been Anneke's geafto fight this beast, not his. If he mere to interfere, she
mould not be pleased.
Olith burst of flame and shine of silver, the battle raged on for a full hour. The dragon's flame and clams could not find their target,
and get the dragon aluiags managed to stag out of reach of the troll-uioman's flashing blade. Back and forth across soccer field and
cornstalks the conflict continued, until disaster struck. Retreating onto a patch of earth uihere previously she had heuied the dragon
rnith mighty bloms, the troll-uioman slipped. Ere she could rise, the dragon had taken one of its clauis and pressed it douin upon her
aiith all its terrible uieight
"And so, little valkrgor," the dragon purred, "it ends." fflith that, it bent its head douin and seized Anneke in its terrible jams. The
gift-shield of the duke, charmed against other beasts, crumpled like thin tin, and the uiarrior uioman's armor buckled as uiell. Ulf could
not bear to match, and so he turned arnay.
He could not, home ver, block out the sounds of his teacher's destruction - the tearing of metal, the sharp sound of breaking
bone. She cried out, once, ere the end, then the dragon louiered her to earth and lumbered off, uihistling a song knouin only to
dragonkind.
Before the beast had even left the field, Dlf pelted domn the hill upon mhich he sat to be at his teacher's side, fflinded and
terrified, he reached her before any of his school playmates even noticed he mas gone.
Ms. Lombard lag there in the uireckage of some cornstalks. Her dress mas muddg, and one of her sensible shoes uias missing, leaving
her toes to trail in the dirt Jhe looked confused, rather than hurt, and neither blood nor armor uias angmhere to be found, "fflhg,
Justin," she said uihen she saui him, "uihat are me doing all the uiag out here? I must have fallen. Come," and she rose up from the dirt,

J dusting off her knees

j as she did so, "let's gc
back to inhere the
others are playing.
not good to be out here auiag/from
everyone else."
. */ /.
,,
lustin let her lead him back to inhere the other children mere p^i^g,
and even managed to join in their games for a uihile.
That night, before he coatd sleep, jtistin cried for a veripbng time, fllf cried fdf e/e& lo^^rl*'
The next morning, lustifl ampke mith a nem and deadly resolve. He mould find the beast that had
done such grievous harm to his^vfriend and teacher, and he mould slay it himself. It mas only fitting that he take hii/f eacher's mantle,
aia$ it not?
\
His resolve masn't even shaken
enmh
mhen in class, M$. Lombard asked him to take ofjihe jillg ring he Bias mearing. He refused and she
acted puzzled, but did not press the matter.
.:'/-//^'^-:':','
,; ;
v:
That night, Hlf ment before the duke to petition for freedom to pu'f sue the dragon that had slain Anneke. The duke listened to
Hlfs request, then shook his head.
V
/
"There are many reasons I cannot grant this, Hlf. I have alreadg lost one of my best knights; I do not mi$h to lose gour services as
mell. You are not ready to face such a beast, not at all. Then there is the matter of fflhere the beast dmells. It has gone nout, mandered

off again. Even in defeat Anneke accomplished her gea$ the

dragon is gone, is it not? I cannot countenance gour trespassing
on the lands of another. Glamour, the substance of dream that
nourishes our fae souls, is precious and rare. Other lords and
ladies might not take kindlg to the presence of a brave uiarrior,"
and he said this uiith a patronizing smile, "such as gourself invading

plies, fllf strode steadilg eastward. Having knouin this dag mould
come, he had prepared some food and mater for the journey,
but he kneui that his rations mould not last long. Success mould
have to come soon, or else there mould be perils far morse
than dragons to face.
But it mas dragons that Ulf did face, or at least one. For uiith
their freeholds. Ho, Ulf, I cannot let gou seek this dragon. Serve, three dags of malking betuieen him and the duke's court, Ulf
and be content uiith that"
found himself face to face uiith the dragon. It mas on a road, and
"Then mag I ask gou one question, mg duke, before I return mang passersbg shouted at the small bog mho uieaved and
to mg duties?"
dodged betuieen the parked cars, ducking and
rolling like an acrobat or a madman. Of course,
The duke ma ved his hand magnanimouslg. "I grant g ou this
theg could not see the dragon, nor could theg
boon. Ask."
see fllf's true face. Theg simplg saai a small bog
"fling did gou charm Anneke against taking
plaging a dangerous game.
protection from dragonkind?"
But Ulf saui the dragon's face, and itsaui his. fllorse,
A hush fell on the court Duke Hamish's
somehoui
it kneui him for uiho he uias. "You have the
smile fell auiag like the last leaf from a tree in
Stink
of
that
trollish moman I killed on gou, brat!" the
autumn. "She had defeated the dragon once;
dragon
roared,
"fllill her heirs send babes in suiaddling
She seemed to have no need of such proclothes
after
me
next?" And rnith that he breathed
tections. Such is the mag of things among
forth
flame
that engulfed fllf completely. It
our kind, childling! You ask above
burned
like
the sun, like salt in an open
gour station!"
mound,
like
nothing Ulf had ever felt beBut fllf just shook his head. "I
fore.
It
burned
and burned, and in its burnthink me both knoui the true aning,
consumed
him.
Even as fllf fell, smathed
suier to that question. Your
in
fire,
thedragon
laughed
and turnedamag.
Grace. An oath has been broA
passerbg
jam
the
strange
little bog
ken here this night It has been
erg
out
and
fall,
beating
at
himself
as if in
pleasant in gour service. I do
agong.
fllith
great
concern,
the
man
lifted
not think me shall meet again."
Justin
from
the
street
and
brought
him
inAnd before the faces of
Side
a
nearbg
store.
He
checked
lustin's
the stunned multitude, fllf
pockets and found there a bog's mallet
marched forth from that place,
and inside the mallet found the address
eges bright uiith tears. For he
and phone number of lustin's father,
knem that his master had befllith mounting concern (for the adtraged his teacher, and that
dress on the mallet uia$ mang states
his mas the path of venamag), the man called lustin's father.
geance and sorrom.
It mas lustin's stepmother mho anFrom the
suiered
the phone, but it uias lustin's
court Ulf refather
uiho
rushed to his son's side as
turned to the
soon
as
he
could. He bundled lustin
place inhere
|,
1
up
in
his
arms,
thanked profuselg the
Anneke had fallen. There,
y
man
mho
had
taken
care of him, and
on the ground, pieces of
'
lv
took
lustin
back
to
the house he
her broken shield still
had
once
knomn.
glistened faintlg. Guided
But no one else jam the dragon go,
onlg bg the light of the
and no one had the heart to take the aiireStars, Ulf searched through
and-paste ring from lustin's finger.
the uireckage until he found

rnhat he desired: afragment of the

Shield that bore the image of a
It mas several dags later, and lustin lag
auiake in bed listening to his father and Leah
dragon rampant. He tucked t h e " ,
jagged metal inside his baldric, then
argue. Leah mas all for sending him back to
School immediatelg, mhile lustin's father
held up the hand that bore Devin's ring.
Slomlg he turned in a circle, and the fire of
manted to bring him home. It uias obvious,
the ring's stone shone brightest mhen Ulf faced
he said, that the school couldn't take
,/ proper care of the bog. This time theg had
east And so, uiith a heavg heart and the barest of sup

*i&~jf

:'?'

M
-*J ~<^y"'

^ Vm

" 7

^r
been lucky and lustin had
not come to much harm, fflhat if there mas a next time?
"fflell, then," said Leah, "perhaps me should see about a
But this, s
different type of school." And fflith that, there mas silence in
third choice,
the house.
this neat type of
lustin froumed. He kneui he could not return to Duke
school
that his stepHamish's lands; that may mas closed to him nom. fior did
'"'
mother
had
oh-so-vaguelg threatened that
he fflish to remain here for, although he loved
seemed
fraught
fflith
menace as mell. Beset on all
his father, his stepmother's mere presSides,
lustin
closed
his
eyes
and tried to sleep.
ence more arnay at his dreaming self. It
Suddenly,
his
room
mas
alive
mith
a shimmering purple light.
mas as if even her voice mas the chill
It
mas
the
stone
from
his
ring,
dancing
with
fire and brilliance that
autumn mind that presaged the coming minter of his
soul. Hlf seemed very small and far amay rnheaewer Leah spoke, he'd never, ever seen before! The mhole room mas bright as day
,': '.T'v ^

uiith the stone's glorn, and lustin gazed atitinmonder.He'dbeenfollomingthering'sglofflinordertofindDevin.mhichmeaatthatifitBiere

glouiing this brightlg noui, Devin must be
Therecamearapatthemiftdoaijoyouslgjustinscrambledoutofhissheets to fling itopen. There, cladinavestandtremsofabggone
age, crouched Devin. His eges seemed to hold more uiisdom than ever, but he uias smiling uiith sheer jog at seeing his friend once again.
"Come in, come in!" and lustin pulled him in from the uiindoui-frame. "Tell me evergthing!"
And so Devin did. Sitting cross-legged on the bed, he told lustin hom his familg had moved auiag, and horn his strange visions had
continued. Then, one night an uncle of his, a man neither he nor his parents had seen for gears, reappeared on their doorstep. Devin's
parents, naturallg, mere thrilled to have this prodigal return, but Devin uias even more thrilled.
His uncle, gou see, uias one of the eshu, the uiandering tale-tellers of the fae. Bg some magic or charm he had sensed that his
ftephem, long-forgotten Devin, also harbored an eshu soul, and as such had braved long roads to find him. And so this uncle, uihose
name Devin never revealed, visited mang times over the follouiing months, teaching Devin (or Ismail, as he aias knouift among the fae)
theuiagsoftheeshu.
It had been uihen this mysterious uncle had taken Ismail auiag for his Saininghis formal initiation into the mags of the changeling aiorld
- that Devin's parents had thought that he'd run auiag. He returned, but somehom his parents had guessed that his uncle uias at the root of
the "trouble" and barred the man from their house.
And so Devin had done the onlg logical thing - he had run auiag for real.
"But," he said uihen his tale uias finished, "there are other things afoot A betragal to avenge. A
dragon to slag. Honor to unstain. I've heard tell of all these things, Hlf- gour tale echoes louder than
gou knoui. So, mhat road do gou travel from here?"
lustin looked up at his friend aiith sad eges. "I don't knoui. Anneke is gone, and there is no place
for me uiith the duke angmore. I'm not Strong enough to fight the dragon, either."
"Hot Strong enough alone," corrected his friend.
Hope damned in lustin's eges. "Does that mean gou'll come uiith me?"
"Did gou ever doubt?"
lustin laughed uiith sheer delight. "I had hoped, bat oh, this is
monderful!" And the tuio changelings collapsed in afit of giggles
that uias so loud that it shook the rafters of lustin's father's house.
"Ulould gou keep it douin, lustin? Some of us need sleep!"
came Lean's thundering voice. So uiith exaggerated quiet and
courtesg, the tuio bogs helped one another out the uiindoui,
douin the drainpipe, across the gard and into the great uiide uiorld
in search of a dragon.
The next morning, uihen theg moke up to find lustin gone and the mindom
open, Leah and lustin's father had another fight. But that's not reallg part of our storg.
As theg traveled for the next fern dags, Ismail told Ulf all that he'd learned from his uncle
of the art of chimerical dragonslaging. There had been mang such beasts in the annals of the
fae, and most had been dispatched in the time-honored fashion: bg putting dozens of armored
knights in the field against it Solo dragonslagers mere more rare, but not unheard of. These
marriors usually had magical suiords, shields, helmets and mhatnot, none of uihich mere
available to Ulf and Ismail. Moreover, at the mention of magical shields, Ulf had shouted
fiercelg at his friend, and so Ismail had let the matter drop. The eshu could think of one
or tuio stories of heroes mho had riddled dragons into devouring themselves, but as the
goung troll had aluiags had trouble discerning rnhg exactlg the chicken had crossed
the road, theg both agreed that this mas not an option.
"But mhg don't gou riddle the dragon?" asked lllf in one of his more plaintive
moments. "You'd be good at it"
"Yes, but this is gour quest, Hlf," replied Ismail for the hundredth time. "I've
alreadg had mine, found mg oain magic, earned mg oain name. Horn it's time for gou
to do the same. I can help gou, ges, but the hand that slags the dragon has to be gours."
And uiith that, Ulf mould slump into sullen silence. "It's just not fair," he'd often sig^
and Ismail mould nod and agree.
It aiaj onlg after seven dags' travel, ducking friendlg policemen and not-so-friendlg chimera,
meeting the occasional fae or dreaming human, feasting on stolen chocolate bars and the jaieet

RPUI am 'OS 6uiop fig '

pJJo6ui6jp\jojoJijpu33qpp\iJjnlM6!U
S.uoBpjp 3\jj pjnoi sfipmpunj omi aullpur Sipuomio SsiiPlupJ

nudged him. "I am uiith gou. Anneke's spirit is uiith gou. This deed is gours to do, and gou shall do it in such glorg that I smear to gou, the songs
I mill sing of this night uiill echo douin a hundred gears. Go!"
And uiith his friend's encouragement echoing in his ears, Ulf dreui the chimerical blade he had carried uiith him through all his
journegs and poked the dragon squarelg on the snout A single drop of black blood melled up from the cut and the dragon reared its head
uiith a terrible roar. "fflHO DARES?" the monster called to the heavens, and then he looked douin and saui lllf. "Jo gou have returned, trollchild, returned to taste death! Ulell, I shall be merciful this night; gours mill be less painful than gour teacher's!" And then, like a striking
serpent the great scaled head ducked, jams open, directlg at inhere Ulf stood.
But Ulf had prepared for this battle in his omn uiag; he'd seen the dragon's dreams and uiitnessed its battles, and so he mas readg. Even
as the great maui crashed douin, Ulf rolled to the right and came to his feet; his suiord scored the dragon's cheek as the beast's head rushed
past The dragon houiled again, and then the battle uias joined in earnest
Oh, mhat a clash of arms that uia$! Despite sense, despite reason, despite even magic, Ulf mas able to parrg everg blom the serpent
Struck, and give better than he got Hor mas it long ere Ulf became auiare that others mere matching his battle: Isidore and Melinda, and
Desmond, and Sir Reginald, and all the other members of Duke Hamish's court The duke himself came last of all and stood alone, his uihipthin blade drauin and shining in the light of dragonfire. But of Ijmail, there mas no sign.
Then came the moment the dragon had uiaited for. Ulf had foolishlg pressed an attack until he stood on the verg ground mhere
Anneke had fallen, and, like her, he too slipped. The cromd gasped its horror; the dragon roared its triumph and prepared to louier
a fatal clam.
And at preciselg that moment, Ismail dreui forth from his pocket a long steel pin
that he keptfor just such occasions, and jabbed the dragon's tail.
The scream that follomed mould have shaken houses douin, had ang been
able to hear it Forgotten for an eternal second uias Ulf, and he took that opportunity to scramble to his feet Houiever, as he had lain on the fatal earth, Ulf had felt
Something sharp pressing into his back: the mreckage of Anneke's
gift-shield. It uias then and onlg then that he remembered uihat he carried uiith him, and
dropping his suiord, he dreui the fragment of shield from his baldric.
Even as the dragon recovered its uiits and stooped
again to devour him, Ulf
cried out a curse on
all dragons and their
makers, and flung
the broken metal

into the beast's

mouth.
The effects
mere both immediate and profound. Uiith a
screech like a
thousand fingers on
a thousand chalkboards, the dragon '
collapsed heavilg to
earth. It thrashed there in
its death throes, even as Ulf
and Ismail scrambled to safetg.

But uihat uias more interesting, at least to Ismail, uias that at the moment Qlf pronounced his curse, the duke thrust his suiord into the
ground and turned auiag, never to be seen again by fae or mortal. And in the celebrations that follouied Hlf and Ismail's triumph, not one
fae missed the duke's presence, nor did anyone comment on it
And if one listens to the tale
that Ismail made of that night, sung
bg eshu and nihispered bg sluagh time
and time again over the gears, you mill hear other
things: that Isidore Ulebberg told Ulf that the fatal shield
had been his in a previous life, taken on the field of battle bg
Hamish's treachery; that the duke's blade, noui scorched black uiith
dragonflatne, still rests in the hillside inhere Hamish thrust it, and none
have been able to drain it forth; that lllf had made for himself armor of
dragonscale that no flame or blade could pierce; and many other things.
But the part of the tale that Ismail does not tell is that uihen the deeds
,\
I of dragon-slaying and traitor-banishing mere done, Ulf turned to his friend
and in lustin's still small voice said, "Devin, let's go home."

oig iu^:rc ~
~V" S- lf-^^:._

vv>^v.

4i IK ,n

1^

s?!-..4i,.- ie

^ C^ -f

They had expected to see the grey, heathery slope of the moor
going up and up to join the dull autumn sky. Instead, a blaze of
sunshine met them. It poured through the doorway as the light of a
June day pours into a garage when you open the door. It made, the
drops of water on the grass glitter like beads and showed up the
dirtiness of Jill's tear-stained face. And the sunlight was coming from
what certainly did look like a different world what they could see
of it. They saw smooth turf, smoother and brighter than Jill had ever
seen before, andbluesky,and, darting to and fro, things so bright that
they might have been jewels or huge butterflies.
C.S. Lewis, The Silver Chair

; 01

ChapreR One: The DReaming

31

TheUJoRldof
DoRHness
Fast food debris and crumpled newspapers skitter along the street, pushed
along by the gray day s chill wind. Sales
clerks and secretaries, released by the late
hour from their cubicles, scurry out into
the streets, navy and slate coats pulled
tightly around them as they make their
way to their high-rise boxes. Traffic stalls
at each light, fuming clouds of exhaust
half-hiding the plodding pedestrians. A
vagrant skulks near a dumpster, his thinning hair plastered to his scalp by dirty
snow. Meanwhile, high above the city,
secure in glass and metal fortresses, captains of industry count their coins, greedy
eyes shining in their sterile boardrooms.
Arms dealers chuckle, waving f istf uls of
money, little caring for the slaughter
brought about by their sales. Goth children, swathed in black, pale faces searching for something to believe in, gyrate
desperately to the music pounding away
the emptiness. Gliding through concealing shadows, vampires smile sardonically
at these wannabe dark souls, awaiting the
feast that is to come. A beaten, abandoned child moans in her nightmares,
pulling her cardboard box closer around
her as she cries. Gtyscape in early winter,
the World of Darkness. Like our mundane world, but made a little darker, a
little more terrifying.
32

Changeling: The DReaming

The Gnchonred
(JJoRld
Brightly hued wrappers and balloons
dance in the wind, tumbling and rolling
along the street. Pale and dark dolls march
in time to music unheard as they enter
their many-windowed homes. Vibrant
metal bugs maneuver through elaborate
rituals, their breath puffing merrily. An
old satyr peers around the corner, laughing at the twinkling snowf lakes that softly
fall around him. Dreams take shape, born

of hopes and fears. Greedy-eyed dragons

soar aloft on the brisk winter breeze, alert
for shiny coins dropped in the darkness
below. An artist, inspired by the freshly
fallen snow, begins to paint a scene of

ancient snow-capped towers set amid a

land of fantastic beauty. Pushed to the
wall by terror, a child creates an imaginary
fanged horror that stalks and frightens,
always on the verge of pouncing. Children dance merrily in the snow, sharing
rides on sleds as they whisk down steep
hills, their screams of joy echoing throughout the park. Changeling city scape in
winter. Like, yet unlike, the rest of the
World of Darkness, it is a little brighter,
a little more colorful, but sometimes no.
less frightening.

-&,
ChapreR One: The

33

To touch the Dreaming is to access the fountainhead of

creativity from which all stories, dreams, arts and crafts spring.
Changelings are part of those stories though their bodies are of
mortal flesh, their souls are formed of dreams. Every changeling
who undergoes the Chrysalis brings a tiny part of the Dreaming
back into the world. Like a butterfly emerging from a cocoon, her

discovery of her changeling nature sets her soul aloft.

This transformation allows a changeling to see beyond the
mundane facade and glimpse the infinite boundaries of the
Dreaming. Gifted with the ability to see both what is and what
might be, a changeling occupies a world of ever-widening
possibilities, limited only by her own imagination and creativity. This difference in perception is no simple overlay like a

rainbow oilslick atop a puddle. A sparkling otherworld of faerie

magic exists alongside and within the mortal world, a very part
of it. It is within this chimerical reality that changelings live.

ChimeRical Realiry
.. .once having tasted the lips of excellence, once having give*1
oneself to its perfection, how dreary and burdensome and filled with
anomie are the remainder of one's waking hours trapped in the

shackled lock-step of the merely ordinary, the barely acceptable, the

just okay and not a stroke better. Sadly, most lives are fashioned
on that pattern. SettJing-for what is possible; buying into the
cliche because the towering dream is out of stock....

Harlan Ellison, Introduction, The Sandman: Season

of Mists
Before their Chrysalises, changelings hover in
*
a half-reality, seeing the world as others do, but
touched by flashes of otherness. They experience momentary visions of chimerical reality
without understanding what they see, or
hear strangely compelling sounds without
recognizing their origins. Sometimes it is a
smell or taste or even a tactile difference
that is incongruous with what is experienced by everyone around them. Chil-

dren, too young to know that these

alterations are not normal occurrences, simply accept them.

Teens and adults, more rooted

in the "real" world, often dismiss these experiences as hallucinations, frequently denying the occurrences so
they won't be labeled as
"weirdos." Some respond to
the stimuli that "isn't there"

and end up in counseling or a

psychiatric ward. But
what they experience is
real for changelings.

34

Changeling: The DReaming

This illusionary fantasy world is called chimerical because

unenchanted mortals cannot normally experience it. Although

they occupy mortal flesh in order to stave off Banality, changelings'
true selves lie within their fragile, englamoured souls. As changelings, they see the world around them from within a chimerical
shell. The whole world has a chimerical reality for the fae. They do

not shift viewpoints back and forth from the banal to the chimerical, seeing first a street with broken pavement and sagging storefronts, then changing with a blink to a vision of a golden avenue

lined with palaces. Instead they normally see the true magic anima
that exists within every object, place and person. They pick out the
inherent nature of persons, places and things, weaving those
perceptions into a greater whole.

Thus they do not see the tattered old book of fairy tales with
the torn cover, but the warmth and pleasure countless children
have derived from reading it. Each child has left some imprint on
the book, some tiny spark of imagination or inspiration that the
book evoked for her. Changelings see and revel in that residue,
which may cause the book to appear new and crisp, with freshly
painted colors. Likewise, they may smell luscious strawberries on
an "empty" plate, feel the weight of velvet on what looks like a

school uniform, and dance to a symphony played on crickets' legs.

Changeling PeRspecrive
Nothing but recipes and worthless junk; greasy
old records of paid and due;

But down in the depths of a battered trunk, a

queer, quaint valentine torn in two.
Ruth Comfort Mitchell, "The Vinegar Man"
When imbued with Glarrfour, changelings experience the
world as a magical, mystical place filled with amazing and exciting
things. They see things from a fae perspective that colors everything around them. Trees are not merely a collection of wood and
leaves, but glowing green-topped pillars shot through with golden,
life-sustaining sap. Moreover, should a changeling use her faerie

sight to look deeply within the essence of the tree in search of its
faerie nature, she might find the tree to be a resting dream-being,
arms thrust skyward, feet planted within the warm earth. Butter
knives might be silver daggers, and an old stuffed animal a prancing
faerie steed, while an old raincoat becomes ornate armor. As most
people cannot perceive such things, they dismiss changelings'

reactions to their chimerical environment as playacting, miming

or just plain craziness.
There are those who argue that chimerical reality is really a
greater or more expanded reality. Neither compartmentalized nor
tightly tucked into a common consensus of what is "real," this
altered state of sensibility welcomes stories, tall tales, legends,
myths, childhood playthings, imaginary companions, hopes and
dreams. It also incorporates fears, monstrous horrors and the
darkest imaginings of humankind. All exist within chimerical
reality, and all are as real as any objects found within the boundaries of the mundane world. This "reality" is all that remains of the
age of legends the fragment of Arcadia still on Earth. As a faerie
king once said, "Anything is possible within the Dreaming."

InreRacring mirh rhe Real (JJoRld

Changelings may live in a chimerical world of their own,
but this is not to say that they don't realize that they also exist
within a more constrained reality. If this were so, they wouldn't
even be able to drive a car without running off the road. Kithain
respond to stimuli that more mundane people cannot see, but

this does not mean that they are unaware of real-world objects,
people or dangers. They don't ride their faerie steeds along
airport runways oblivious to the aircraft taking off and landing
all around them, or ignore a mugger with a gun.
This is not meant to say that they have some sort of double
vision that lets them see mundane and magical at the same time.
Rather, the magical aspect becomes paramount, superseding the
mundane reality of the objects and people with whom changelings
interact, but not eradicating its presence. It is almost as if changelings' bodies remember the worldly details while their minds see
beyond the ordinary to the essence within. A car is still a vehicle
to be driven along streets, even if it appears to changelings that the
car is glowing orange and fitted with spreading antlers on the hood.
Solid objects exist in the mundane world and must be
accounted for. This often causes problems for changelings whose
faerie bodies encompass more mass than their mortal selves. This
is especially true for kith such as trolls, whose chimerical bodies
may take up far more space than their mortal shells. In such

instances, a changeling who is imbued with Glamour will always

defer to his faerie mien and will make every attempt to compensate
for the larger mass; to do otherwise would be an act on par with
disbelieving the existence of chimera. It is therefore possible for a

seven-foot tall troll to climb into the back of a Volkswagen Bug,

but in doing so he denies his faerie existence, thus giving in to
mundane reality. Such acts can be dangerous for any changeling,
for falling back on the mundane brings with it the inherent
Banality of such an act.

ChimeRa
Dreams are but interludes which fancy makes;
When Monarch-Reason sleeps, this mimic wakes;
Compounds a medley of disjointed things,

A mob of cobblers and a court of kings:

Light fumes are merry, grosser fumes are sad;
Both are the reasonable soul run mad:
And many monstrous forms in sleep we see,
That neither were, nor are, nor e'er can be.
Dryden, "The Cock and the Fox"
Sometimes creative thoughts and dreams take on solid form
or are deliberately shaped into objects, places or creatures. The
unreal given reality, these fanciful creations are called chimera.
Birthed by changelings or other beings touched by the Dreaming during particularly intense moments, chimera may be either
animate or inanimate.
Some are formed deliberately, while others spring into
being at a thought. Others seem to come to life almost against
their dreamers' wills. Chimera are seldom what their creators

ChapreR One: The DReaming

35

expect; some may be beautiful and friendly, while others are

dark, twisted and inimical. Chimera may even be danger,--'' ;
ous to changelings, especially those given form
through unresolved fears or vivid nightmares.
Regardless of how they come into being,
chimera created within the confines of reality
must relate to that world in some fashion. Inanimate chimera have little choice concerning that
interaction. Animate dreams-come-true often
take on lives of their own. On rare occasions, they
can even become real to humans.

?d

Inaniinare ChimeRa

They are better than stars or water,

Better than voices of winds that sing,
Better than any man's fair daughter,
Your green glass beads on a silver ring.
Harold Monro, "Overheard on a
Saltmarsh"

4*

While few chimera could be said to

possess sentience, inanimate chimera have

even less chance than animate ones to develop

intelligence. Most often, inanimate chimera are found

as objects that are used by changelings. These might be

weapons or armor, clothing or jewelry, fine furnishings,
golden tableware, even games and toys.

Some of these have a mundane reality as well, such as

when a changeling creates a shining chimerical blade from
an old stick or a wooden practice sword. She might also
create a chimerical gown for a fancy dress ball using her skirt
and blouse as a pattern over which to lay her dreamcloth.
Certain changelings have an affinity for creating chimerical
objects, utilizing their skills to forge chimerical blades or
craft fanciful armor.

PeRsonal AdoRnmenr
Chimerical clothing is probably the most common type
of inanimate chimera. Whenever a changeling undergoes her
Chrysalis, and discovers her fae mien, she usually finds that
she is already clad in chimerical garb suitable to her new
persona. It is as if part of her remembrance of who she truly is
becomes more real through dressing the part. Somehow she
remembers and recreates the garb in which her faerie self is
most comfortable. Such clothing is known as voile.
Jewelry is often included with chimerical garb as part of
the accessories, especially if it is used as a neckpiece,
waistband, belt or hair adornment. Some voile sparkles
with hundreds of chimerical gems or pearls strewn throughout the cloth. More often, however, jewelry is an afterthought, added when the changeling needs "a little something" to set off her finery. Those who have no access to
treasures can still adorn themselves with inanimate chimera in the shapes of jewels, crowns, hairclasps, chains of
office and the like. A little dreaming, a little Grafting, and
a new chimera is born.

36

Chantyelintj: The DReaming

ChimeRical (JJeapons and Damage

Chimerical weapons such as swords, battle axes and the like are in a class by themselves. They have reality only to
changelings and those mortals whom changelings have enchanted. Most are created wholly of dreams, having no reality
outside their chimerical existences. They cannot be seen or felt by mortals. Some chimerical weapons are the result of
weaving Glamour into real-world items in much the same way chimerical clothing is created. These items can be seen by

mortals, who may wonder why someone is waving a wooden stick over her head and "pretending" to fence with it. The
damage that both of these types of chimerical weapons inflict is chimerical (or "unreal") damage. While it feels very real
to the changeling struck by such a weapon, and may even convince her that her arm or leg has been severed, her spine broken
or her head crushed, the damage is not real in the same sense as deadly damage inflicted by real-world weapons.
'' *: Rather than bruising, cutting or penetrating, chimerical weapons slice away a changeling's Glamour, tearing pieces of
her faerie mien asunder and rendering her unconscious from the shock. The pain is just as devastating as any caused by
mundane weapons, but what the changeling feels is actually the temporary murder of the fae spirit within her mortal flesh.

Many describe the sensation as a deadening of their senses, a tearing pain and a cold numbness seeping into their very bones
all feelings engendered by inrushing Banality.
Upon awakening, changelings "killed" with chimerical weapons recall only their mortal lives. They have no

remembrance of their lives as Kithain or the existence of such things as changelings. Stripped of their Glamour, they have
forcibly reentered the mundane world. They cannot see or interact with chimera even their own chimerical clothing

and weaponry until they have become infused with Glamour once again and remember their fae heritage. A changeling
who is so suddenly stripped of his Glamour may awaken to wonder why he is lying on a lawn in an unfamiliar area of town
and clutching a butter knife.

When a real-world object serves as the basis for constructing a chimerical weapon, it is often not a dangerous object
in and of itself. Thus a stick, string and feather might be chimerically crafted into a bow and arrows, or an unsharpened pencil

might be recreated as a scimitar. Likewise, a carpenter's hammer could be a war hammer in its chimerical aspect, or a penknife could be a deadly sharp dirk.
It is rare, but not unheard of, for changelings to place a chimerical aspect over an actual mundane weapon. Chimerical
damage is the accepted norm among Kithain, however. Those who kill other changelings gain Banality when they do so,
for they have robbed the world and the Dreaming of one of its dreams. A real sword can kill a changeling just as easily as
it can slay a mortal. A chimerical aspect appended to a real sword simply inflicts chimerical damage atop potentially deadly
real damage (i.e., chimerical damage strips the fae of her identity while the sword's physical damage harms her body). Since
a changeling may assert her will to cause real damage with chimera anyway, there is rarely any point to adding a chimerical
aspect to a mundane weapon, unless the chimerical aspect has some additional effect. Carrying around six-foot swords that

everyone can see usually attracts unwanted attention from law enforcement anyway.

Some changelings find that they emerge into their faerie

selves clad not in finery, but in chimerical armor. While unusual, this often denotes a changeling whose martial abilities

Icons, Odjecrs and Places

(and the need to use them) are extraordinary. Armor and

comfortable chairs may all be chimerically created. While these

weapons are the second most common chimerical items, and

almost always need to be crafted rather than just appearing as
part of a Kithain's garb. Armor may be worn over plain mundane
clothing or paired with chimerical garb. As with chimerical
clothing, the chimerical garb that is worn with armor is still
usually laid atop real clothing. Some changelings prefer modern
dress, and some voile is extremely modern, even futuristic.
Voile is not evident to mortals, nor is chimerical armor.
Naked people walking to a ball create a stir; naked people
jumping about and swinging imaginary swords while yelling
battle cries upset the mundanes, and usually get changelings
locked up in the nearest psychiatric ward. This can be easily

avoided by wearing mundane clothes in addition to the voile.

Household items, such as luxurious pillows and draperies,

fancy utensils and tablecloths, intricately patterned carpets and
may be given chimerical aspects to hide the more mundane
objects underneath, many are no more than the stuff of dreams
given shape. So long as changelings are the only ones to use
them, it makes little difference if these items are "real" in the
mortal sense. If changelings can see and feel these objects, they
can sit on, lie on, wrap themselves in and eat with them.
Likewise, entire buildings may be enhanced by fae Glamour, taking on the trappings of chimerical abodes, welcoming
havens and friendly gathering places. More fanciful places, such

as a castle under a lake, may be made up entirely of Glamour,

dreamed into existence and sculpted by masters among the fae
craftspersons and architects. Such dwellings cannot be seen or

felt by those who have not been enchanted. They are not often

ChapreR One: The

37

ChimeRical Trappings
When creating or reawakening a freehold, a changeling must invest permanent Glamour (see "Freeholds," pg. 43). He
may then shape the freehold to some extent, altering it to suit his needs and desires. Thus a duchess might create an aviary
filled with chimerical birds, while the duke who rules after her might decide that the space could be used more enjoyably as
a kennel. A third changeling might utilize the space to create a rock garden. It all depends on the owner's mood and
preferences. Some never change things, feeling that what was good enough for the ruler 600 years ago is good enough for today.
Even these traditionalists leave some imprint of their personalities on the freehold, however. Though they may leave things
exactly as they found them, the freehold's current residents will find the contours and colors of chimerical objects often shift
slightly to be as pleasing as possible. Such effects can be the flatware changing patterns, the garden's deep pink roses becoming
lighter, or an uncomfortable chair "acquiring" a better cushion.
When several changelings band together but cannot find a freehold of their own, they may still use their Glamour to
place chimerical trappings over a mundane site, be it a house, room, forest clearing or playground. This gives them a place
of their own where they can feel comfortable. Because each changeling gives a tiny bit of temporary Glamour to the
undertaking, the enchantment is stronger and more resistant to being canceled by banal mortals who walk through the
vicinity. The changelings can derive no Glamour from the site, as it is not an actual freehold or glade. Nonetheless, it provides
those who visit with a home, workplace or amusement area where they can relax and be themselves away from prying mortal
eyes.
constructed in places where mundane foot traffic is frequent,
lest a Banality-laden mortal stroll through, bringing them

crashing to the ground.

Most chimerical structures are laid over already-existing
buildings, many of which are old, abandoned properties that
attract little attention. What looks like a run-down bookstore

with a sign that always says "Closed" might be a snug fae pub or
the home of a fae noble. To changelings, the building looks
freshly painted, with shining, newly washed windows. Going

one step further, changelings sometimes form entire towns or

villages, though this has become increasingly uncommon in the
modern era. Still, what looks like a ghost town to mortals might
be a thriving Kithain community.
Old ruins can take on new life as they are rebuilt with the
stuff of the Dreaming, and mushroom rings can be transformed
into faerie dancing grounds. Such places may hold a sense of the
otherworldly within them long after changelings have left, or

their chimerical aspects may be dispelled by the disbelief of a

single skeptic.
Chimerical conveyances are some of the rarest of inanimate chimera because they often have limited use. Like other

objects, changelings can give their skateboards, motorcycles

and cars chimerical aspects, changing their looks to impress,
frighten or amuse other changelings. Such uses are far more

common than imbuing a vehicle with powers from the Dreaming such as flight or the ability to climb sheer walls. Traffic jams
are fairly banal events, meaning that the chimerical aspects of
conveyances can disappear in a flash, and mortal disbelief must

be overcome or the area flooded with Glamour to allow a

Kithain to ride a magic carpet through the air.
Should mortal disbelief overcome a changeling's Glamour

while she is flying on that magic carpet, she is immediately

removed from the real world (as if Banality were protecting itself
from the intrusion) and deposited somewhere within the Dreaming. Since the changeling is then effectively lost for hours,

38

Changeling: The DReaming

Of Tunnels and DooRuiays

and ChimeRical Dungeons
While it is possible to construct chimerical tunnels,
doorways and even castles out of thin air, the open space
for such things must exist. Solid reality must always be

accounted for while in the mortal realm. Chimerical

doorways cannot be placed in real walls and used to pass
through them, though the illusion of a doorway can be
made to appear. The wall is still solid despite the addition
of a chimerical "decoration." Likewise, chimerical tunnels or dungeons cannot exist in solid earth. An underground freehold is possible only if it lies within an existing
hollow space, such as a cave or mine, or because entering
through the doorway of the freehold actually leads into

the Near Dreaming. In the Dreaming, almost anything is

possible. Chimerical dungeons within solid ground, staircases made of moonlight spiraling upward to the clouds,
and flying houses made of candy canes are among the less
fantastic structures found there.
days or even years as she struggles to discover exactly where
she is within the vastness of the Dreaming, most rarely chance
such blatant shenanigans. Nonetheless, there are plenty of
enchanted coaches and the like created to convey Kithain
nobles to court in the style to which they are accustomed.

CRafring ChimeRa
Nockers are master crafters when it comes to making
chimerical objects and items, though boggans are also noted for
their skill. Both kith take great delight in creating chimerical
objects, but they are not the only changelings who can do so.
Any changeling who possesses the skills can create chimera
from the raw materials of the Dreaming. Creating exactly what

she has in mind is sometimes harder than it sounds,

though, and many misshapen or partially formed chimera arise from practice sessions.
Many inanimate chimera are extremely short-lived
or called up only at need. Exceptions to this are chimerical buildings or items that are in frequent use, such as
clothing. Such chimera serve the purpose for which

they were made and never grow beyond the control of

their changeling masters. Others may take on sentience

and escape into the Dreaming.

Animare ChimeRa
Since ever and ever the world began

They have danced like a ribbon of flame,

They have sung their song through the centuries long,

"

And yet it is never the same.

Rose Fyleman, "The Fairies Have Never a
Penny to Spend"

The other side of the coin is animate chimera.

From imaginary friends and invisible playmates to
animated teddy bears, childlings are especially fond of

animate chimera that they consider safe and controllable. Of course, they are also fearful of chimerical
monsters, which definitely are not cozy or friendly

(except in the rarest of circumstances). Chimera do

not take human form, though humanoid shapes such
as gossamer-winged folk are popular again, particularly among childlings, who thus "acquire" a brother

or sister willing to play with them.

Friends and HelpeRS

Animate chimera are almost never created deliberately. Rather they spring from a

changeling's unconscious mind. Many

changelings create counselors for themselves, speaking
to human-seeming, animal-like or fantastically shaped

creatures, and revealing their problems and aspirations to them. Some of these chimera have the
power of speech, which they may use simply to be

reassuring or, in the case of sentient chimera,

give good advice. These companion chimera
may travel with those who dreamed them ,
into being or may act as servants, entertainers, guards or decorative residents in a - j
changeling's home.
A very popular form of companion
(especially among the sidhe) is the

fairy steed. These beasts are usually

depicted as beautiful horses with flowing manes and tails. Decked out with
chimerical finery, such as bejeweled

bridles and saddles and covered with

embroidered velvet saddle cloths,
chimerical beasts provide proud

ChapccR One: The DReaming

39

mounts for the nobility when they ride to the hunt or the
joust. Some few may be unicorns, griffins or other fantastic
creatures rather than horses, but these are far less common
and usually do not last long as Banality

erodes their delicate fae natures. Some among these

chimerical beasts achieve
sentience. These may assume the roles of counselors or leave their

Kithain creators to travel

into the Dreaming.

AdveRsaRies and Foes

Some animate chimera become
foes or adversaries to the changelings
who birthed them. Whether given human,
Kithain, animal or fantastic forms, they basically
serve as cannon fodder for fae who want to practice their
swordplay, jousting or hunting skills. Tracking a "wild and
dangerous" chimera through the woods is a favorite pastime
of some nobles.

ChimeRical CDonsreRS
While mortals scoff at Japanese monster movies,
tales of clawed and fanged beasties, or the bogeyman,
changelings do not have that luxury. Chimerical mon.-iv-1a not only exist, but can seriously harm Kithain.
Chimera can interact with the real world, opening
doors and using objects from the mundane environment so long as mortals are not present. This means that
changelings cannot escape inimical chimera simply by
slipping through the nearest door and shutting it
behind them unless the room they enter is full

of mortal humans. Of course, fleeing into a

room of highly creative mortals (such as
might be found at an FX studio or in an

artists' colony) may not prove to be as

effective. Chimera thrive on Glamour

just as changelings do, and can sometimes project themselves into the
-mundane world in the presence of
i-creative mortals.
Like chimerical weapons, a chimerical monster's claws and teeth

can rip away a changeling's

memory of her true self while
rending her faerie mien. Though

this may seem a small penalty

tr compared to a hero's "death"
within the jaws of a dragon,
the changeling still feels the
pain as if it were real and loses

her faerie identity. She might

recover it given time and an

40

Chant/dint/: The

infusion of Glamour, but it is also possible that she may

never remember who she really is. Creatures of fantasy
monsters may be, but they pose serious
threats to changelings.

Possibly the least controllable and most

dangerous of foes are the chimerical monsters known as nervosa. Born from madness, these frightening beings may look ,,
like normal humans, animals or strange
alien creatures or they may have

no bodies at all. By the nature'of

their very creation, these chimera

are insane. Their actions make no

sense, their powers may well be
unfathomable, and the rules un-
der which govern their existence

often change from moment to moment.

Like the madness that brought
them forth, nervosa rarely fit any recognizable patterns or shapes. They cannot be classified according to what sort of
madness formed them or how they might
:
react to different stimuli. Some have been known
to develop intelligence beyond that granted to
them by madness. Such rare creatures may become
even more dangerous, or fearful of having their existences ended. Many disappear into the Dreaming soon
after becoming self-aware.
Among of the most feared chimera are the noctnitsa,
which take their forms from a changeling's nightmares.
They usually assume shapes that directly or symbolically
echoes a changeling's greatest and most debilitating phobia (such as becoming a gigantic poison-dripping spider to
those who are pathologically terrified of arachnids). Endowed with obsessive malice, noctnitsa are mostly mindless, but driven to torment their creators. Some believe
noctnitsa are a form of nervosa, though both the sane and
the mad can birth them.
Many monsters take the form of mythical or legendary
creatures, such as dragons or griffins. Other possible shapes
are goblinoids, feral animals or things that never existed
beyond the realm of human imagination. Whether
these were created by changelings or from the
collective subconscious of humanity, they are
not usually under anyone's control. Many
are truly fearsome, gigantic and terribly
old. Some chimera claim that they are
the remnants of fantastic creatures that
existed before the Shattering. Others
claim they were created by the sidhe

to test their knights, and keep the

peasants in line and begging for protection.

41

Seen and Unseen

Which is worse, the monster you can see or the one
you can't? Some changelings fear nervosa who have
physical bodies, because they can cause deadly injuries.
Many changelings, however, believe that nervosa that
have no bodies are the most dangerous and potentially the

most unnerving. Imagine a creature that you know to be

insane is following just behind you wherever you go. You
can hear its footsteps, feel its breath upon your neck, smell
its reek and sense its malevolent intent, but you can

neither see nor touch it. Of course, it can't touch you

eitherunless the rules that govern its behavior abruptly
change, and it decides to rip your head off when you aren't
looking.

Banaliry and Things of rhe

The child next door has a wreath on her hat;
her afternoon frock sticks out like that,
All soft and frilly;

She doesn't believe in fairies at all

(She told me over the garden wall)
She thinks they're silly.
Rose Fyleman, "The Child Next Door"
Banality is disbelief, pure and simple disbelief in what
people cannot see and hear, disbelief in magic, monsters and
faeries. Disbelief in the extraordinary. It deliberately cuts off the
mind from anything that might challenge preconceived notions. It is the stamping-out of individuality and childish whim,
which kills creativity and denies that anything exists beyond
what is evident and explainable. Intended to insulate mortals
from the terrors of the World of Darkness, Banality erases beauty
and vibrancy and dulls fears.
Just as humanity's beliefs and dreams created the Dreaming, its disbelief shattered the magic, ripping the Dreaming apart
from the mundane world. That same deadening force continues
to plague changelings. It can erode a changeling's sense of her
fae soul, and harm those objects and creatures made from
Glamour, sometimes destroying them altogether. Inanimate
chimera possessed by a changeling (such as her clothing or
weaponry) may be a little better protected. Those not actually
among a changeling's accouterments, however, may be disrupted when exposed to too much Banality.
Because so many people carry the seeds of Banality within
them, animate chimera avoid humans whenever possible. Most
fade from sight whenever any humans are about, hoping to
preserve themselves. These chimera can also be dispelled by the
touch of Banality, which wounds them, ripping away the Glamour of which they are made.
Some mortals have no creativity at all. These deprived
beings, known as Autumn People, actually suck the Glamour out
of whatever they touch, leaving grayness and Banality in their
wake. Autumn People are greatly feared by changelings (and

42

Changeling: The DReaming

intelligent chimera), for they are the antithesis of everything

the Kithain hold dear. Persons with very high Banality, such as
Autumn People or Dauntain (changelings who have rejected
their faerie natures), can sometimes destroy chimera merely by
being nearby. Chimera are fragile and ephemeral in the face of
Banality, as they usually have only a small bit of Glamour to
sustain them. This is another reason why sentient chimera often

desert the mundane world in favor of the Dreaming.

The CDisrs and Cnchanrmenr

Banality has other effects as well. One of these is known as
the Mists. When disbelief banished most of the fae from this
world and destroyed much of the Glamour that sustained them,
it also erected a "curtain" between the magical and the mundane. This nebulous, invisible shield keeps changelings from
remembering Arcadia, causing their former lives as true fae to
fade from recollection. The Mists also veil the activities of
Glamour from mortals, destroying their memories of any supernatural occurrences they may have witnessed.

Places of QlamouR
And there were gardens bright with sinuous rills,
Where blossomed many an incense-bearing tree;
And here were forests ancient as the hills,

Enfolding sunny spots of greenery.

But oh! that deep romantic chasm which slanted
Down the green hill athwart a cedarn cover!
A savage place! as holy and enchanted
As e'er beneath a waning moon was haunted
By woman wailing for her demon-lover!
.. .And all who heard should see them there,
And all should cry, Beware! Beware!
Samuel Taylor Coleridge, "Kubla Khan, or A Vision in
a Dream"
Though changelings are creatures of the Dreaming, they
are barred from their homeland. Arcadia lies beyond their reach,
both through the closing of all gates and roads that led to the
realm (at least those from the Earth side), and through the
Banality that changelings assume when they don mortal bodies
to shield their faerie essence from the cold tides of disbelief.
With Banality a constant threat to their physical essence,
changelings have great need for places to which they can retreat.
They also crave mental respite from the rigors of the mundane
world, which threatens to eat away at their personalities at every
turn. They must have some place that is tied to the Dreaming,
a site that allows them to be what they truly are without hiding
behind the mortal masks they wear in public. Changelings who

have no havens of their own often find at least temporary shelter

and companionship within a variety of refuges.
Many such places exist (though far fewer now than before
the Shattering), all holding Glamour within them. Their ties to
the Dreaming are closer than the rest of the mundane world's,
and they maintain far more chimerical aspects than less "magical" spots.

FReeholds
I wander o'er green hills through dreamy valleys

in the mortal realm as normal houses, storefronts or wayside

inns. Many of them are shielded by wards of faerie magic that
render them inconspicuous to the eyes of the unenchanted.

And find a peace no other land could know

Humans may routinely pass by a faerie tavern and see nothing

I hear the birds make music fit for angels

And watch the rivers laugh as they flow.
Richard Farrelly, "Isle of Innisfree"

but an abandoned building, dusty and in need of repair, and

altogether unworthy of their attention or interest. In the same

Over the centuries, Banality has eroded the natural places

of faerie power that once proliferated the world. Gone are the
enchanted forests, sacred groves, secret glens and faerie rings.
Vanished are the great faerie castles and troll fortresses. The
magic isles have disappeared beyond the Mists, hidden from
even faerie sight by the clouds of forgetfulness. Most of the faerie
roads, or trods, that once connected these faerie sites to Arcadia
now lie closed by the weight of human disbelief.
Despite their rarity, some few places in the world still
retain their original Glamour as well as their connections to
the Dreaming (see "Trods," pg. 45). Changelings may find
refuge from the incessant barrage of denial and rationality at
these sites. Banality has little purchase here. Because of their

freedom from the taint of disbelief, these Glamour-filled areas

are called freeholds.

Touched by Glamour, freeholds exist within the real world.

They have a mundane identity just as changelings do, appearing

fashion, a duke's chimerical palace may have the "mortal

seeming" of a spooky old Victorian house, causing feelings of
uneasiness in any humans who come too close.
Freeholds form the underpinnings of Kithain society, and
provide the basis for the feudal structure under which modem
changelings live. The Glamour of a freehold provides power and
influence to the nobles or commoners who claim dominion over
it. Freeholds sometimes cross the boundaries between the worlds
to have a chimerical existence within the Dreaming itself. Often
these freeholds serve as gateways leading to the Near Dreaming.
Freeholds also serve as the heart of changelings' faerie
existence. While most changelings still live in the mundane
world, they usually consider a particular freehold to be their true
home, the place in which they feel most comfortable and where
they can be themselves without fear of attracting ridicule or
denial from disbelieving mortals. A few changelings, particularly nobles, live full-time within the confines of a freehold,
although such constant exposure carries with it the danger of
becoming unable to cope with the "real" world.

ChapreR One: The

43

Because freeholds have such value, changelings are deeply

loyal to them. Many become obsessively concerned about every
detail, sometimes turning trivial disputes over how to furnish
their homes into major confrontations. Threatening a
changeling's freehold is tantamount to a personal challenge.
Defending a freehold is a changeling's most sacred trust.
The greatest concentration of Glamour within a freehold
lies in its balefire, or Ignis Vesta. Considered the heart of the
freehold, this chimerical flame is the focus of magic within the

existence. Should the balefire ever burn out, the freehold may
be lost to Banality. When the sidhe left at the time of the

simply reawakened. These "sleeping freeholds" lie empty, abandoned at the time of the Shattering, with their balefires left as
mere embers, awaiting the touch of changelings to fan the
flames to life again.
Many changelings discover freeholds or are given them
(either as a reward for services or as a part of vassalage to an
overlord, or as an inheritance). When a changeling discovers
or is given a freehold, she is required to swear an oath to
protect the freehold and invest Glamour in the site. Once a
freehold has been so claimed, no other may lay claim to it
until the owner's death, unless she herself chooses to give it
away. The owner of a freehold may gain Glamour from it or

Shattering, many closed their freeholds, but left the balefires lit.

grant that privilege to someone of her choosing. Some

The embers often smoldered, awaiting their return. During the

Resurgence, many such freeholds reawakened, welcoming their

well under Tara-Nar, the stronghold of High King David.

Ireland claims as its Great Balefire the ever-burning heart of
Emain Macha, freehold of King Finn of Ulster.
Incredible effort is expended to create a freehold. After the

changelings steal the Glamour from a freehold through a

process called Reaving, but such conduct harms the site and
could even destroy it.
The chimerical aspect of a freehold may have little to do
with its mundane appearance. One duke's castle might be a
run-down mansion set back amid moldering trees, while a
duchess might create her palace from a disused warehouse or
an abandoned church. To some extent the taste of the ranking

site has been carefully chosen (a task that may take years or

changeling, who presumably owns the freehold, determines

decades), the creator must bring balefire from another freehold

and blend into it her own Glamour, which is permanently
sacrificed to the effort. More often nowadays, freeholds are

what its chimerical appearance will be. The Dreaming recognizes the changeling's right to make this determination and
enforces it with Glamour.

structure. So long as the balefire burns, a freehold remains in

sidhe residents back to the land. The source of all balefires in

North America is the Great Balefire that burns in the sacred

44

Channeling: The DReamint/

One amusing aspect of freeholds which almost always

astounds newly fledged fae is the "space inside versus the space
outside" question. Whereas a freehold may have a mundane

Hiding rhe Sacked Scone

aspect similar to a railroad flat (so called because each room

Most sacred stones are usually hidden entirely, or at

least made less conspicuous, to preserve glades from plun-

opens off the one in front of it like cars on a train) with 10-footwide rooms sandwiched between two other buildings, it need

der. A legend from Cornwall tells of Merlin's search for a

not be so crowded within. Indeed, walking through the door

may lead a changeling into a grand foyer with a sweeping spiral

staircase and a ballroom off to one side. Of course, to some
degree the size of the freehold is determined by how powerful
it is. A small freehold with only a little Glamour in it will never
be as big as one with legendary power. Such space-bending is
only possible if the entry to the freehold is in fact a doorway into
the Near Dreaming, in which case nearly anything is possible
within the bounds of the freehold. Freeholds that exist entirely
within the real world are limited in space and size by the space

that really exists.

Strangely, changelings who own freeholds have a similar
effect on the Near Dreaming that provides an immediate backdrop for their structure. Thus, a theme of white and gold used to
decorate a freehold in the real world might carry over into the
Near Dreaming, where not only the freehold's chimerical aspect

is white and gold, but so are the trees, grass, birds and animals
that live nearby.

Freeholds are vital to changelings not only for the refuge

and Glamour they provide. Most changelings consider a particular freehold their home. Though they may not actually live
within the structure, they claim it as a place they can go to in

time of need, where the other changelings will care about and
defend them. Freeholds provide structures within where changelings can meet with one another, either formally or informally.
Some of them serve as noble courts, and by extension, function
as the seats of government for changelings in the area. Finally,
freeholds serve as repositories for knowledge and treasures.
Without a freehold, a changeling community may slowly wither
like plants dying for water.

Qlades

great stone to act as the center of power for Stonehenge.

As Merlin traveled through the British Isles in search of

such a stone, he discovered that the keystone for a sacred

site was not always the one on display. The legend says
that the priests of a stone circle in Ireland watched with

amusement as Merlin studied the great altar stone which

formed the center of their site. The priests' amusement

turned to grief when the great magician bypassed the altar

stone in favor of a smaller, lesser stone that lay to one side
of the great circle. Some say that the other stones wept
before crumbling to dust when the sacred stone was taken
from them and sent across the sea. ; : : { ;: '... : :;
serves as the heart of the glade, acting as the repository for
Glamour. Less open to being claimed by a single individual,
glades bestow their Glamour onto whomever dreams within

them first (at least for that night).

The sacred stone is not always the most eye-catching
feature of a glade. In fact, though some glades boast circles of
menhir (lofty single standing stones or altarlike table rocks),

these are usually not the actual sacred stones. Such stones are
impressive and attract a great deal of attention, but this is not to
say that impressive stones are never the sacred stones of glades.

The Lia Fail of Ireland is one such example, but these are less
likely to be the true source of power simply because they garner
so much attention. They are too obvious, and by that, they can
be too easily stolen, robbing the glades of their power. Far more
likely candidates can be found leaning against trees or nestled

among roots, gathering moss.

The road was going on and on

used mainly for retreat, quiet contemplation and the replenishment of Glamour. Found only in the most hidden parts of the
world, glades exist because they were dreamed into existence.
Such tiny pockets of paradise have been longed for by almost all
of humanity, described by pulp writers and serious novelists
alike, and occasionally "discovered" by religious sects. When
found, they are cherished like no other spots on Earth, and their

Beyond to reach some other place.

I saw a tree that looked at me,
And yet it did not have a face.
Elizabeth Madox Roberts, "Strange Tree"
Like a web of highways, trods once connected freeholds
together and served as links to Arcadia and other points within
the Dreaming. These magical paths, though far fewer in
number than of old, still provide Kithain with a means of travel
from one holding to another. For 600 years after the Shattering, few trods functioned. When Banality slammed the portals

boundaries are fiercely protected.

to Arcadia shut, most paths into the Dreaming sealed shut

Whereas freeholds are constructed, glades are naturally

occurring wells of Glamour. Some freeholds are created within
glades, but not all glades are freeholds. These sylvan places are

Glades need not be small, nor are they always found within

woodlands. They might be grassy hillocks, open fields, small

orchards, mountain meadows, even pebble-strewn beaches beside rushing streams or hidden lakes. Whatever form they take,
all have one thing in common: the sacred stone from which they

derive their magic. Somewhat like balefire, the sacred stone

along with them. Those that remained open were often difficult to find, nearly impossible to open without the proper
rituals and timing, and exceedingly dangerous to use. Nor did
any of them lead to Arcadia anymore. Those seeking that
wondrous land often found themselves trapped somewhere
within the Deep Dreaming instead.

ChapreR One: The DReamfng

45

Roads of the Dreaming, trods (at least those within the

Near Dreaming) allow changelings to travel from place to place
and use their Arts freely without fear of Banality. Even when
traveling from one freehold to another, changelings leave the
real world when they first step onto a trod. The path leads
through the Near Dreaming and emerges back into the real
world at another freehold. Some trods suddenly end at particular
locations within the Dreaming. Such locations may hold grave
dangers for changelings unused to traveling the Dreaming after

do not interact with it. They have entered the realm of the
Dreaming, and are now subject to its peculiarities.
Each trod has a different feel to it. This may be something
as tangible as a sense of great coldness and a wintry aspect, or as
nebulous as an almost-inaudible tune that hangs in the air.
Trods often (but not always) reflect facets of those things or
people who can be found along their length or at the end. Thus
a trod that leads to a motley of pooka may have aspects that
resemble colossal jokes and pranks, such as chimerical pies in

being cut off from it for 600 years.

the face for failing to answer riddles, or questions required for

Rarely does a trod lead directly from one place to another,

and travelers do not appear instantaneously at their intended

passage that only allow those who lie to go forward.

destination. Instead, those who use trods must undertake an

actual journey, one which usually involves some sort of adventure. The Dreaming is made up of stories, after all.
The journey may be quick and easy, with the changeling

arriving almost immediately, or it may be arduous, challenging and

quite lengthy. Most travels via trod seem to take the same amount
of time it would take to travel to the destination in the real world,
though cantrips and other magical means can be used far more
easily within the Dreaming to speed along travel. Also, particularly
brave (or desperate) changelings can journey into the Far Dream-

The SilveR Parh

The one aspect of every trod that remains constant is the Silver
Path. Like a lifeline stretching the length of the trod, this silvery
pathway becomes visible to travelers when they first step onto a
trod. The Silver Path is a changeling's guide to his destination and

affords him some protection from the dangers of the Dreaming. So

long as a traveler remains on the path, chimerical monsters find it
much more difficult to attack him. More intelligent monsters
understand this, and many devise lures and cantrips to fool unwary
changelings into leaving the path or believing that they have

ing to seek out shortcuts. Occasionally Kithain find that what

already strayed from it. As if this weren't difficult enough, many

seemed like a journey of several days or weeks took only moments

in the real world. Such is the nature of time in the Dreaming.

places exist in which the path seems to disappear or becomes

extremely hard to follow. Often travelers discover that they must

Some trods are not always accessible. Many open only upon
the utterance of a mystical phrase; others only allow entry

solve riddles, piece together puzzles or overcome guardians if they

during certain seasons or times of day. Some require some sort

of sacrifice or a riddle to be answered before allowing themselves

to be used. Whatever the conditions are that must be met before

the trod can be traversed, there will usually be more riddles,
puzzles or distractions along the trod itself.
When the sidhe returned upon the Resurgence, they moved

to take over the trods that had blown open in response to the
influx of Glamour that had allowed them to leave Arcadia.
Quick to realize their potential, the sidhe secured trods to their

newly reopened and reclaimed freeholds, assuring themselves of

secret paths on which they could move troops, send secret
messages, conduct trade and explore the Dreaming.
Some sidhe lords have encouraged certain of their subjects to
set up homesteads within the Dreaming at points where trods
terminate. These serve as homes, workshops where Glamour is
more available and more easily used for Grafting, markets for fae
goods, secret rendezvous points and playlands where a Banalityridden changeling may go to replenish her Glamour. Other

homesteads have sprung up as well, peopled by changelings who

have no ties to the nobles at all. Many of these commoners took

up residence in the Dreaming in response to the return of the sidhe.

Still other changelings have been in the Dreaming all alongand
many of them resent the intrusion of this new wave of Kithain.
Trods come in all shapes and sizes. They may parallel

roadways in the real world or ignore terrain entirely, drifting out

over the sea or up into the sky. Some twist through mountain
caverns or lead down to the bottoms of still, crystalline lakes.
Once on a trod, changelings are hidden from the real world and

46

Changeling: The

wish to remain on the Silver Path.

Those who become discouraged or believe they can find
shortcuts through the Dreaming are almost certainly doomed.
Nightmare realms and horrific creatures lurk within the Dreaming, longing for the taste of faerie flesh. Terrifying traps and
horrible fates await the changeling who strays from the Silver
Path. He may become lost somewhere in the otherworld, losing
his mind in the process and becoming one more denizen of the
Dreaming. Worse, he may be found (who knows how much
later) huddled in mad terror near the entrance to the trod, his

fae nature temporarily (or permanently) lost.

UJild PoRrals
Discovered only recently (or rediscovered), wild portals open
onto paths that appear at first to be trods complete with Silver

Path. In reality, they lead only to the wildest parts of the Far or
Deep Dreaming. Such gateways betray their true nature in various
ways. They may seem particularly crooked or shoddily built, be

overgrown with foliage in a color unlike anything else in the

vicinity, or have an odd smell. A careless changeling who steps
through a wild portal (believing it to be the opening to an actual
trod) quickly finds that she is lost in the otherworld. Stranded with
no idea how to reach a true trod or return home, she can expect

days (or years) of wild adventures as she tries to make her way
through the chaotic realms that constitute this least understood
part of the Dreaming.

No one is quite sure how wild portals come to exist. The Seelie
claim that they are the work of the Unseelie, while the Unseelie
blame it on the Seelie. These reports claim that powerful fae

deliberately created wild portals to entice their enemies, hoping to

strand them in the Dreaming at particularly dangerous spots.
Others maintain that wild portals are a creation of the Dreaming
itself, a defense mechanism brought into play at the time of the
Shattering. Wild portals were the last gasp of magic attempting to
remain in touch with the mundane by creating new openings into
the Dreaming when the old ones failed and closed.

The

Those who study this magical realm have yet to even begin
discovering the many and diverse places to be found within it.
The nature of the Dreaming, with its shifting terrain, chaotic
weather and unexplainable phenomena, makes such categorizing an impossibile task anyway. "Unlimited possibility" is often
simply another term for "hopelessly confused." Despite the
difficulty in determining just where one part of the Dreaming
leaves off and another begins, fae scholars generally agree on a
three-part division of the realm. These are known as the Near
Dreaming, the Far Dreaming and the Deep Dreaming.

A flower has blossomed, the world heart core,

The petals and leaves were a moon white flame.
A gathered the flower, the colourless lore
The abundant measure of fate and fame.
W. B. Yeats, "A Flower Has Blossomed"
The Dreaming is a realm that is separate from, yet tied to, the
mundane world. Created by the dreams, creativity, fears and hopes
of mortals, it has exceeded its original dimensions and become a
realm of infinite possibility. Anything that can be imagined may
be found somewhere in the Dreaming the catch is one has to
know where to look for it. The Dreaming exists alongside the
mortal realm, interwoven with it, penetrating it in places and
reflecting some aspects of its less magical neighbor.
Once the home of all faeries, over the last several centuries the
Dreaming has become a place of strangeness to most commoners.
Cut off from most of the realm since the Shattering, many are just
now rediscovering it. Others, who had access to those few trods
that remained open, are now exploring the Dreaming more fully.
Most never move beyond the Near Dreaming, which retains some
echoes of the nearby mortal realm. Almost all changelings enter
the Dreaming through a trod. Some positively revel in their
newfound homeland; others are beginning to understand that it
poses as many dangers for them as the real world does.
The Dreaming and the mortal plane were once the same.
The Sundering separated the two, creating a separate homeland
for the fae. The Shattering isolated Arcadia and most of the
Dreaming from the mundane world. The true fae, great faeries
of old whose powers were legendary and whose bodies were
made up of the very essence of the Dreaming, fled the mortal
realm. Those who could not (or would not) escape remained,
but were forced to undergo the Changeling Way in order to
survive. Trapping their faeries souls within mortal coils was the
only way they could survive the onslaught of Banality.
Whereas the greatest danger to changelings in the mortal
world is Banality, the Dreaming exposes them to new threats that
ironically are brought about by the lack of Banality. Monstrous
chimera, able to exist in the Glamour-rich environment of the
Dreaming, threaten changelings who deviate from set pathways.
Shifting realities, which are possible only because there is no
Banality to control them, confuse and disorient many travelers in
the Dreamlands. Where changelings face the loss of their fae selves
to Banality in the mortal world, the lack of Banality in most areas
of the Dreaming can send them into Bedlam from an overload of
Glamour. Their faerie souls must struggle to live in the mundane
world, but their mortal essences suffer while in the Dreaming.

The NCOR DReoming

The Near Dreaming is that part of the other realms that lies
closest to the mortal world. It overlaps parts of reality, and in places
even mimics certain features of the Earthly realm. Thus entering
the Near Dreaming via a trod in the mountains may very well place
the changeling in a Dreaming environment similar to the one she
just left. Jagged peaks and cliffs make up the immediate terrain, and
the trod itself conforms to a road or stream that cuts through the
mountains found on the mortal side of the curtain.
Those parts of the Near Dreaming that do not echo the nearby
mortal realms are sometimes shaped by the rulers of those lands. As
the personality and well-being of the ruler affect her holding in the
mortal world, so too they affect the part of the Dreaming that abuts
her freehold or kingdom. Most freeholds have a chimerical existence within the Near Dreaming, allowing Kithain to enter a
freehold from the mortal side, cross through the freehold and exit
the dwelling into the Dreaming. Because of this two-sided existence, the freehold responds to the emotions and health of its ruler
in both its mundane and magical aspects.
Other areas of the Near Dreaming may be shaped by various
forces. Some respond to human-made items, taking forms similar to single buildings, parks or even neighborhoods. Generally,
for this to happen, the construct in question must be the result
of a great amount of imagination and emotion. A small clinic
funded with money gathered by families of critically ill patients
might call forth a chimerical building in the Near Dreaming,
especially if the clinic becomes a reality after years of scrimping
and dreaming by those who fund it. Not only have they made it
a reality in the mortal world, they have created a dream of it
within the otherworld as well.
The Near Dreaming can be entered through trods, which
often run from one freehold to another. Since many freeholds
exist within the Near Dreaming, even commoner changelings

have become accustomed to using these real-world entry-andexit paths since the sidhe opened them up for use.
Though the time it takes to travel remains approximately
the same whether using a trod or more mundane means in the
real world, many changelings have discovered that there are
other modes of travel in the Dreaming. The lack of Banality
makes using Arts such as Wayfare much easier, allowing quick
travel from place to place within the Dreaming. Then there are
magical beasts, some of whom have their own Arts or possess
wings. These too may speed a changeling on his journey. Most
importantly, however, the Silver Paths of the trods in the Near

ChapreR One:

The DReaming

47

Dreaming are almost always safer, wider, easier to spot and

follow, and better kept than elsewhere within the Dreamlands.
It is only near the furthest edges of the Near Dreaming that the
Silver Path begins to fail.
Many areas of the Near Dreaming play host to freeholds or
homesteads. The presence of changelings who watch over these
areas tends to make them more stable and resistant to some of
the weirder effects that plague the farther reaches of the realm.
Despite this static aspect, however, the Near Dreaming cannot
be mistaken for mundane reality. Colors are more vivid, scents

sharper, tastes more tangy and weather more pure. A thunderstorm in the mortal realm cannot begin to compare to the
flashing lightning, booming shocks of thunder, sheets of rain
and driving wind that is the very essence of a storm in the

others could desire changeling slaves or see visitors to their

territories as fair game for their own version of blood sport.
If experiencing the Near Dreaming is like being in a story,
traveling the Far Dreaming is like falling into a myth or legend.
Some changelings come to the Far Dreaming to escape the
rulership of the nobility, though this can backfire as it is the
sidhe who claim the most knowledge of this realm. Furthermore,
those who remain too long within the Dreaming eventually
succumb to Bedlam. Few but the most powerful fae or chimera
can survive this mysterious realm long enough to set up residence within it. Those who do reside in the Far Dreaming leave
their imprint on the surrounding territory. Sentient chimera
roam many parts of the realm. It is difficult sometimes to tell
whether the land responds to the needs of the chimerical beasts

bright burning flame almost given a physical body, and gladness

manifests as a tangible feeling that spreads from one person to

or the beasts gravitate toward comfortable terrain. Nothing is

ever certain in the Far Dreaming, except that uncertainty
underpins the whole region.
Nonetheless, Arts seem more effective here, with some
classic cantrips evincing special effects rarely seen in the mundane realm. Wayfare cantrips may be accompanied by puffs of

another. Romance blossoms from the slightest gesture, and

passions run hot; likewise, pleasure is far more enticing in the

smoke, a clap of thunder or the sound of whooshing air; Sovereign effects may include a subtle halo of light or a just-audible

Dreaming. Unfortunately, the reverse is also true. Fear cuts like

a white-hot knife, and hatred chokes with a taste like bitter

fanfare when used. Whether this is the result of the presence of

so little Banality, a property of the Far Dreaming itself or the
result of changelings' overactive imaginations has not yet been

Dreamlands. Everything chimerical is brought into sharper

focus, while objects of Banality become hazy or fade away
altogether.

Emotions are much purer here as well. Anger becomes a

ashes. Pain is also enhanced in the realm of Dreams, and damage

inflicted on Kithain, whether by Arts, beasts or chimerical

objects, becomes real upon entering the mundane world again.

Dangerous, but compelling and delightful, the Near Dreaming and its oddities are more recognizable and more easily

assimilated by changelings than other parts of the Dreamlands.

This is because some Banality seeps through from the nearby
mortal realm, helping shape the chaos into patterns. Banality
usually loses its power before having much effect on the farther
reaches. Thus, the Dreaming becomes stranger and makes less
sense the farther Kithain travel into it. Few attempt the trek
beyond the Near Dreaming. Those who do are often deemed
mad. If they return, they have often earned that label.

FQR
The Far Dreaming begins where the Near Dreaming leaves
off, though the boundaries between the two are sometimes hard
to judge. This part of the Dreamlands can only be reached
through traveling along a trod, but even this can be perilous and
confusing. Here the Silver Path becomes harder to follow and

sometimes seems to fade out altogether or skip from place to

place. Travel through the Far Dreaming is dangerous even along
trods because of the realm's chaotic, unpredictable nature. Only
very powerful trods extend this far into the Dreaming.

Among the many perils of this realm are the nightmarish

determined.

This chaotic realm can be used to travel the world much

faster than would otherwise be possible. Of course, getting lost
is a distinct possibility as well. Some changelings who have
traveled the Far Dreaming tell of experiencing what seem to be

years of arduous journeys only to once again step through into

the Near Dreaming and back to the mortal realm a few moments
after they left.

The Far Dreaming is also the starting point for ancient

gateways to the Deep Dreaming, though these gateways are
almost always guarded either by magical beasts or traps and tests
left behind by the sidhe to protect their realms. Here might be
found a sphinx whose riddles hold the key to opening a gateway
or to a changeling's death. The riddles, however, need not
make sense. Logic breaks down this far from the mundane world,
and two and two do not always add up to four. Traps might only

be sprung by those who actively search for them, and tests might
be more concerned with evoking a reaction than doing the right
thing. Then again, doing the wrong thing could lead to disaster.
Creatures such as dragons and unicorns abound in this realm,

many with powers never conceived of except in the oldest tales

from which they sprang.

Deep

creatures that lurk in the hidden places within the Far Dream-

The realms of the Deep Dreaming are the least structured.

ing. Strange things from Arcadia may be found here as well,

Only a handful of trods reach all the way to the Deep Dreaming,
and those few can only be used by those who know the secrets

released by the weakening of Arcadia's gates since their closure

600 years ago. Predicting their general natures, thought processes or reactions to changelings who might interact with them
is almost impossible. While some might offer counsel or refuge,

48

Changeling: The

of their opening. Insulated from Banality, the realms of the Deep

Dreaming are in constant turmoil, responding to the needs of
the moment. Rarely do these needs take into account visitors to

the realm. Rather they serve to protect the hidden places within
the Deep Dreaming from intrusion, covering the routes to them
with illusion or shifting realities to confuse those who do not
belong there. Some residents may be caught within these fields
of chaos as well.
It is believed that Arcadia lies at the center of this realm,
but that may well be another illusion. None have managed to get
that far, or at least none who began their journey from the
Earthly realm have returned to say so. Arcadia may not even be
the true homeland of the fae, but a shared illusion conjured by
the Mists. There are many paradises within the Deep Dreaming,
and a number of nightmare-inspired realms of hellish cruelty
and nauseating ugliness.
Literally anything can happen here. The less logical things
are, the more likely they are to occur. Dream logic (if there is
such a thing) prevails within the Deep Dreaming because this
realm is the physical and spiritual manifestation of the deepest
well of the creative unconscious. Powerful mortal dreams that

conflict with one another find expression here, sometimes

within the same space. Like the landscape visited in dreams,
seemingly unrelated places overlap one another with little
reason for their juxtaposition. Things happen that in the waking

world would have no connection to one another. There is

almost no cause-and-effect here. Some actions have no conse-

quence or related reaction, others come in response to consequences for what hasn't happened yet. People merge together
into symbolic representations and assume relationships to one
another that don't actually exist.
In a bizarre fashion, the Deep Dreaming is held together
by "cosmic" connections, its essential patterns given meaning
only by their proximity to each other. Some creatures and
objects exist within the realm independent of the fae. They are
a part of the area, and cannot be dismissed from it simply
because a changeling doesn't wish to encounter them. On the
other hand, reality is somewhat subjective after all. Change-

lings often find in this realm what they expect (or fear) to find.
Whether or not those things existed before the changeling
entered the area is open to debate. If someone can think of
something, she can find it in the Deep Dreaming, almost as if
it has been called into being in response to her thoughts. The
scary part is that this welling up of creative Glamour doesn't
always conform to its creator's expectations and conscious
wishes. Instead, it takes on a life of its own, responding to a
changeling's hidden wishes, deeply buried fears and illogic as
much as to her desires. If the Near Dreaming is a story and the
Far Dreaming a myth, the Deep Dreaming is the embodiment
of dreams themselves, and dreams can rarely be controlled or

directed that's a function of Banality.

ChapreR One: The DReaming

49

Who will go drive with Fergus now,

And pierce the deep wood's woven shade,

And dance upon the level shore?
Young man, lift up your russet brow,

And lift your tender eyelids, maid,

And brood on hopes and fear no more.
William Butler Yeats, "Who Goes With Fergus?"

Born of imagination and nurtured in the flames of

creativity, changelings are creatures of fire and passion, but

one another, but now and then they collide. Boundaries slip and
magical elements find their way into mortal consciousness, or

also of deep sorrow and inexpressible longing. All these

denizens of the "real" world suddenly find themselves sur-

aspects of the creatures who are the modern-day descendants

of the ancient races of faerie come to light in the pages that

rounded by strange and puzzling sights.

follow. In this chapter you will learn how changelings come

the halcyon country that once embodied the perfect union be-

into being, their complex history and their current society.

Herein lies a netherworld made wholecloth from dreams,
visions, illusions and hope.

tween dreams and reality the realization of dreams. Some

believe that in this way, the faerie realm of Arcadia will once again
join itself to the human world, sparking a renaissance of magical
possibilities that will rescue the mundane realm from its own
downward spiral into stagnation and decay.
Although humans deny the existence of the fae, relegat-

CDoRral (JJoRld
VCRSUS ODagical
That is true beautie: that doth argue you

To be divine and borne of heavenly seed:

Deriv'd from that fayre Spirit, from whom al true
And perfect beauty did at first proceed.
Edmund Spenser, "Amoretti"

The mortal and the magical worlds exist side by side in

tenuous juxtaposition. Most of the time the two realms ignore

The fae are constantly striving to bring back the Summerlands,

ing them to the sphere of legends and fairy tales, the fact that
these stories persist reveals a desperate desire to believe in the

unbelievable. Many humans want to believe that wondrous

creatures such as the fae exist, but lack the capacity to sustain
faith in what they cannot directly perceive or embrace through

reason. In fact, most mortals hardly remember what it is they

long for, so bowed down are they by a banal world that tells
them that searching for intangible or spiritual fulfillment is a
waste of time and energy.

ChapreR TUJO: A (JJoRld oF DRearos

51

Role of Changelings
The World of Darkness has little room for dreams. Humans
exist in a reality they can explain rationally but still cannot
understand. All the "great" institutions conspire to tell them that
the good die young, the brave come home in boxes and only the
financially strong survive. Dreams such as they are come in
sanitized, preprogrammed packages: the corporate dream, the jetset dream, the dream of retirement and the virtual dream.
For most people, dreams are a luxury they cannot afford. The
young have nothing to look forward to except unemployment or,
if they're lucky, meaningless jobs for minimum wages. When a
military career looks attractive, things are dull, indeed. The old face

disappointment and a society that turns its back on them. Even

those who have it made CEOs, rock stars, drug lords, politicians
find themselves surrounded by tawdriness and mundanity. The
high aspirations that once fueled human achievement and creativity have degenerated into the lowest common expectations.

The Lighr in rhe DaRfsness

Changelings radiate hope in a world buried in drabness. The
embodiments of creativity and the power to dream, these remnants
of the fae protect and nurture those fading shreds of wonder and
imagination that still remain. Without them, reality would collapse
under the weight of its own Banality, disbelieving in anything that

could not be seen or touched or experienced by the physical senses.

52

Channeling: The DReaming

In an older time, the fae served as muses to humanity,

inspiring artists and musicians, craftsmen and philosophers, prophets
and leaders to expand the boundaries of their minds and hearts to
encompass new thoughts and works of beauty. Now, changelings
fulfill an even more important purpose. In an era when science
threatens magic, reducing it to a series of physiochemical reactions
or a mechanical progression of causes and effects, changelings
proclaim the reality of the inexplicable. They tip the balance of the
senses, jar the edges of the mind and defy the "natural laws" that
consign the creatures of the world to one fixed form.
Changelings announce to the World of Darkness that dreams
exist. Like their name suggests, they represent the essence of
mutability. Reality does not have to lie stagnant or conform to the
rules. The children of the Dreaming, by their very existence, break
the rules and shatter the conventions of everyday life. Their lives
testify to the fact that what is does not have to be.
In the Gothic-Punk universe, changelings must tread carefully, for danger assaults them from all sides. Powerful forces exist
that oppose any change to the status quo. Dreams are subversive,
for they contradict the world as we know it. Changelings, even the
most traditional ones, act as revolutionaries and rebels, undermining the stark determinism of modern life. They allow humans to
indulge in rare moments in which it seems possible to cure the
world's ills to save the rainforests, feed the hungry, find homes
for everyone and bring the light of imagination into die
shadowy corners of the mundane realm.

KeepeRs oF rhe
If changelings did not exist, the world would slowly and
inexorably succumb to rampant disbelief, subsisting on a low-fat
diet of facts and provable observations. Humans would continue

to breed and jostle one another for living space, fighting wars to
determine who gets the spoils of land and riches, but the hope that

something more existed would be beyond their imaginations.

As exiles from a world they can no longer enter, changelings forever yearn for what lies just beyond their grasp. They are

creatures of profound sadness as well as beauty, and not all the

dreams they embody are happy ones. Yet it is this lack that drives
them to seek the unattainable to reunite Arcadia and the
mortal realm, and thus create a new (or re-create a very old)
reality in which dream and substance become one. This is the
goal to which changelings dedicate their existences, even if they
do not consciously realize it. They are the keepers of the
memories of a time when anything could happen, so long as
someone dreamed it into existence.

HistoRLj of rhe Foe

I often think I would put this belief in magic from me if I could,
for I have come to see or to imagine, in men and women, in houses,
in handicrafts, in nearly all sights and sounds, a certain evil, a
certain ugliness, that comes from the slow perishing through the

centuries of a quality of mind that made this belief and its evidences
common over the world.
William Butler Yeats, "Magic"

CDyrhic Age
In the oldest time, the Time of Legends, the world of dreams
existed alongside the mortal realm. No barriers separated the
two realities, and magical energies coursed freely throughout

the mortal lands. Wherever these energies touched rock or tree

or beast, strange and fabulous creatures sprang into existence.
The fae the children of the Dreaming passed unhindered
between the borders of both realms, mingling among the human
tribes that wandered the face of the land and teaching these
short-lived, dynamic creatures the art of dreaming. This ability

to shape new things from the fragmentary hopes and visions

Grafted in deep slumber helped to keep the connections strong
between Arcadia, the realm of dreams, and the mortal world. By
giving the secret of their lifeblood dreams to humankind,
the fae sought to ensure their survival and proliferation. Born of
dreams, they drew their continued existence from the power of
the imagination to create them.
From time to time the children of the Dreaming would show
themselves to mortals in various guises, for the forms of the fae were
asfluid as the dreams from which they came. In some lands, the fae
became as gods to the Sons of Adam and Daughters of Eve; their
powers to beguile and enchant made them both loved and feared
by all who encountered them. In Ireland, the deeds of the ancient
fae who called themselves the Tuatha De Danaan inspired awe and
wonder in mortal hearts, creating legends that persisted long after
their departure from the physical realm.

Too many fae saw humans as mere playthings, conduits of

dreams (or nightmares). The impressionable minds of mortals
had no defenses against the fickle affections and angers of these

godlike creatures. Just as humans learned to dream, they learned

to fear their dreams as well. It was this fear that would become
the undoing of the fae, for as the Golden Age of Legends gave
way to succeeding ages of Silver, Bronze and Iron, humans
learned to protect themselves from their fears. The act of selfpreservation, understandable though it may have been, gave rise
to the slow severing of the Dreaming from the mortal realm and
brought forth the phenomenon known as the Sundering.

The SundeRing
Some say that the Sundering arose simultaneously with
the Iron Age, when humans learned the art of Grafting
durable weapons that could cause grievous harm to both

mortal and immortal foes. Others claim that as soon as

humans learned to dream, they also learned to disbelieve
their dreams, denying by the light of day the phantasms that
haunted their nights. As tribes grew into settled communities, cities anchored humans to one place, surrounding them
with houses of wood or stone. Reality itself began to settle
into a single, changeless form. Dreams and True Dreamers
became the exception rather than the rule. Gradually the
mortal realm and the Dreaming began to drift apart as
humans placed barriers of disbelief and walls of explanations

between themselves and the creatures born of their imaginations. The damage, however, had already been done.
Once given to humans, the power to dream could not be
taken away so easily. Where once they controlled the visions of
men and women, the fae now found themselves bound inextricably to the dreams of mortals. Their lives began to mimic the
society around them, and fae existence soon mirrored the

dreams of developing humanity. Faerie chieftains evolved into

kings, faerie warriors donned the guises of knights, and faerie
lands transformed into fiefs and estates. Likewise, the wars and
conflicts between human tribes now emerging nations
cast their dark reflections into the world of the Dreaming.
As a result, faeries began erecting defenses to protect
themselves from the unwanted visions of mortal society. The
Mists arose to cloud the minds of humans so that their dreams
could not penetrate beyond the mortal realm into Arcadia. This
only served to drive the two realms even further apart.
The establishment of the Inquisition in 1233 brought the
Sundering to its culmination, as the Church's doctrinal purists
sought to eliminate all undesirable supernatural elements
including faeries from the world. To protect themselves from

the gallows and the stake, the fae retreated further into the
Dreaming, in some cases sealing themselves off from the mortal
world altogether or limiting their traffic across the borders
between the realms to certain times of the year such as Samhain

(All Hallows' Eve), Beltaine and Midsummer's Eve. Other

faeries sought their fortunes along the trods, fleeing their homes
in Europe in search of new lands as yet untouched by Banality.

ChapreR TLUO: A (UoRld oF DReams

53

TiR-na-Nog
The Sundering first emerged in the primeval lands of Europe and the near East, where the empires of Mesopotamia,
Egypt, Greece and Rome planted the seeds that would result in feudalism and the wave of "progress" known as Western
civilization. Other parts of the world, particularly the continents of North and South America, did not experience the

distancing of the Dreaming until much later.

In these lands, distant from the icy fingers of Banality, faeries and humans still lived in close harmony with one another.
Each respected the society of the other and interacted peacefully (in most cases). North American faeries called nunnehi
aided humans with their Glamour in times of need. In return, the human tribes honored the "invisible people" among
them with their dreams and rituals. Some of the faeries of these lands performed special rituals to gift particularly worthy
humans with children born of the Dreaming, children who grew up to be great leaders and ambassadors between the two
worlds.
,
' ; . . .
Legends of these western lands reached the beleaguered fae of Europe and the Mediterranean regions. The call of Tirna-N'og, the Summerlands, drew some refugees from the Sundering to journey by trod to the bright, peaceful lands as yet
untouched by disbelief and cold iron. Where the new arrivals came with peaceful intent, the native faeries welcomed them
and drew up treaties of friendship, sharing their land with the strange Kithain and teaching them to how harvest Glamour

from the new land. Soon, faerie fortresses rose atop jagged mountains and within virgin forestlands to rival the great palaces

of the faeries who remained behind in Europe and Asia, struggling to survive in a world that was becoming increasingly
hostile and full of Banality. This early exodus set the stage for the next phase of the death of faerie magic the Shattering.

54

Changeling: The

The SharreRing
Eventually, the threads that connected the Dreaming with
the mortal world stretched so thin that they began to snap, one
after the other. This final severing of ties between the two realms

became known to the fae as the Shattering, for it not only broke
the tenuous ties between Arcadia and the human realm, it also

shattered the dream that the Sundering could be reversed.

The term "Shattering" calls to mind one sudden, cataclysmic event like an earthquake or the dropping of a nuclear

bomb but in actuality, the Shattering describes a process of

small catastrophes as, one by one, the gateways that linked
Arcadia with the mortal world grew brittle and crumbled,
sealing offaccess to the Dreaming at their particular touchpoints.
Most lorists pinpoint the outbreak of the Black Plague in

1347 as the catalyst for the Shattering. Between 1347 and 1351,
75 million people throughout Europe including one-third of
the population of England alone fell prey to this virulent
disease. The wave of fear and despair that washed over the world
at this time echoed across the Mists and reverberated into the
faerie realms.
In the 14th century, the human world suffered the birth
pangs of a new era. The prophets of reason, whose efforts would
result in the Renaissance and the genesis of modern scientific

theory, sought to rationalize away mysterious and uncontrollable events such as pandemics. The common folk took refuge

in religion, forswearing their old beliefs in the supernatural for

the comfort given to them by the Church, an institution which
had no room in it for any magic other than its own.

As gateway after gateway faded into nothing or splintered

into thousands of slivers that disappeared upon their first encounters with raw mortality, the children of the Dreaming
realized that inaction would serve only to destroy them. In the

years encompassed by the Shattering, all faeries made one of

three choices that would forever determine their destiny.
Some retreated to their places of power, their freeholds

or faerie glens, and performed great rituals of faerie magic to

seal themselves off from the mortal world. Here the faeries
known as the Lost Ones still dwell, lost within their own
unchanging reality.

Most of the sidhe, with only a handful of exceptions, fled to

Arcadia through the remaining gates. In some cases, fierce
battles took place at the thresholds of crumbling portals as
frantic sidhe fought for the right to cross into the Dreaming
before the gateways closed forever. Faerie legends claim that
Silver's Gate, along with its freehold, the Court of All Kings, was
the last of these gates to fall and that its closing signaled the
death knell of the Age of Faeries.

Many of the commoner kith such as the eshu, trolls,

boggans and pooka found themselves trapped in the mortal
world, left behind by a panicked nobility that cared less for the well-

ChapreR Taio: A (JJoRld of ORCHIDS

55

being of its faerie subjects than for its own survival. These abandoned faeries sought to adapt themselves to the icy world of harsh
reality. As Banality swept across the world, no longer hampered by
the now-severed ties to the Dreaming, the fae who could not or
would not retreat to Arcadia underwent a desperate transformation, covering their true natures with a veneer of Banality that
allowed them to exist in a world that no longer believed in them.

They became changelings, and for the next six centuries, they
struggled to keep the fragments of the Dreaming alive.

The InreRRegnuTT)
Following the Shattering, the period known as the Interregnum saw great changes in both human and fae reality. Humanity

rediscovered the ancient wisdom of the Greek and Roman

thinkers, and slowly turned away from religious superstition to

scientific experimentation and rationalism. The Age of Exploration and its companion Age of Invention fed upon each other;

new worlds were discovered, and new ideas led to breakthroughs

that made life easier and transformed peasants into workers and
monarchs into industrial barons. Humanity entered an era of
rapid progress and social upheaval.
Changelings, now encased in mortal flesh and only marginally connected with their faerie selves, experienced changes
that were more devastating but no less challenging than those
of human society. The departure of the sidhe left the commoner

56

Changeling: The DReaming

fae bereft of the social structures upon which they had come to
depend. Gone were the noble houses, the lords and ladies, the
faerie knights and the system of fiefdoms that had held faerie
society together. Left to fend for themselves, changelings banded
together in small groups for mutual protection, or else attempted

to blend into human communities, hiding their true natures

from humankind and, sometimes, from each other.
With the emergence of towns to replace feudal strongholds,
many of these changelings took to the road. Unable to fit into
the increasing urbanization of human life, they wandered from

village to village, joining with traveling circuses, vagabond

players and minstrel groups. In the company of these fringe
elements of human society, many of whom were either freaks of
nature or social misfits, the commoners found refuge, as well as
outlets for their creative impulses. Among the underworld of
performers, changelings also discovered a steady source of Glamour, enough to preserve their fragile attachments to the bits and
pieces of the Dreaming that still remained despite the world's
determination to extinguish it. Many of the traditions that now
characterize changeling existence date from this time of wandering and redefinition, borrowing the terminology of the circus
and the theater for many of their Arts and customs.
The old ways died hard, however, and many changelings
still felt the need for a noble class to set the standards and
provide a sense of structure in their shattered lives. Rising from

The Changeling (JJoy

.;. : . 1 made my song a coat :
'

Covered with embroideries :

,: ) Out of old mythologies
\';"%- William Butler Yeats, "A Coat"
; I: In order to survive in a world saturated with Banality and severed from the Dreaming, the fae who were
stranded in the mortal realm by the Shattering devised
a means of protecting their fragile spirits. This process,
known as the Changeling Way, consisted of creating a
shell of mortality to serve as a house for the faerie spirit.
Just as humans used clothing to shield themselves from
the elements, changelings clothed themselves in mortal
flesh as a buffer against Banality.

>i: The first generation of Earthbound fae merely disguised themselves as humans, covering their raw faerie
natures with layers of Glamour tinged with minute doses

of Banality. In this way, they could pass themselves off as

humans albeit eccentric examples of the species. This
method worked only so long as the camouflaged faeries
limited their contact with mortals, thus minimizing
their exposure to human disbelief. Adapting fully to the

new environment necessitated finding a more permanent and durable solution.

Through trial and error, the stranded faeries discovered how to successfully implant their spirits into the
bodies of young children or infants, fusing themselves with
their hosts' mortality without displacing their souls. By
beginning their lives in human flesh, changelings could
avoid being destroyed by Banality. In order to accomplish
this, however, the Kithain had to sacrifice their immediate
knowledge of their true nature, forcing it into dormancy
until it could safely emerge during the Chrysalis.
L

the ranks of the commoners, some Kithain assumed old noble

titles and claimed abandoned fiefdoms, creating a subculture
that took the place once occupied by the vanished sidhe.

The Compacr
Before the Shattering, Seelie and Unseelie fae maintained a constant rivalry. Despite agreements between the two
Courts which divided the year into two parts, with Seelie and
Unseelie ruling respectively over summer and winter halves,
conflicts often arose. The Shattering changed that aspect of
changeling life as well. To survive, Seelie and Unseelie fae had
to put aside their antipathies. In an unprecedented arrangement, known as the Compact, the Courts declared a truce and
agreed to cease all hostilities against each other "for the
duration." Seelie-ruled territories allowed Unseelie changelings to travel freely within their borders, while Unseelie
freeholds opened themselves to Seelie visitors.

As the two Courts mingled more freely, each adopted some

of the customs of the other, and changeling society soon became
a mixture of Seelie and Unseelie concepts and behaviors. Law,
formality and honor learned to coexist with disorder, chaos and
impulsivenessa dynamic blend of opposites that has persisted

into the present.

ResuRgence
The cold centuries passed slowly. For humanity, science
and reason paved the way for the Age of Technology. One by
one the mysteries of the universe fell beneath the onslaught of
the microscope and telescope, revealing the microcosm of
atomic theory and the macrocosm of an expanding galaxy. As
avenues of wonder closed, explained away by one discovery after
another, changelings huddled wherever small pockets of Glamour remained and whispered of the coming of Endless Winter,
a time of ultimate triumph for Banality.
Then the miraculous happened. On July 21,1969, millions
of people all over the world watched their televisions in fascination as astronauts landed on the moon. Glamour rocked the
world, released from centuries of confinement by the simultaneous reawakening of humanity's sense of wonder. From science's
iron womb, magic at least for a moment was reborn.
A moment was enough. The upsurge of Glamour blew open
the gateways to Arcadia, reopening faerie trods that had been
dormant since the Shattering. Lost freeholds reappeared, their

glory restored by the power of humanity's dreams of walking on

the moon.
On the other side of the Dreaming, the rebirth of Glamour
in the world resounded through the ancient faerie realms of
Arcadia. The shining hosts of the sidhe returned to the world,
pouring forth from the newly opened gateways to confront a
reality far different from the one they departed centuries before.
Most of these new arrivals came as exiles, the result of a
tumultuous upheaval in Arcadia that caused the banishment of
five of the 13 houses that originally fled the mortal world. The
Mists clouded the memories of these returnees, leaving only the
knowledge that they were thrust out of Arcadia as punishment
for their part in some great disturbance in the faerie homeland.
Unfortunately, the groundswell of Glamour caused by
the moon landing could not prevail for long against the

accumulated centuries of disbelief that permeated the world.

The doors to Arcadia slammed shut once more. The sidhe
had to act quickly to prevent Banality from destroying them
outright. They fell back on the tried-and-true method of

switching bodies with mortals, sending a host of unwary

mortals back through the gateways that had briefly sprung
open. Since the Resurgence, most sidhe who have entered
the world as outcasts and exiles still use this old method of
protecting themselves from Banality, seizing upon conve-

nient mortal bodies to house their delicate spirits. Although

the true fate of such dispossessed human souls remains
unknown, most sidhe believe that these mortals enjoy an

ChapreR Taio: A (JJoRld oF DReams

57

awakening in the Dreaming. In other cases, newly arrived

sidhe avail themselves of the presence of very young children or unborn infants and insinuate their essence into the
psyches of these impressionable beings, coexisting in symbiosis rather than taking outright possession of mortal souls.
Although the Resurgence, as the return of the sidhe came
to be called, occurred everywhere, most faerie nobles reen-

tered the world in those places where the pull of Glamour was
strongest. Ireland, the British Isles and other places throughout Europe still radiated enough faerie magic to attract many
of the sidhe, but the vast majority of nobles emerged in

America. In 1969, the West Coast was experiencing a revolution in consciousness. In San Francisco, the Summer of Love
was at its peak, making that city a beacon of Glamour that
served as the focus for the returning sidhe.
From their points of entry, the sidhe spread quickly
throughout a revitalized mortal world. A clarion call sounded,
summoning commoner Kithain from their hiding places to
resume service to the nobles. Reclaiming their old freeholds,

the Resurgent sidhe moved with the confidence of their

inborn sense of authority. Despite the fact that the world had
known 600 years of change, the sidhe expected to reestablish

the ancient kingdoms of the fae, abandoned so precipitously

during the Shattering. They were met with unanticipated
opposition from Kithain society.

Changeling: The DReaming

For centuries, commoners had survived without the leadership of the sidhe. New leaders had risen to fill the void, and many
common fae learned to do without leaders altogether. The
feudal system, so dear to the Resurgent sidhe, had outgrown its
usefulness. In its place, new forms of human government based
on plurality, democracy, socialism and other populist systems
undermined the strict hierarchy of nobles and commoners.
While some commoners rallied behind the nobility, others
rebelled. An uneasy period of political maneuvering ensued,
culminating in an event which forever stained the reputation of
the nobility. In America, commoner leaders, summoned to a
meeting on Beltaine under the pretense of establishing an
accord with the sidhe, met death from cold iron in a wholesale
slaughter that came to be known as the Night of Iron Knives.
Any hopes for a peaceful settlement of the commoner-noble

dispute died that night.

AccoRdance CJJaR
The power to dream, to rule
To wrestle the earth from fooh.
Let's decree, the people rule...

Patti Smith, "People Have the Power"

Commoners responded to the massacre with the uprising
known as the Accordance War. Throughout the land, pitched
battles between commoners and nobles resulted in the destruc-

tion of many Kithain and threatened to destroy the fabric of

changeling society. For three years, civil war raged across the
chimeric landscape, spilling over into riots and gang violence in
the mortal world. Although the commoners fought desperately
and had energy and spirit in abundance, military experience lay
with the sidhe knights, who excelled in organized tactics.

weapon, hoping to use it to rally their own forces. Some say

Dafyll placed a charm upon the sword, hiding it from unworthy
eyes until the coming of his rightful successor.
The death of Lord Dafyll gave new life to the rebel commoners, and motleys of redcaps and nockers took to the streets,
seeking the lifeblood of any nobles they could find. In the midst

The sidhe gathered under the command of the warchief

Lord Dafyll of House Gwydion. A brilliant strategist and ferocious warrior who inspired fierce devotion in his armies and
rabid hatred in his enemies, Dafyll led the shining host to victory
after victory, methodically working his way from the Pacific
coast eastward across the continent. At last, Lord Dafyll reached
New York, where the commoners' forces met his armies with
their fiercest battalions.
In a climactic battle on Manhattan Island, Dafyll's forces
clashed with the Eastland Troll Army and the 4th Troll Commons Infantry. The Battle of Greenwich began in Central Park's
Strawberry Fields but spread rapidly throughout downtown
Manhattan, finally deteriorating into scattered bouts of streetfighting. The urban trolls harried Lord Dafyll's troops until they

of the furor, a new leader of the sidhe arose. His coming and the
manner of his appearance brought about the means of ending

were forced to retreat and regroup, falling back to the subway

station in Times Square. During the ensuing chaos, Lord Dafyll
fell, mortally wounded by an iron blade. His enchanted sword
Caliburn disappeared somewhere within the dark tunnels beneath the city streets. Commoner troops searched in vain for the

sight, where their enemies might overlook their presence.

the Accordance War.

The Rise of High King David

David Ardry's mortal host was born in the early '60s in
upstate New York. The childling David and his sister Morwen
spent their fosterage as part of a group of noble childlings
sheltered from the worst of the Accordance War by True
Thomas, the Grand Bard of the fae. After the death of Lord
Dafyll, word reached True Thomas that his charges were in
danger from a war party of commoners looking for noble blood.
Fleeing these assassins, Thomas and his wards made their way to
the heart of the enemy camp, seeking to hide themselves in plain
Their flight brought them to Times Square on New Year's
Eve, where a patrol of redcaps spotted True Thomas in the
throng of celebrants crowding the square. In the midst of the

year-end revelry, the valiant bard used all of his powers to defend

ChaprcR Tuio: A. (JJoRld oF DReams

59

his young wards against a superior-armed foe. During the onesided battle, David Ardry felt a pull of Glamour so powerful that
he could not refuse to follow it to its source. The young sidhe

returned to the thick of the battle, holding aloft a glowing sword

the lost Caliburn and fought beside True Thomas to turn
away the attackers. Unnerved by the sight of the legendary
weapon, now glowing with a brilliant golden light, the redcaps

fell back in disarray. "Behold!" Thomas cried to friend and foe

alike. "Thou dost look upon thy king!"
After their encounter with destiny, Thomas took David,
Morwen and his other charges to the safety of Queen Mab's
court in the Kingdom of Apples. Word had already preceded
them that Caliburn had been found and that its wielder would
become the long-prophesied High King of the faerie. Queen

Mab refused to believe the tales at first, and scorned the young
sidhe when Thomas presented him to her in her throne room.
When she ordered the upstart childling removed from her
presence, a magnificent gray griffin the symbol of House
Gwydion materialized around David, sheltering him with its
gigantic wings. "Can you now deny the fulfillment of the
prophecy?" True Thomas's words rang out with the force of his

geas of truth. '"The son of the Griffin and the sword that was lost
shall come together in the apple bower.'" In the face of overwhelming proof, Queen Mab recognized David Ardry ap Gwydion
as the rightful High King of the faerie.
For the next three years, David and Morwen lived with

Queen Mab at her palace of Caer Loon in the Kingdom of

Apples. During that time, the young king-aspirant worked to
establish his right to rule both commoners and nobles. He met
with opposition from both at first. The Accordance War still
raged, though the omens surrounding David's discovery of
Caliburn had broken the back of the commoners' cause. Despite
his youth, David displayed an innate political acumen and a
profound empathy for all fae, longtime resident commoners and
newly arrived sidhe alike. Again and again he successfully
answered challenges of wit and combat from nobles who insisted

on testing his fitness to rule. He repeatedly sent emissaries to

commoner leaders, pleading with them to make common cause
for the survival and prosperity of all the fae. David's egalitarian

viewpoints and his respect for the achievements of the commoners to preserve the Dreaming during the Interregnum eventually won the support of his most ardent enemies.
At long last, after three hard years of struggle on the
battlefield and negotiations in courts and motley freeholds, the

Accordance War came to an end. A true "accord" between

nobles and commoners resulted in the hammering out of the
Treaty of Concord. The terms of the agreement reaffirmed the
sidhe's right to rule, but recognized the rights of commoners to
an unprecedented degree. The monarchs of the kingdoms of the
fae agreed to appoint commoners to their privy councils and to
take advisement from groups of common fae. The Treaty of
Concord also required nobles to appoint representatives from
the commoner kith to positions in their courts.
Some say that the peace forged so carefully and with such
acute vision represented the dream of High King David. Certainly, the young king served as chief architect of the Treaty of
The DReamintj

Concord. Uniting the seven kingdoms of North America under

his rule, David named his high kingdom Concordia, in honor of
the treaty and the spirit of unity it represented.

Dreaming manifests. Regardless of whenor howthe changeling spirit emerges, this transformation begins with an explosive,
often traumatic, inner awakening known as the Chrysalis.

The PResenc

Hinrs oF rhe

Today, High King David rules Concordia from his fortress

of Tara-Nar, a splendid chimerical palace built from his Glamour-filled dreams. Called "the Lion of Tara," "the Commoner's
King," and "the Son of the Griffin," David Ardry ap Gwydion
embodies the principles of ferocity in battle, liberality of thought
and guardianship of all fae. His legendary honor and wisdom
have endeared him to his subjects, bringing some of his most
obdurate enemies to his support. He is never without Caliburn,

the symbol of his authority and the proof of his destiny.

Assisted by his sister Morwen, who rules in his absence,

High King David strives to exercise a benevolent and peaceful

rule over the fae of Concordia. In his lands, the fragile strands
of the Dreaming grow stronger. Though some voice disagreement for his policies, finding him either too conciliatory toward
commoners or too supportive of the nobility, most fae in his
lands enjoy the freedom to pursue their dreams.

NoruRe oF the Fae

I cannot see fairies,
1 dream tliem.

There is no fairy can hide from me;

I keep on dreaming till I find him:

There you are, Primrose! I see you, Black Wing!

Hilda Conkling (age 6), "Fairies"
Part flesh and part dream, changelings' appearances mirror
their dual natures. Changelings see one another in their true
forms, as embodiments of the Dreaming given form by the
Glamour of faerie magic. This is their fae mien. Banality shrouds
this form, however, hiding it from the world under a humanlike

appearance, called the mortal seeming. Changelings do not shift

between the two forms like shapeshifters. How a changeling
appears depends on who perceives her and on her proximity to
the Dreaming.

The ChRysolis

The Chrysalis, or moment of becoming, breaks the shell of

Banality that hides a changeling's true self from the mortal
world. Like the Big Bang that created the universe, this event
propels the newly aware changeling headlong into her first real
contact with the Dreaming. Assaulted from every side by a

barrage of sights, sounds, smells, tastes and tactile experiences

that contradict the harsh, cold reality of her life up to this point,
the new changeling may believe that she is going mad. In a way,
perhaps, she is according to the world's definitions of sanity.

But in another sense, somewhere in the depths of her psyche, she

realizes that she has, at last, come home.
Many changelings grow up as misfits in their societies. Even
as children, some undefinable essence clings to them, causing
those who know them to label them "exceptional," "gifted" or
too appropriately"fey." As children they are likely to have
imaginary playmates (who might not be so imaginary after all),
or insist on believing in magical worlds of dragons and superhe-

roes long after their playmates have progressed to team sports

and dating. As they grow older, these changelings-to-be continue to strike their families, friends and colleagues as eccentric,
holding onto a whimsicality that prevents them from being fully

at ease in the modern world. This sense of not-quite-belonging

comes from the nascent Kithain soul, still quiet but now faintly
stirring within the changeling's mortal flesh, waiting for the

proper time and circumstances to make itself known.

Just as a dormant volcano puts out warning signals of an
impending eruption, the Chrysalis announces its approach by
enacting subtle (or occasionally not so subtle) shifts in the
reality of the changeling. These can take the form of sudden
flashes of impossible to mortal eyes vistas, hallucinations
of mythical creatures in unlikely places (a unicorn in the boss's
office), periods of personality dissociation or the feeling that

another person has taken up residence in the mind. Few changelings realize at the time what it is that they are experiencing;
some, in fact, seek psychiatric or medical help.

DReom Dance

Oh, how is it that I could come out to here and be still floating,
And never reach bottom but keep falling through,
Just relaxed and paying attention.
All my twO'dimensional boundaries were gone,

When the time is right, usually at the most inopportune

moment in a changeling's life, the warnings stop and the Dream
Dance begins. This is the high point of the Chrysalis, when a new
changeling's world takes a hard left. The volcano erupts, the earth

I had lost to them gladly

trembles and rives apart, the tsunami strikes the shore, and cosmic
fireworks announce the changeling's liberation from the tyranny

And I saw that world crumble and thought 1 was dead,

But I found my senses still working...
The Byrds, "5D (Fifth Dimension)"

of form and reason. Glamour rushes to surround the awakening

changeling, engulfing her with the stuff of raw Dreaming, so that

Changelings are both born and made. Bom into the bodies of

nothing she sees, feels, hears, smells or tastes bears any resemblance
to the paltry senses that once connected her to the world outside

human infants, most changelings spend the first parts of their lives
as normal children, sometimes reaching their teens or even full

her body. In fact, during the Dream Dance, the fledgling changeling has a hard time perceiving just where her physical body ends

adulthood before the part of themselves that belongs to the

and where the world of experience begins.

ChapreR Tuio: A (JJoRld oF DReams

61

The changeling plunges into direct confrontation with the

Dreaming for the first time. Surrounded by Glamour, she sees her
true fae self resplendent in the light of chimerical reality. The Mists

that have clouded her mind until now roll away, revealing the
world as seen through changeling eyes a world formed by
Glamour and infused with faerie magic. Visions of Arcadia,
vignettes of earlier manifestations of her immortal fae self and

sometimes vague glimpses into her future scroll rapidly through

her mind, too quickly for her to take it all in or comprehend. Later,
she may remember only fragments of these revelations.
Her waking thoughts and deepest dreams (or nightmares)
coalesce out of the roiling pool of Glamour centered on her, becoming the chimeric partners of her Dream Dance and attracting the
attention of every changeling in the neighborhood. Often these

chimeric creations invade the surrounding reality, overcoming the

local Banality and giving rise to rumors of dragon-sightings in
downtown Manhattan or sea monsters in San Francisco Bay.
Not all changelings can cope with the intensity of the
Dream Dance. Some succumb to madness as the walls of their
human facades come crumbling down around them. Others take
refuge in Banality, forcibly denying the reality of their experience and refusing to accept that they are something other than

"normal." A few turn against the Dreaming and everything

connected to it, giving themselves over to the ranks of the
Dauntain, the destroyers of the Dreaming.
A changeling is at her most vulnerable during the Dream

Dance. Helpless to make sense of the barrage of sensual and

perceptual transformations that are exploding in and around
her, she exudes Glamour like a beacon, allowing all Awakened
creatures to home in on her location. This makes her easy prey
for some of the less wholesome supernatural denizens of the

World of Darkness as well as for those who hunt changelings.

Changelings in the area of an individual undergoing the
throes of the Dream Dance have a duty to locate and protect
their new cousin, and most willingly do so if only to take
advantage of the overflow of Glamour. This is often the first
introduction a fledgling has to the larger changeling community, and to other changelings.

FosreRage
Once a changeling has undergone the Dream Dance and is
aware that she is one of the exiled fae, she now has to find a place
among those like herself. Usually, other Kithain those alerted
to her existence by the telltale surge of Glamour from her Chrysalis

bring the fledgling to the nearest freehold. There, she begins her
education as a child of the Dreaming. She leams the reason for the
overwhelming experience she has just undergone and discovers
her true nature as well as her faerie kith (or race).
At the same time, the new changeling usually acquires a
mentor, who "adopts" her and acts as her guardian and tutor
during the first year or so after her Chrysalis. This period of
fosterage takes its name from the medieval custom whereby

nobles exchanged children so that alliances between new generations could form. Because the new changeling's mortal
family (if she still has one) cannot understand the profound

62

Changeling: The DReaming

revelations induced by the Chrysalis, the mentor and his com- adoption, these new "grumps" (as older changelings are called)
panions become a second family to the fledgling. To protect the are guests of a sponsoring freehold or motley. They still receive
bond between guardian and ward, both parties swear an Oath of

instruction about their faerie heritage and place in Kithain

Fosterage. This is usually the first experience a changeling has

concerning the power of the oathbond.

society, but their hosts make allowances for the wisdom and
experience their human existence has taught them. For many
new grumps, the transition between their former lives and their

Usually the mentor is an older, more experienced Kithain,

often a grump, but sometimes a wilder. The choice of the

individual who serves in this position falls upon the ruler of the
freehold which first sheltered the changeling. If the fledgling is
a member of the nobility, the local lord often chooses a mentor.

Although this relationship exists to benefit the fosterling by

easing her into Kithain society, all too often local Kithain
politics determine who receives the "honor" of taking a new
changeling under his wing.

new existence comes as a relief, an explanation for all the

nagging feelings of discomfort and displacement they felt in

human society. For others, the upsetting of everything they have
known places them in a precarious state of mind and only the
most judicious treatment can help them acclimate.
When a new changeling has successfully survived both

warding and watching, she undergoes a ritual called the Saining

(literally, "naming") that initiates her as a full member of

When a motley a group of commoner Kithain discovers

Kithain society. During this ceremony, seers versed in special

a new changeling, it rarely delivers its prize into the hands of the

Arts are able to part the Mists and discover the True Name of the
new Kithain. This secret name defines each changeling's relationship to the Dreaming and embodies her essence. All changelings who have undergone their Sainings know that their True
Names must be held closely and told to no one outside their

nobles, preferring to foster her itself. In these cases, the mentor is

the most influential member of the motley or the one who best suits
the ward. Fosterage among commoners lacks the hierarchical
nature of noble fosterage, and the new Kithain's guardian often
acts more like a big brother or sister than a foster parent.

household or motley. Knowledge of another being's True Name

changeling, often imposing his viewpoints and interpretations of

Kithain society and interactions upon his ward, this does not mean
that the ward becomes a carbon copy of her mentor. In fact, the

gives the knower power over that creature, so some changelings

refuse to tell their True Names to anyone.
A sidhe changeling undergoes a variation on the Saining
ritual, a secret ceremony attended only by members of the noble

reverse happens as often as not: the natural rebellion of youth

house that has sponsored the fledge. In addition to the naming

asserts itself, and the new changeling patterns herself after the
opposite of her mentor. Thus, a Seelie guardian can have an

ceremony, the newly awakened sidhe undergoes the Fior-RigK,

Although a guardian is the single biggest influence on a new

Unseelie ward, or a traditionalist noble can foster a changeling

with strong anarchist tendencies. Despite these differences, however, unless the mentor abuses the bond between himself and his
ward, a changeling often retains feelings of respect and affection for

an ordeal which tests her physical, mental and social prowess.

The results of the Fior-Righ determine her rank and to which
noble house she belongs.
Occasionally, noble houses deliberately plant one of their
own into a mortal family and bide their time until the mortal
host undergoes her Chrysalis. Under these circumstances, the

her first protector throughout her life.

Since the Mists separate a changeling's mortal kin from house already knows much of the information normally reknowledge of the Dreaming or Kithain society, a guardian often vealed by the Saining, such as the changeling's house, character,
makes his ward the heir to his estate and titles (if he has any). strengths and weaknesses.
After her Saining, a changeling swears an Oath of Fealty to
This custom assures continuity from one generation to the next.

The Saining
The period during which new Kithain adjust to their roles
in changeling society typically lasts for a year and a day, and is

divided into two distinct parts: the time of warding and the time

of watching.
During the time of warding, guardians or mentors keep a
close watch on childling or wilder fledges, taking responsibility
for any transgressions of Kithain customs or traditions made by
their wards. Gradually the restrictions upon new fledglings are
relaxed, and they begin to interact more directly with their new

surroundings and other changelings. This relaxing of supervision marks the beginning of the time of watching. Now the
fledgling learns from hard experience, making her own mistakes

and bearing the consequences of her actions.

Changelings who undergo the Chrysalis late in life, after
they have reached adulthood in the mortal form, receive slightly
different treatment. Rather than suffering through a period of

the lord of her freehold or to the motley which has adopted her.
Depending on her skills and her willingness to do so, she may

take service in the household of her new lord. The Saining

marks the end of the Chrysalis for a changeling and the beginning of her life as a resident of both the mortal world and of her
true reality, that of the Dreaming.

The CRi of Time

"You get the same as everyone else; a lifetime , no more , no less . "
Neil Caiman, Sandman: Brief Lives
Before the

forced to seek shelter in mortal seemings against the cold claws

of Banality. While the nobles of the fae withdrew to Arcadia and
sealed the gates behind them, most remaining Kithain survived

in mortal shells, although their memories of the faerie realm

became clouded by Banality and much of the knowledge of
Arcadia and the Dreaming was lost.
The commoners found their immortal natures tied to the
lives of their mortal surrogates. As their mortal selves aged and
died, the spirits of the fae passed on to other mortals in a cycle
of rebirth that has continued to this very day. Their mortal lives
were transient, but their fae natures survived, waiting and
hoping for a sign, a chance to regain contact with Arcadia and
the Dreaming.
An Indian Summer entered the Autumn of the commoners

with the Resurgence. A flood of Glamour restored many of the

old trods and freeholds to their former glory and awakened many
sleeping fae to their true natures. The Resurgence also brought
many exiled sidhe nobles back to Earth and gave them mortal
seemings similar to those of the commoners as part of their
punishment. The commoners have for the most part accepted
their lot as immortal fae trapped within the mortal cycle of life,

but the sidhe still cling to dreams of immortality and regaining

Arcadia.

Hooi Changelings Age

The seeming a changeling begins at is the mortal age at
which he undergoes the Chrysalis and awakens to his fae nature.
Thus, a childling is usually 12 years old or less, a wilder in his
teens or early 20s, and a grump is older than that. There are some
exceptions to these age groups among changelings, but most
Kithain have seemings that fit close to their mortal age.
A changeling advances in seemings as he advances in
mortal years, from childling to wilder to grump. Eventually

grumps fall into the infirmity of old age and die, although a great
many changelings are Undone by Banality long before their
mortal seemings die natural deaths. Very few changelings pass

peacefully into the Summerlands of old age. More often in this

day and age they are Undone by the increasing Banality that
tends to come with age, or die in violence against their enemies.
Most changelings fear the Forgetting or being Undone far
more than mortal death, because they know that upon death
they will continue on to the Summerlands and into life once
again. Their fae nature can only be destroyed by pure Banality,
such as cold iron. What a changeling fears most is having his
immortal fae nature destroyed and lost to the world forever,
denied even the chance to find the way back to Arcadia some
day. The permanent loss of any changeling is a tragedy to all
Kithain and a sign of Banality's increasing hold on the world as

Winter draws nearer.

The sidhe fear the cold touch of death more than any other
changeling, because their fate is not as certain as that of the other

Kithain. Latecomers to mortal life, the sidhe have mortal seemings

just as other changelings do. However, when they die, there is no
sign of the sidhe being reborn into the mortal world as the other
Kithain are. It may be that the sidhe, their punishment on Earth

64

Changeling: The DReaming

complete, return to Arcadia, enjoying Springtime for the rest of |

eternity. But it may just as easily be that death is the final }
punishment for the exiled sidhe, and that their fae natures are
destroyed upon their mortal deaths, cast intoOblivion, never to be

seen again. The mere possibility of such a fate is enough to chill the
soul of any changeling. What happens to the fae spirits of the
nobles when they die is a complete unknown, and that dark
mystery frightens all of the once-immortal sidhe to the core.
m
Some scholars have suggested the scandalous theory that
sidhe are reborn into the world, but as commoners, the better to
teach the exiles some humility and empathy for the Kithain who
were left behind to suffer the long years of the Interregnum. The
sidhe put little stock in such an idea, coming as it does from the
scholars and archivists of the disgraced House Liam.

PRevenring Aging
Many changelings have sought ways to prevent the inevitable inarch of time from affecting their mortal seemings, to
regain some glimmer of the immortality they once enjoyed, but
these efforts have always ended in failure, sometimes tragically,
as in the case of Lhandren, the legendary Lord of Foulness.
The only means to prevent aging for a changeling is time

spent in a freehold. Of course, spending too much time in a

freehold risks a changeling entering Bedlam, so most Kithain
balance their time inside freeholds with time in the outside
world. Generally speaking, changelings with regular access to a

freehold are longer-lived than mortals, and the very oldest

changelings play a complex game of dodge-ball with Bedlam,
Banality and the clock that they are going to lose sooner or later
one of the reasons why the very oldest changelings all seem
to be a little batty.
It is more typical to find nobles who have extended their
lives through spending time in a freehold than it is to find
commoners doing the same. Nobles fear the effects of death and
aging more than most commoners do, since the commoners
know they will come around again, sooner or later.

Siochdin
Figures of legend even among the Kithain, the Siochdin
are fae who have achieved a balance between Banality
and Glamour, between their mortal and fae natures. They
have accepted both entirely, and, as a result, have regained their immortality.

Some changelings believe that the Sfochain are

proof that one of the purposes of the exile on Earth is to
teach the fae to live in both worlds and to integrate their
faerie and mortal natures into one. They say that the
nobility's fear of death and rejection of their mortal sides
is the reason why they have lost their immortality; their
own arrogance will not allow them to embrace the mortal
side that may prove the key to eternal life.
Whatever may be the case, the eternal Sfochain
remain silent on the matter.

There are legends of treasures that can slow or prevent

aging in changelings, like the mystical Fountain of Youth, but
so far as is known, none of these items have been seen anywhere

outside of Arcadia, and may not even exist on Earth. Any such
treasure would be the subject of a great quest on the part of the
changeling who discovers its existence.

CfFects oF Aging
As time marches on, changelings suffer the same effects of
age as mortals do. They also endure some specific effects associated with their fae natures as they age. This section details those

changes.

CDoRtal Seeming
Most changelings live in the world of flesh, interacting
daily with human society and its inherent disbelief in magical
reality. To survive in a world that refuses to believe in the

existence of trolls, boggans, redcaps and nockers, changelings

take on the appearances of humansadopting mortal seemings
that hide their fae miens from mundane perceptions. Some hint
of a changeling's true self always permeates this mortal mask,
though. A troll might appear as an unusually tall or muscular

human, while a deer pooka might have large eyes and extremely
slender limbs. While changelings always perceive the fae mien
of other Kithain, most humans see only the outer form, never
realizing that the wild-haired, shaggy-browed musician they

admire is actually a satyr whose faerie soul has serenaded crowds

for hundreds of years.
As time passes, a changeling's mortal seeming changes just
like any other mortal's body does. Children grow and become
adolescents, then adults, and eventually grow old and pass from
this world. The effect of being in a freehold halts a changeling's
mortal aging as well as her fae aging, so childlings and wilders
often have trouble in mortal society when years seem to pass for
everyone but them and they never grow up (or do so half as fast

as their friends and playmates do). This often leads to childling

or wilders abandoning their mortal families and becoming "Lost
Boys" (and girls) who run away from mortal society and spend
all of their time living in freeholds, eventually slipping into
Bedlam unless they are taken in or provided some kind of shelter
in the outside world.

To prevent this fate, fosterage is used to provide these youths

homes with sympathetic changelings or kinain who understand
their fae natures, although this can sometimes cause problems with
the human authorities. A childling fears few things as much as a
Banality-laden representative of Child Welfare Services coming

to call on his fosterage to find out why he is involved in such

"strange" activities away from his natural parents.
Adult wilders and grumps often have similar problems
when co-workers, friends and neighbors realize that there is
something "strange" about the changelings, particularly if they
retard their aging in freeholds. For a while, the lack of change is
not noticeable, but when years go by and the changeling seems
to age very little, there may be questions or idle curiosity to be
concerned about.

ChapreR Taio: A (JJoRld of DReams

65

The more time the changeling spends in a freehold to

prevent aging, the more likely that someone in mortal society

will notice something unusual. This can cause a changeling to
be cut off from her mortal life, forcing her to spend more time in

freeholds and taking a greater risk of slipping into Bedlam.

Fae CDien
A changeling's fae mien is her true self, the faerie soul
hidden within a costume of mortal flesh. Unlike the pale shroud
of skin which forms a changeling's mortal disguise, the fae mien

partakes of immortality. To those with eyes that can perceive

the Dreaming, the true form of a changeling shines through the

false veneer of mortality. Changelings always recognize each

other as denizens of the Dreaming.

Within the boundaries of a freehold, faerie trod or any place

enriched by Glamour, a changeling's fae mien completely

overwhelms her mortal guise, but even outside these protected

environs, the faerie soul persists in announcing its presence to
other changelings, who have no trouble distinguishing it from
the mortal clothing it wears. Unless a changeling is over-

destructive force of disbelief and cynicism as the Endless Night or

the Long Winter, for it epitomizes darkness, dreariness and relentless cold. It is the death of the spirit.
Banality clouds the minds of mortals to the wonders of the
world around them and blinds them to the possibilities for
making their dismal lives better. Banality argues that things are
as they are through a long, tedious process of cause and effect.
Evolutionary processes and entropic decay only go in one
direction, and all things will eventually come to a grinding halt
with the death of the sun. Banality is the wet blanket of the
cosmos. In more immediate terms, Banality prompts a jaded
parent to destroy a child's belief in Santa Claus and the Easter
Bunny. It forces a talented student to lay aside his dreams of
becoming a great writer or musician in favor of joining the work
force because his advisors counsel him to make "realistic"
decisions about his future.
Banality rules the World of Darkness, casting its icy shadow
over urban landscapes and ruined countrysides. Contact with
this malevolent force threatens to extinguish the flame of faerie
magic. Held in its cold iron grip, the Dreaming fades and

whelmed by Banality or has deliberately rejected or renounced

this part of herself, other Kithain can always see her for what she
is a vixenish pooka or a mighty troll warrior.
A changeling's fae mien changes when the changeling's

chimerical splendor devolves into tawdry wisps of foolery and

idle imaginings. The Kithain fear Banality almost more than
they fear anything else, even death, for on the day that the last

physical age (not her chronological age) reaches the appropriate

Dreaming disappears forever.

I
I

shred of Glamour falls prey to its mindless rationality, the

point in her life. Thus, a childling becomes a wilder when she

reaches 13 physical years, even if she has been a childling for 20

chronological years or more from time spent in freeholds. She
undergoes a rite of passage appropriate to the new stage of life
that she is embarking on, and her new seeming is recognized by
the rest of fae society. This process represents a changeling

QlaiDOUR
In bright contrast to Banality, Glamour energizes the world
around it, shedding light on everything it touches, transforming
the most ordinary object into a thing of unimaginable beauty or

gaining in wisdom and experience, but also a slow and inevitable

turn of the wheel toward Winter and the journey to the
Summerlands.
For the Kithain, aging is more than a process of growing up

indescribable terror. If matter (or whatever currently passes for

matter) forms the building blocks of the mortal world, then
Glamour comprises the basic stuff of fae reality. Glamour powers
the Dreaming, gives life to chimerical creations, and invests
physical substance with magical energy. Also known as "faerie

and growing old;

it is the accumulation of wisdom, experience

magic," Glamour gives changelings the ability to create castles

and the Banality that often comes with the loss of childling
innocence. It is part of the process of how a changeling becomes

out of tenement buildings, weave grand illusions that are "real"

to those who touch the Dreaming, and enchant mortals to do

an elder in fae society, and eventually passes her wisdom and

their bidding or to see the world as changelings see it.

experience on through the Dreaming to her next mortal life.

Changelings depend on Glamour for the ability to sustain

their fae mien and to cast their cantrips (or spells). Without a
steady supply of this precious element, changelings soon forget
their connection to the Dreaming and fade away into their
mortal seemings and mundane lives.
In the World of Darkness, Glamour is a rare commodity.
Banality has greatly diminished the supply of Glamour, and
changelings spend much of their time searching for new sources

banoliry
1 have lost my passion: why should 1 need to keep it
Since what is kept must be adulterated?
I have lost my sight, smell, hearing, taste and touch:
How should I use them for your closer contact?
T. S. Eliot, "Gerontion"
Disbelief threatens the very existence of changelings. The
curtain of doubt and rationality that humans raised centuries ago
to explain away their fears not only separates the mortal world from
the Dreaming, it also erodes the spark of creativity that gives rise

to hope and imagination. Changelings call this universal negation

of the creative spirit Banality, for it seeks to reduce the marvelous
to the mundane, the miraculous to the ordinary, and the unexplainable to the impossible. Many older Kithain refer to this

66

Changeling: The DReaming

and preserving what still exists. Most changelings believe that

if they can increase the amount of Glamour in the world, they

can reduce the effects of Banality and eventually return the

world to its original, magical state.
Like most sources of energy or power, Glamour is imperceptible to normal senses. Lacking belief, mortals cannot see
Glamour or anything created from it. Nevertheless, it is as real
as atoms, wind or thought. Changelings, because they know that

I
t

Glamour exists, can sense its presence. All Kithain have some
degree of faerie sight, or kenning, which enables them to perceive
the currents of faerie magic, though those who possess the
Kenning Talent (see pg. 140) are more skilled in its use than
others. Kenning allows changelings to see through each other's
mortal seemings and recognize their fae miens, as well as to

locate freeholds and perceive chimerical creatures and objects.

The Undoing
Banality can so overwhelm a changeling that it divorces her
completely from her faerie nature, driving out all memory of her
true self and her link to the Dreaming. When this happens, a
changeling slowly forgets that she was ever anything except a

normal human. Her fae mien becomes so faded that other

changelings have a hard time perceiving her as one of the
Kithain. This catastrophe is called the Undoing, because it

unravels the stuff of the Dreaming that surrounds a changeling

until nothing is left but mortal flesh and a hollow soul.
A changeling's mortal seeming is her best protection from
the dangers of the Undoing. By incorporating a small portion of
Banality into her essence, a changeling can build up a tolerance

for small amounts of Banality. Thus she can keep hold of her true
self while going about her mundane existence, knowing in the
back of her mind that she is one of the Kithain even as she waits
tables or studies for her medical degree. Hiding behind a mortal
seeming also camouflages a changeling from the active agents of

Banality, who seek out those like her with the intent of destroying them or severing them from the Dreaming. Prolonged
contact with Banality wreaks its toll on the changeling psyche

regardless of the limited protection afforded by the mortal

seeming, so most Kithain seek out every available opportunity
to escape from the confines of mundane reality.

Cheating Banality
Hiding in plain sight of mortals has long been a custom of the
fae, even before it was necessary. To amuse themselves, faeries
would occasionally switch places with mortals, taking on the

seemings of human infants or children (transporting the individuals so displaced to Arcadia) to experience existence in the flesh.
Such children, however, were different from normal children, and
some humans astutely recognized them as "changelings."

Later, when the Shattering threatened the continued existence of the commoners who remained in the world after the
departure of the sidhe, these enterprising faeries realized that
their best hope for survival lay in a variation on the ancient
tradition of "changing" themselves for humans. By entering the
bodies of unborn infants, commoners were able to begin lives as
human infants, inuring themselves to the ravages of Banality
until their faerie selves grew strong enough to spark the Chrysa-

lis. When a changeling's mortal body died, her soul returned in

a new body. Thus, the Changeling Way was born. Most commoners and a few sidhe (primarily from House Scathach)
reincarnate in succeeding generations of human families, generally those with fae blood.

The disadvantage to placing a faerie spirit within a cocoon

of flesh lies in the forgetfulness that accompanies the process.
All changelings lose their memories of their true selves when

they assume mortal seemings. Until a changeling undergoes her

Chrysalis, she acts fully human, believing that she is nothing
more. Occasionally, mortals who host faerie spirits are so engulfed by Banality that they never discover their true natures.
Their untold stories remain forever clouded in the Mists between the worlds.

The CDisrs
A man breaking his journey between one place and another at a
third place of no name, character, population or significance, sees a
unicorn cross his path and disappear. That in itself is startling, but
there are precedents for mystical encounters of various kinds, or to be
less extreme, a choice of persuasions to put it down to fancy; until
"M.y God," says a second man, "I must be dreaming, I thought I saw
a unicorn."
Tom Stoppard, Rosencrantz and Guildenstern Are Dead
Born from a mixture of Banality and the ancient protections erected by the fae to hide themselves from the eyes and
minds of mortals, the Mists stand as the greatest barrier (second
only to Banality itself) between the Kithain and the Dreaming.
Because they have made themselves part of the mortal world, all
changelings suffer from the forgetfulness inflicted by the Mists.
These clouds of disenchantment and befuddlement deprive
most changelings of their memories of Arcadia, their past lives
and even keep them from remembering their true selves.
Unless they work aggressively to retain enough Glamour to
ward off the effects of the Mists, changelings quickly degenerate
into their mortal forms, losing not only the physical evidence of
their faerie natures but the memories that they were ever
anything more than human. This state of partial amnesia leaves
afflicted changelings with a gap in their minds that aches to be
filled, driving many to search desperately for what is missing. For
them, the hero's quest of self-discovery is a journey undergone
many times, much like a recurring dream or, in some cases,
nightmare.

Occasionally the Mists part, revealing glimpses of a

changeling's past. Most often, this occurs in dreams, for the
dreams of the fae are, in fact, rare moments of contact with the

Dreaming. Once in a great while, a changeling recalls something of her life in Arcadia or a snippet of information about one
of her past reincarnations. Too often, however, the curtain
drops, and the dreamlike memory dissipates under the harsh
glare of Banality.
The Mists always hide the Dreaming or anything connected to it from the eyes of true mortals. The Banality inherent

in most humans blinds them to anything that exists outside the

normal parameters of their worldview. What they don't believe
in, they don't see, or else they find some rational explanation for
it such as a momentary hallucination or a "trick of the light."

Unless deliberately enchanted, mortals remain wrapped up in

their comforting layers of reality, logic and cynical disbelief.

ChapreR Tuio: A (JJofdd of

67

The Kirh
When a changeling emerges from her Chrysalis to take her
place in the society of the Dreaming, she enters a new world with
anew identity and the knowledge that she belongs to one of the
many races of the fae. A changeling's faerie race is called her
kith. Although there were hundreds of faerie kith before the
Shattering, not all of them remained in the world. Of the ones
that did not flee to Arcadia, only a few survived.
Changelings refer to themselves individually and in groups

as Kithain or "the Kithain," a word derived from "kith" and

denoting a member of a faerie race. Even before their Chrysalises, the mortal seemings of dormant changelings often reflect

their kith, thus making it possible for Kithain to ken the

presence of potential changelings despite the wash of Banality
that hides the fae self from sight. This is not always the case,
however. Sometimes a changeling's kith does not become
apparent until her mortal body is exposed to the infusion of
Glamour that announces the onset of the Chrysalis.
As a changeling ages and her Banality increases (as it
inevitably does), her fae mien and mortal seeming come to
resemble one another more and more closely. Eventually she
succumbs to the fate of all changelings: Her fae self merges with
her mortal form and her kith vanishes, forever swallowed up in
the world of Banality until mortal death brings about the

faerie spirit's reincarnation and the dream begins anew.

The nine kith that comprise the majority of Western
changeling races are:
Boggans Known as practical and home-loving
helpers of those in need, boggans are also inveterate meddlers
in the affairs of those they help. Quiet and industrious, they
excel in accomplishing household or everyday tasks at an
astounding pace.
Eshu Originating in Africa, the eshu now exist in all
parts of the world. These perennial wanderers live for the stories
they collect and tell. Their sharp wits and innate canniness
make them shrewd bargainers, while their talent for being
precisely where they need to be at the proper time sometimes
leads their companions down unexpected paths.
Nockers The bizarre appearance and curmudgeonly
attitude of these industrious changelings masks an overwhelming desire to tinker and build. Skilled crafters and smiths,
nockers seek a perfection they can never achieve and often
prefer the company of their creations to social interaction.
Pooka The pranksters of the changeling community,
pooka share an affinity with animals and a love of tricks and
practical jokes. Clever and deceptive in their speech, these
roguish changelings never tell the complete truth.
Redcaps Hideous in body and in manner, redcaps
not only give changelings a bad reputation, they glory in
adding injury to insult. Their bloodthirsty behavior, coupled
with their uncanny ability to ingest virtually anything they
can fit into their oversized mouths, wins them few friends
outside their own kith.

 Satyrs Satyrs embody the essence of sensuality.

Shameless hedonists, they live for carnal pleasures and sensual
gratification. Nevertheless, they are valued for their wise counsel and musical talent.

SidheEpitomizing the beauty and grace of the "classic"

faerie, these aristocratic changelings exude an aura of authority
and nobility regardless of their true status in changeling society.
Sidhe rarely question their right to rule.
Sluagh Secretive and sly, these odd changelings prefer
darkness and hidden places. Able to speak only in whispers,
sluagh collect information with a passion and disseminate it
only for a price.
Trolls These giants of the fae possess incredible
strength and determination. Once they give their loyalty, noth-

ing can sway them from those they have sworn to protect. Honor
walks in their footsteps.

The Houses
Sidhe who awaken to their faerie selves not only discover their kith, they also acquire knowledge of the noble
houses to which they belong. When the trods opened in
1969, allowing many of the sidhe to return to the mortal

world, five noble houses came through from Arcadia. Many

of them retained the vague sense that their return was forced
upon them, an exile from the Dreaming as punishment for

deeds they could not remember.

Unlike the commoner kith, the sidhe have only been on
Earth in substantial numbers since the Resurgence. Nevertheless, the five noble houses quickly reasserted their pres-

ence on Kithain society, restructuring it to fit their memories of the old days before their untimely departure. Today,
in the aftermath of the Accordance War and the Treaty of
Concord, these houses maintain a monopoly on the power
structure of the Kithain.
Since the Resurgence, individuals from the eight houses
remaining in Arcadia have arrived on Earth, either banished from the Dreaming as renegades and outcasts or else

sent to fulfill specific purposes. Due to the action of the

Mists, these solitary sidhe seldom remember the reasons for
their appearances in the mortal world. Although these
loners usually find sanctuary under the aegis of one of the
established noble houses, they rarely rise to high positions
in their adopted houses since their hosts can never be
certain if they are giving shelter to Arcadian criminals or
heroes on Earthly quests.
The noble houses take their names from their legendary founders, who imbued their lines with certain aspects of

their personalities. Thus, members of one house share some

characteristics, although individuals may vary widely from

the stereotype.
Chapter Three: The Kithain provides a more detailed

description of the five noble houses that make up the bulk of

the sidhe.

ChapteR TUJO: A. (Uofdd of DReams

69

 House Dougal A Known for its practicality, common

sense and no-nonsense attitude, House Dougal values order and
preciseness above the more "flighty" qualities of the other noble
houses. Architects of sidhe society, these nobles seek to expand
their domain through wise and prudent planning rather than

The OtheR Houses

In addition to the five predominantly Seelie Houses

through intrigue and manipulation.

House Eiluned -r- House Eiluned has a reputation as the
House of Secrets, and many of its.members excel in the faerie
Arts. Masters of intrigue and subtlety, they are valued for their
arcane knowledge but distrusted for their secretive behavior.
The reputation of their founder, the sorceress Lady Eiluned, has
blackened that of the house as a whole.
House Fiona Passionate and headstrong, House Fiona
bears a wild streak that shows even among its most conservative
members. Indulging in all forms of sensual gratification, members of this house are notorious for their radical thinking and
impulsive behavior. They are equally quick to love or anger, and /
give themselves utterly to whatever cause they espouse. Their
hospitality toward commoners and nobles alike is legendary.
House Gwydion If the sidhe believe in their innate
right to rule the commoners, the Gwydion sidhe;believes it is
their destiny to rule the sidhe. Members of this house demon-

I,

humankind's.

since each Kithain represents a new part of the Dreaming that

has come to life in a world bereft of dreams.

\
Usually centered around a freehold, households and motleys derive their power and influence from these pockets of the
Dreaming. The protection of a freehold often constitutes the
duty! of each (jhangeling group.
-

A household describes a group of changelings who reside

together ilk a freehold and who serve the noble lord of that

freehold, either as vas$als or as retainers. Households subscribe

to the feudal structure reimposed by the Resurgent sidhe. They

House Liam Since their return, members of House

Liam have developed a sense of duty toward mortals, protecting
them from the abuses of Ravaging by the fae. Although they are
gentle and soft-spoken, nobles of this house make fierce warriors
when called upon to defend the helpless:or the innocent. They
often serve as sages and record keepers to other noble houses,
despite the stigma of di|fcace attached to their name.

Changeling Society If

survival and freely mixing its members' blood with

Households j

strate the best and worst aspects of true nobility. Valuing honor
above all and dedicated to the defense of the Dreaming, they
also demonstrate a tendency to violent outbursts that often lead
to tragic ends.

that entered the mortal world during the Resurgence, at

least four other houses have significant presences on
Earth. Members of the Unseelie Houses of Ailil, Balor
and Leanhaun also left Arcadia, though they do not
advertise themselves to the same degree as their Seelie
counterparts. A 14th house, House Scathach, never left
Earth but remained to share the fate of its commoner
cousins, adopting the Changeling Way to ensure its

ally themselves with tl)e noble hierarchy and form the backbone

of the Kingdom of Concordia and its subject kingdoms. Every

household displays the coat of arms of its ruling lord or lady as
well as a unique battle standard. A household lord must bear the
rank of knight or bettejr. More often, the rulers of households are
barons or greater lords.
A
Kithain take great pride in thej^^ft|seholds, working to

"\

ensure theirsuccesses and increase their reputations. The achievements and glory of one member of a household brings fame to
Newly awakened changelmgs not only discover their everyone in the group, while a household's honor likewisif
newfound identities as individuals, they also become aware that; reflects upon all its members. Competition between househoI4|
they belong to an entire society of the fae. Changeling society is common, and each usually has at least one major rival. Rivljj
has its own structute, customs and laws, and each new.Kithain households sce||_every possible opportunity to confront onjj
must understand all of these aspects if she is to cdexist amicably another, whet^J on the jousting field at tourneys, in opef
with others of her kind';";*'! i
fe
\
warfare or on
civilized battlefield of courtly amours!
Most changelings, if they are not,,already inclined to the
Although
rule most households, a few ennoble|
company of others, soon learn that their best chahce for survival commoners maintain households that are as loyal, if not mojf
lies in making connections with other changelings. Left to their so, to the social structure that empowers them.
own devices, solitary changelings quickly succumb to Banality.
Because it is so dependent on belief, Glamour must be shared to
proliferate. A lone changeling cannot withstand the constant
Groups of commoners form motleys rather than hou;
denial that surrounds him in the mortal world. (In this case, if holds. A rnotlej|te@nsi$ts 'of a loose confederation of Kithaiijj

GDorleqs

a chimeric tree tails in a forest and no changeling witnesses it,

not only does it not make a sound, it dSes rfot even exist!)
The basic units of changeling society are the noble household and the commoner motley. Members of these groups are
usually bound to each other by oaths afoome kind (see below).

Bothhouseholds and mo|leys-f|gerly seekotrpaew changelings,

70

Changeling: The DReaming

allied through

of-friendship or mutual survival. Most mc||

leys exist outside the feudal structure, and a few actively op;
what they see as the oppressive rule of the sidhe. In fact,
offer themselves^ an alternative to the dominant hierarq
Motleys eitherjjpnction \vithoijt permanent leaders, or thl
the rrtemberyoflthe-group,
leaders are ch

Motleys first formed during the Interregnum, when the

commoners who remained behind, after the departure of the

si Jhe banded together in groups to weather the, storm. Adapting
jfo life in the mortal World by forming traveling circuses, freak
ihows and other itinerant groups, motleys proliferated Europe,
rhose commoners who relocated to ;the American continents
Drought with them the tradition of free association embodied in
their motleys, thus helping to strengthen the idea of indepenlertce from divine rule that eventually sparked the New World's
Ibetlion from Europe. '. C ,
Most motleys base themselves in freehtjkls of one sort or
tnotBfer, working together |o protect and maiftf ain these havens

a binding carries, oathmates are able/to pool their Glamour,

acting in concert to enhance each-other's cantrips and increase
their effectiveness"as individuals and as a groupr- - - -,,^
In addition'to households, motleys and oathcirclesT'CnlBgelings also frequently form secret orders and societies, as well as
cliques for gathering Glamour..,,,i/;

The

, f=

^",

Even befojre thgrrShatteriiig^fenileredlGhtegel-rhgs dual

creatures of Glamour arid Banality, the children of the Dreaming possessed altwo-fold nature, permeating all of faerie life on
an
individual ajs well as societal level, the twinned strands of
rom outside dangers as well as from the greedy desires of nobles
Seelie
and Unieelie enlivened the Dreaming with its >as-deSeeking to increase their domains. Jvfotley freeholds are called
deux
of
contrasts between light and shadow,: order and chaos,
mews, and serve.; qs open sarjctuaiies for all Kithain. Some
law
and
freedoih. Eternal rivals for ascendancy in the fae world,
motleys still maintain a modified form of the nomadic lifestyle
the
Seelie
andiUnseelie philosophies once engaged in a perof their circus origins, taking up temporary residence in conve^getual
struggle
for dominance. Now they exist in an uneasy state
nicni freeholds until forcibly eyictre^. Because of this practice/
6f
trucfeTforged:during
the Interregnum, hut liable to shatter as
most households rarely leave their freeholds completely unthe
pressures
of
theihortal
world.bring the sides closer and closer
guarded, lest they return from a tournament or some other groijp
tc|
outright;
conflict.
'^.,~-^-'}^^^^y'\t-^^^=?y>
fendeavor to find themselves displaced by a rowdy corftrapnpr
,' Each riutfook has its oWnlCourt^ ahcf'althoiigh all changetnotley.
If
\1
~~--;*'< f-o]
I
\
' -'". s
,V: j ;
:
v
--Thg_relationship between rftotleys and the focal tipbility:5; lings possess both a Seelie andlan Unseelie side to their natures,
varies from place to place, la general, nobles .considec fnotleys only one of these aspects rules the .personality cif a given
as little better than gangs or, worse, as outlaw bands. The individual. Thus, Kithain are labeled either Seelie or Unseelie
proliferation of motleys has, however, forcedUhe nobility to

depending on which Court they embrace and, therefore, which

recognize the power they represent amorlgffhe^Kithain, In most

cases, nobles in any given fiefdom attempt to gain control of the

siderof their personality they tend to favor. This is not secret

knowledge; the Seelie and the Unseelie are known to one

motleys in their area, using them as pawns and, catspaws to another, and:.this information affects dealings between indifurther their ambitions and political machinations:;-;?;!' ,k 3; : vidual Klthaih. -C^ ]
A changeling's Court marks her in myriad ways. Though
Today, motleys serve as a powerful check on the power of
the
indicators
of Seelie and Unseelie behavior are not always
the nobility. They represent the voice qf thgcpmmoners, and
c|iar-Cut,
it
is
usually not hard to tejl which Court holds a
provide visible proof tha||;he Kithain dojnot need the fulership
particular
K\thatn's
allegiance. The itwo Courts react to each
of the sidhe to survive'and,prosper. tvtany nobles consider
other
instinctively,
sometimes
based on the innate differences
motleys dangerous and try to break their hold on the common
lietween
thefli.
Seelie
Kithain
distrust their Unseelie cousins,
Few motleys exercise any real influence over the conserva-;
while
Unseflie
sneer
at
their
Seelie counterparts). CircumHve>ulers of the kingdoms of the fae, bu|: the|ps\\ft| among the ;
stances
and
treaties
may
force
them
to tolera|e one another, but
hoi-pol^ys growing daily,? ,,,.."
I
""*
'{"/ .'-".

:: :

Uorh^feles " "\. * ^ '"~~

I There exists a third form of change IthgHcial unit, called an
pathcirck, which often transcends or crosses the lines between
households and motleys. Oathcircles comprise groups of friends
who swear oaths of loyalty to one another. While freeholds may
serve as bases for one or more oathcircles, some such groups have
ho permanent home. ' .:">'.;'.:... . HSi
Oathcircles usually arise from groups of changelings who

enjoy eacH, other's company and who share similar interests.

Nobles and commoners may belong to the saflfie oathcircle,
sharing equal ties with each other regardless of their rank in

Kithain society. Occasionally oathcircles form due to circumstance fighting a common enemy, achieving a particular goal
or undertaking a specific quest. In these cases, the oaths that
bind members togethejynay be temporary, but are no less strong
roMheirfinite duratiorufh addition to thejespo'hsibilities such

a certain amoifint of prejudice arid disguised hostility often

t breaks throughithe elaborate veneer of coexistence. !

Before thd Shattering, Seelie and Unseelie Courts alternated their rulejover tlve fa^'. During the spring and summer, the
Seelie Court hild precedence and celebrated the pageantry of

life and growth). In |he dark months of autumn and winter, the
Unseelie ruledj Miioring the grand process of death and entropy. Together, the Courts symbolized the eternal cycleof life
and death, growth and decay, fertility and fallowness. The
transfer of pow^rfifom Seelie to Unseelie took place at Samhain,
while the Unsdelie gave over their right to rule to the Seelie at
the Beltaine feast. During the Interregnum, this custom ceased
as both Courts i'ere forcedto band together to survive. Since the
Resurgence, the Seelie sidhe have held power and are loathe to
surrender it, even temporarily, to their Unseelie cousins;
In Concordia in particular and throughout the fae wSsld in
general, Seelie arid Unseelif Jathaiffffkve had to put aside thejr
ChapreR Toio: A (JJofdd oF

71

eternal rivalry in order to assure the survival of the Dreaming.

This has led to some odd juxtapositions within changeling
society. Occasionally a freehold's lord will belong to a different
Court than most of his members, and an oathcircle will sometimes contain both Seelie and Unseelie members, all of them
bound by oaths that transcend their different outlooks.
Although neat pigeonholing of the differences between Seelie
and Unseelie Courts is almost impossible, there are a few general
distinctions that differentiate one from the other. Seelie are
associated with light, summer and daytime; Unseelie belong to
darkness, winter and night. The Seelie Court represents orderly
traditions and lawful behavior; the Unseelie Court is notorious for
breaking old traditions, devising new ones and, in general, urging
constant change. These are not always the hard-and-fast descriptors for determining a changeling's Court. Occasionally a Seelie
changeling fosters radical notions, while a veteran Unseelie knight
holds extremely conservative attitudes. What is certain is that the
two Courts exist and are locked in an endless cycle of rivalry.
Together they embody all that is both good and bad, light and dark,
static and dynamic in changeling society.
On rare occasions a changeling switches from one Court to the
other, usually as a result of some great personal transformation in

her life. Changing Court is not done lightly, for in order to do so a

changeling must forswear her old nature and surrender to the other
half of her personality, taking on her Seelie aspect if she was

72

Changeling: The DReaming

formerly Unseelie or vice versa. This choice alters her place in

Kithain society and transforms her perceptions of herself. Accordingly, changing Court usually takes place only at certain symbolic
times of the year, such as during the Samhain or Beltaine festivities.

The Seelie CouRr

The Seelie have a reputation as the guardians of fae traditions. They see themselves as peacekeepers, proponents of
courtly love, protectors of the weak and embodiments of the
ideals of chivalry. They tend to be traditional and often conservative in their outlook, preferring the tried and true over the
risky and innovative.
Most Seelie seek the reunion between the mortal world
and the Dreaming, and would like nothing better than a return
to the time before the two realms split apart. To this end, many
members of the Seelie Court consider the gathering and preservation of Glamour to be their sacred duty, a process of
reawakening in mortals the ability to dream. Though they may
consider the Unseelie Court their greatest rival, Banality is
their greatest enemy.
Seelie changelings place honor above most other virtues. For
them, the concepts of oathbreaking, treason, cowardice and other
dishonorable behavior comprise a litany of the most grievous
crimes imaginable. In addition to honor, they value courage, truth,
beauty, justice and other attributes of the code of chivalry.

conviction that the fae should rule humanity, since that feeble

The Seelie Code

race of short-lived mortals exists only to provide the Glamour

Death before dishonor,

Chivalry still lives. Honor is the most important
virtue, the source of all glory. Personal honor must always
be kept stainless. Sometimes death is the only path which
can erase a mark of dishonor.

Love conquers all.

Love lies at the heart of the Dreaming. True love
transcends all and epitomizes what it means to be Seelie.
Courtly love best expresses love in its highest form, al-

though familial love and love of companions also serve as

pure embodiments of that exalted virtue. Anything is
permitted in the name of true love.
Beauty is life.

w; ; Beauty is a timeless, objective quality that, white it cannot

be defined, is always recognized for itself. Beauty is the muse of
creation, the ultimate flowering of the Dreaming. Once found,

it must be protected, for it is both eternal and fragile. To die in

the service of beauty is an honor and a privilege.
Never forget a debt.

One gift deserves another. The recipient of a gift is

obligated to return the favor. Likewise, a curse should be
returned in kind. An oath of friendship should be answered
with a corresponding oath. Never refuse to aid anyone to
whom you are indebted. Never forgetakindness... oracruelty.

necessary for faerie existence. Thus, many Unseelie changelings

lord it over the mortals they come in contact with, often
surrounding themselves with groups of enchanted and enslaved
humans in order to feed shamelessly off'their dreams.
Some Unseelie, like their Seelie kin, wish-to return to the
Dreaming, bpf only to increase their own power and to bring the
Dreaming jihder trpir rule. Unseelie changelings consider Banality a poweiiil opponent, but do not fear it in the same way that the
Seelie des. Rather, they would liketo conquer and harness Banality,
making it, like the Dreaming, serve their purposes. A few truly
radical IJnseelie changelings believe that Banality represents the
wave o||he future, the true synthesis of reality asbpposed to the
illusory %msiness of the Dreaming. These ultraradicals think that
their strength of Will can overcome Banality, andjuse itjs a potent

weapon agi|nst their Seelie rivals/ - > ' : jl f

The Urtiirflie forswear the past,:looking Yirtstead to the
uncertain futurlnThey consider stagnation/worn-out traditions, repression, censorship and limitation to be crimes against
the free exchange of ideas. They take on the roles of champions
of freedom, harbingers of change, advocates of free thought and
breakers of rules. Many show outward contempt for courtly
ways, going to great lengths to mock the chivalric behavior of
the Seelie. Other members of the Unseelie Court follow many
of the traditional ways, but do so because they are free to make

that choice, not because custom dictates their behavior.

In many ways, Seelie Kithain concern themselves with the

past. Bards and lorekeepers occupy places ofchonor in Seelie
households. These keepers of legends and knowledge counsel
their Seelie lieges with storehouses of information on how
things used to be and on proper behavior in any given circumstance. Many Seelie, espectSfff"tr\*i:hoble sidhe, devote themselves so entirely to recreating the past thatt^y affect the dress
and mannersjjf the Middle Ages, the...period t|||y last remembered from fnVir time on Earth before the Shattering.

Change is good.
Security does not exist. The slightest of circumstances can transform a king into a peasant. Nothing is
certain in a world where change is the only constant.
Embrace change or else fall before its onslaught. Chaos
and discord rule the universe. Adapt or die.
Glamour is free.

The (Jnseelie COURT

Glamour is worthless unless used. Hoarding Glamour

makes no sense, since it is an eternally replenishable

Where the Seelie dedicate themselves to ipreserfing the

traditions of the fae, the Unseelie style themselves as radickers of
those traditions. They stand for the principles of constant
change and impulsive action. They have a reputation for fostering war and madness, despising those weaker than themselves,
and valuing freedom and wildness, over any:chivalrie?code. The
Unseelie see themselves as radical visionaries, bringing about
vital change and transtormatiofi through wh^ri^er means necessary, including violence.
f
Most members of the UMeeTie Court believe that the
Dreaming has abandoned them, and, therefore, that they owe
no special loyalty to it or to their lost home of Arcadia. Unseelie
fae use Glamour for their own ends, to gain strength and

personal power and to further their political ambitions. The

Unseelie feel that they should be the masters, rather than the
servants, of the Dreaming. Furthermore, most Unseelie hold the

The Unseelie Code

resource. So long as humans exist, there will always be

dreamers hence, there will always be more Glamour.
Acquire it by any means possible, and you will never be

without a constant supply.

Honor is a lie.
Honor has no place in the modern world. It is a fairy
tale constructed to cover the essential emptiness behind
most traditions. Only through enlightened self-interest
can any truth be attained.

'. . ; /

V ;

Passion before duty.

Passion is the truest state of the fae spirit. Follow your
instincts and act on your impulses. Live life to the fullest
without regard to the consequences they will come

about regardless of what you do. Youth passes quickly, so

have fun while you can. Death can come at any time, so
live without regret.

ChapreR TLUO: A (JJoRld oF DRcams

73

The Shadouj COURT

During the Interregnum, a tradition known as the Shadow
Court arose. Established by the Unseelie to mimic the lost
custom of alternating rule, the Shadow Court became the

before the Shattering. Because of this, most changelings exist

within an eternal time loop. While their mortal flesh undergoes
a constant cycle of aging, death and rebirth, their ancient spirits
find comfort in the familiarity of medievalism.

primary way in which Unseelie changelings could retain some

In addition, the mortal world continues to exercise its own

vestige of their lost position as shared rulers of the fae.

Called together during the evening rites of the Samhain
celebration, the Shadow Court rules the changeling community

power over the remnants of the Dreaming. Most fairy tales take

for one night only. During its brief reign, it bestows honorary

titles which carry over for the Unseelie half of the year. It also
openly mocks the Seelie traditions, providing sometimes humiliating or painful reminders to its rivals that an alternative
path exists for the fae to follow. Most Seelie fae dislike being

made fun of, but grudgingly put up with the Shadow Court as a
harmless outlet for Unseelie proclivities.
The Shadow Court occupies the current status of a Mardi
Gras-like celebration, allowing changelings of both Courts to cast
aside their inhibitions for a single night and revel in their deepest
passions and most perverse dreams without fear of censure or
punishment. Seelie changelings pay homage to their Unseelie
natures on this night, becoming their dark halves for the duration

of the festivities. The fallen fae are also honored during this time,
for the Shadow Court feels a special affinity toward the spirits of the
dead, who are central to the Samhain rites.

What most changelings do not know is that the Shadow

Court meets at other times of the year as well, and has its own
secret agenda known only to its members. The honorary titles
bestowed at Samhain make it obvious to all changelings who
currently lead the mock court, but since these positions are only

nominal, few Kithain take them seriously. The clandestine

shadowy, in fact meetings of the Shadow Court take place
under conditions of utmost secrecy, and only the Court's most
trusted members attend.

Although most Unseelie rulers tend to be on friendly terms

with the Shadow Court, and may even suspect it of existing as an
independent entity apart from its annual incarnation at Samhain,

the leaders of the Shadow Court do not consider themselves bound

to notify their "allies" of their every action. In fact, keeping even
Unseelie rulers in the dark about the workings of the Shadow
Court ensures a low profile for its members, who like it that way.
The real purpose behind the Shadow Court lies hidden to
most Kithain, and its sinister plans for the future continue to
unfold, appropriately, in the shadows of changeling society.

The OOedieval RiRadigm

place in a medieval setting, and humans who still entertain a

belief in faeries imagine them existing in a world full of castles

and mythical creatures. Thus, the forms common to the Middle
Ages provide the path of least resistance for changelings.
Finally, the sidhe nobles who control faerie society were absent
for the rise of democratic government, and many modern political
trends make no sense to these traditionalists. Since the Resurgence,
these rulers of the fae have structured their power bases along feudal

lines, reverting to the framework that existed at the time of the

Shattering. The feudal system, based as it is on the protection of the
land, presents an ideal model for a society centered around the
preservation of freeholds and other places sacred to the Dreaming.
Feudalism arose among humans during the Middle Ages as the
culmination of society's slow transformation from a hunter-gatherer nomadic lifestyle to an agricultural, sedentary model. Although older cultures placed great value on the fertility of the land,
the rise of towns and the growth of populations made the production of food the single most important concern of most people.

Feudal society arose around the need to guarantee the safety of the
land for the people who tilled the soil. In return for their protection,

the common folk swore fealty to lords and knights, who were

occupied solely with readying themselves for their duty as guardians of the land. A hierarchy evolved with the nobles and warriors
ruling over the peasantry. Despite this rigid class structure, the
system of vassalage created strong ties of loyalty between rulers and

ruled. Knights had a solemn duty to protect those who labored to

put food on their tables, while peasants had a duty to feed those who
put themselves at risk to ensure the peaceful working of the soil.

Although six centuries of change and invention have made

the feudal system obsolete in the mortal world, feudalism and
vassalage still serve a purpose within fae society. The rarity of
freeholds and places where Glamour still concentrates makes
these sites vulnerable to greedy usurpers and unconscious bearers of Banality. Under a system of kings and nobles, knights and
peasants, the fae on Earth are able to impose a stable superstructure upon their society, one in which freeholds enjoy the

protection of those strong enough to defend their precious stores

of Glamour and chimeric magic. In addition, the pageantry and

stateliness of medieval times appeals strongly to the changelings' natural bent for elaborate ceremonies and rituals.

of 14th century feudalism. While changelings take part in the

The Accordance War resulted in a modified form of feudalism as the overriding form of fae government. Not quite so rigid

modern world and live their mortal lives surrounded by the fruits
of 600 years of technological and political "progress," when they

framework in which changelings can relate to one another,

Faerie society draws heavily on the customs and traditions

interact with the Dreaming, they return to a world garbed in the

distant past. This persistence of medieval trappings among the

fae occurs for a number of reasons.

Despite the fact that commoners have adapted outwardly
to changing times, their souls continue to harken back to the era

74

Changeling: The DReaming

as Earthly feudal systems, fae feudalism still provides a solid

secure in the knowledge of who they are and the place they
occupy in their society. The constant hostility of the mundane
world fostered a great need for stability in changelings, and the
feudal system provides the Kithain with a necessary anchor.
A complex network of loyalties and oaths bind together the
various rungs on the hierarchical ladder of changeling feudal

society. The swearing of an oath and the value of a changeling's

word are sacred bonds, not taken lightly. Breaking an oath
(\

constitutes one of the highest crimes among both Seelie and

Unseelie Kithain. All changelings within the society have

certain duties and responsibilities delineated by the oaths they
have sworn. Nobles and knights swear to protect those under
them. Commoners swear to obey those above them. Transgres-

sors meet with swift punishment, not only by the courts of justice
but through social ostracism and rejection by their peers.
Even Unseelie lords demand loyalty from their subjects.
Despite their promulgation of freedom and license, many of
these Kithain are just as insistent on the obedience of their
followers as their Seelie counterparts.

CoTDinoneRS and No&les

Commoners have lived on Earth since the beginnings of the
fae. Trapped here after the Shattering, they survived by placing

themselves in mortal forms, undergoing continual reincarnation.

By being born and reborn into human families, they have both
protected themselves from the worst effects of Banality and have
developed close ties with humankind. Nobles, in contrast, are
usually sidhe transported from Arcadia during the Resurgence,

here for a single incarnation and determined to make the best of

their time in the mundane world. Although a few sidhe have

entered the world through assuming the bodies of unborn humans,
all of them realize that they have only one life to live before their

spirits travel to an uncertain fate. This distinction makes most

nobles obsessed with gaining and maintaining power and prestige,
and differentiates them from the commoners, who know tiiat if

they don't succeed this time around, they can always try again.
Nobles consider commoners to be lowly and tainted with the
trappings of mortality. Commoners see nobles as arrogant and
unfeeling, concerned only with power and status. Although some
commoners and nobles may like and respect one another as

individuals, in general, the two classes of Kithain share a mutual

distrust and dislike. The Treaty of Concord enforced the feudal
system on commoners, but most of them still do not fully adhere
to all of its strictures, privately rebelling against the more onerous
duties relegated to them as "lower" Kithain. Most commoners pay
lip service to the local lord while reserving their own private
opinions, considering themselves fully the equal of any noble.

Liege and Vissal

Noble society hinges on a hierarchy in which rank and title
determine one's position in the greater community. Respect is given
to those of higher rank and expected from those of lesser status.
Within a feudal structure, almost every noble owes fealty to

a higher noble. Even the kings and queens of Concordia are

vassals of High King David, the supreme authority of faerie

society in America. In a similar fashion, every noble is someone
else's liege. Only squires, who occupy the bottom rung of the

noble hierarchy, have no vassals, although they may exercise

some limited dominion over the pages beneath them.
Commoners fall outside the strict hierarchy of noble society. Traditionalists regard them as little better than peasants,

ChapceR TLUO: A (JJordd of DReams

75

and therefore consider all commoners to be their subjects. In

some cases, in the aftermath of the Accordance War, a few
commoners have attained noble rank and have thus integrated
themselves into the noble hierarchy. Despite this, nobles consider "titled" commoners to be upstarts and rarely take them
seriously.

Although many nobles see the acquisition of power as

their primary goal, others hold the bonds between liege and
vassal as sacred, seeing in these oaths the symbols of continuity and stability that promote an atmosphere in which
Glamour can be harvested and protected and in which the
fae can survive. Even these nobles are not exempt from
political intrigue and maneuvering, however, for feudal
societies encourage just such arcane jockeyings to improve
position and garner additional status.
Those at the top of the hierarchy go to great lengths to
ensure that they remain there and do everything possible (short

of outright theft) to increase their holdings and expand their

power bases. Alliances shift and change between nobles as
circumstances dictate, with only the laws of the Escheat to
temper them. Those at the bottom of the social ladder seek to
better themselves and attain higher status through achieving
recognition and respect.

Rights and privileges play an important part in the

relationship between lord and vassal. Lords exercise certain
powers over those they command, but they owe their vassals

certain obligations in return, such as protection and sanctuary against outside threats. Likewise, vassals owe their lords

CominoncRS and No&le Jusrice

Since many commoners do not adhere to the feudal
system, conflicts that arise between nobles and common
Kithain present problematic situations which only the
greatest of tact may solve. Commoners who reside within

a lord's domain and who refuse to acknowledge the authority of that lord cause internal strife that must find some
resolution. Sometimes differences between lords and commoners can be solved through mediation by an individual
who holds the respect of both. On occasion, High King
David himself has had to personally negotiate a settlement
between unhappy commoners and a disgruntled noble. His
willingness to do so has contributed to his popularity

among all Kithain.

Rank and PRivilege

The bestowal of titles and the attaining of ranks form the
core of the feudal society of the fae. From king to squire, each
rank has its own rights, responsibilities and treasures that
symbolize its power.

King or Queen Among the fae, the resonance of the

Dreaming creates a close relationship between the ruling monarch and the land. In many ways, the king is the land. The
actions taken by a monarch, however inconsequential they

might seem, affect her domain. Usually, a kingdom reflects the

personality of its ruler. If a king becomes brooding or falls prey

loyalty and service. If a lord abuses the rights of his vassals,

to despair, darkness and cold become physical manifestations

they, in turn, can lawfully rise up against their lord and

overthrow him or else appeal to their lord's liege to correct
the situation. This interlocked system of rights and duties
holds noble society together.

within his realm. If a queen suffers from great depression due to

an unrequited love, her land may know constant rains and
flooding. An older king's aloofness brings an icy chill to his
kingdom, while a young queen's unruly passion results in mayhem and chaos throughout her domain. In times of war, a king
or queen acts as warlord over all the armies within the realm.
Kings and queens are addressed as "Your Majesty," or

No61e O&ligarions
Changeling nobles owe their vassals certain obligations. Nobles cannot abuse their vassals or treat them as
thralls, slaves or even servants. Nobles must protect those
beneath them from outside harm, whether from rival houses
or from the agents of Banality. A noble lord owes her vassals
sanctuary in times of need. She must provide fair judgment

over all disputes within her domain, and cannot decree

punishments without rightful cause. A noble acts as administrator over the property of commoners residing within her

fief; her justice is supreme, and no outsiders may usurp her

decisions. Nobles also have the duty to provide for holidays
and festivals for the celebration of Glamour and the strengthening of ties to the Dreaming.
Judgments deemed unfair or unjust may be appealed to a
higher lord. Violation of a noble's rights gives her the power to
turn against her liege, who has forfeited his honor by breaking
his oaths of loyalty to the violated noble. While noble society
does not condone abuse of vassals, despots do occasionally arise,
and, unless they are successfully opposed, often continue to

tyrannize all those unfortunate enough to owe fealty to them.

76

Changeling: The DReaming

occasionally "Your Royal Highness" (this is more common for a

prince or princess).

Royal Treasures: Kings and queens possess crowns that

allow them to know the locations of all the pennons (the
markers of their territories) in the kingdom, scepters that allow

them to draw Glamour from any hearths of balefire in the

kingdom, seals that can countermand any ducal signet's imprint, and a weapon that is considered an extension of the royal
will.
Duke or Duchess These are the highest nobles under
the king or queen. They hold title to large numbers of freeholds
(ruled in their names by lesser lords). Their domains typically

include entire cities or large rural areas. They may have up to

five counts and barons as vassals. Some serve their king or queen
as diplomats, traveling throughout Kithain society on missions
of import and subtlety. In wartime, dukes and duchesses act as

generals and marshals of their monarch's forces, serving as

commanders-in-chief of specific armies.
Dukes and duchesses are addressed as "Your Grace."

Ducal Treasures: Dukes and duchesses possess signets that

allow them to sign treaties, assign lands, make proclamations
and issue writs. These contracts are legally binding only within
ducal fiefs. In addition, dukes and duchesses possess pennons
that allow them to establish freeholds as their personal fiefs,

Knightly Treasures: A knight's weapon is the symbol of

her honor, an extension of her personal will and protection.
Legend holds that so long as a knight remains true to her lord,
her sword will never break.

superseding any counts' claims. They also posses^ hearthstones

servants to nobles (usually knights). Most are in training to

that allow them to draw Glamour from any hearths in their fief.
Finally, they carry weapons that symbolize their right to command royal armies.
Count or Countess These nobles rank just below
dukes and duchesses, but are nevertheless accounted as powerful
lords. Their lands are known as counties, and occupy significant

become knights and thus enter the ranks of the nobility.

Although some squires attain fame fighting at the sides of their
masters, they generally remain out of combat, providing support
for their knights by retrieving or replacing lost weapons and
rounding up wayward chimera. A squire has no treasures, as

portions of a city or smaller rural areas. Counts and countesses

knightly patron.

hold the fealty of one or two barons and a few powerful knights.

Since they occupy a middle ground among the nobility, they

often have a reputation for being schemers and plotters, ever
envious of those above them and ready to manipulate those

below them. Kings and queens usually keep a close watch on

their counts and countesses. In wartime, these nobles act as
subcommanders, regimental organizers and coordinators of rearsupport activities. They do not normally take the battlefield
themselves unless they are personally renowned as warriors.

Counts and countesses are addressed as "Your Excellency."

Counts are occasionally called earls, although women holding
this title are still called countesses.

Squire Squires are not nobles per se, but are personal

such, but receives a small allowance of dross from his or her

Squires have no formal term of address.

ReraineRS
Nobles have a host of underlings, called retainers, who tend
to their needs and perform vital services for them. Retainers are
similar to vassals but are not part of the noble hierarchy. Many,
in fact, are commoners who have given their loyalty and service
to their lord in return for a comfortable position in her court.

Retainers are usually paid in some fashion, either with small

treasures or with promises and favors. Some commoners eagerly
seek out positions as retainers in order to reap the benefits of

association with noble society. Most motleys look down on

County Treasures: Counts and countesses possess pen- these "sellouts," feeling that they have sacrificed their personal
nons that they use to identify their counties. Their rule is freedom for dubious gain.
superseded only by dukes and kings. Counts also have potent
Heralds Heralds serve as messengers, diplomats and
hearths, and can demand tithes of dross from their vassals to help

feed these hearths. Each count or countess carries a weapon used

in service to her superiors.
Baron or Baroness Barons and baronesses generally

couriers to their lords. This gives them a certain amount of

lords, consider the counts immediately above them as greedy,

and covet their liege's greater power and lands. Barons and

diplomatic immunity when interacting with the courts of other

nobles, so long as they pay the proper respect to their superiors
in status. Heralds often serve as spies, since their duties allow
them to move about in various circles without arousing too
much suspicion. Heralds often possess treasures from their lords
that allow them to travel quickly from place to place. They are

baronesses cling to power tenaciously. Since they are closer to

responsible for summoning up commoner levies when fiefdoms

their followers than many other nobles of higher rank, they

usually enjoy the support of their vassals. Baronies usually
include three or four knights who owe direct fealty to their lord.
Some barons also host a number of knights-errant who hold no
other loyalties.

are endangered.
Seers These skilled enchanters act as advisors to their
lords. Their responsibilities include keeping watch for magical
attacks on their lords and fiefdoms, conducting rituals (such as
the Saining ceremony), and advising their lords on the use of
lore and chimera. Seers' command of magic sometimes makes
them distrusted, though most of them are scrupulously honest in
their dealings.
Chancellors Chancellors serve as their lords' right
hands, governing their lieges' lands in their absence and helping

hold title to only a single freehold. Many barons resent their

Barons and baronesses are addressed as "Lord" or "Lady."

Baronial Treasures: Barons and baronesses have only their
own hearths and their knightly weapons. They do have the right

to gather Glamour within their fiefdoms, and may demand small

tithes of dross from their knights.
KnightKnighthood is both a title and a state of honor.
Knights are the backbone of feudal society, serving their lords as
warriors and couriers. Occasionally a knight also holds a small
fiefdom directly from her baron. Nobles are usually knighted

when they are acclaimed as members of the nobility. Knights

without holdings are the lowest class of noble.
Knights are addressed as "Sir" or "Lady" (though some
female knights prefer the title "Dame").

protect the fiefdoms from attack. Their intimate knowledge of

the workings of their masters' freeholds and lands usually earns

them the trust and respect of their lords. Few chancellors abuse
this confidence; in return, many receive almost as much honor
as their masters.
Bards Bards serve as a court's storytellers and
lorekeepers. Their persons are considered sacred, and bad luck
follows those who knowingly strike a bard or engage her in battle

ChapreR Taio: A (JJoRld of DReams

77

when she is unwilling. The words of bards are believed to be

prophetic. Most bards refrain from speaking unless performing
or specifically requested to contribute to a conversation, lest
they unwittingly utter something that (by virtue of coming from
a bard's lips) carries the force of prophecy. They are among the
most respected retainers.
Jesters Jesters entertain the nobility and usher in
Glamour on certain festive occasions. They also act as the
watchdogs of Banality. Jesters often point out the foibles and
failings of nobles in ways that amuse rather than humiliate,
thus providing a graceful means for a wayward noble to
correct her behavior. Jesters have a duty to sniff out the
mundane and destroy it before it poses a serious threat to a
fiefdom. They employ both cantrips and treasures to fulfill
this important task.
Troubadours Troubadours are the musicians and
performers of a noble's court. They also lead the court in the
practice of courtly love, acting as chroniclers and go-betweens.
Often troubadours are themselves involved in the amorous
machinations of the nobles. They perform their own works, the
ballads of the past and specially commissioned songs in honor of
their patrons or a paramour.

Scribes Scribes serve the vital function of transcribing

not only court proceedings, but also of recording any memories
members of the court may have of Arcadia or their past lives.
This act is done in the old style, written on parchment and
vellum with quill and ink in chimerical tomes bound in griffin

or boar hide. Many scribes also illuminate their texts to create

works of beauty and repositories for Glamour.

Stewards Stewards are responsible for a fiefdom's

resources, organizing and governing their lord's assets. They
control household finances, disburse chimerical and "real"
weapons and guard court treasures. Stewards also train and
manage a household's servants.
Reeves Reeves act as official liaisons between a
noble and the commoners who dwell within that noble's
fiefdom. They also fill the position of advocates for commoners, often appearing in court to press a commoner's
claims or voice a complaint. Reeves take care of a noble's
freeholds; courts usually have at least as many reeves as a
noble has freeholds. Although they are merely caretakers,
many reeves come to regard their particular freeholds as
their personal property.
Thanes Thanes are commoner warriors who have
sworn loyalty to their lords. They are charged with hunting for
Glamour for their masters. Some lords see the advantage of
placing bands of thanes on the field of battle, since these
warriors are often more effective in war than noble knights.

Many thanes who organized the resistance during the Accordance War now serve the lords they once opposed. The
nobility's acceptance of these rebel leaders helped smooth
relations with the commoners. Often, a noble will find support

among commoners in her realm so long as she treats her thanes

with honor and respect.

78

Changeling: The DReaming

The Cscheor
The traditions that make up the Escheat form the basic laws
of Kithain society. Believed to have originated among those wise
faeries who lived closest to the Dreaming, they were recorded after
the Sundering as a way to ensure fae survival in the face of
inexorable change. Passed down and enforced by the nobility, the

Escheat's tenets are respected by both Seelie and Unseelie nobles

(though each Court has variations on how it interprets each
principle). Seelie nobles and their subjects generally follow the

letter of the law, while Unseelie nobles and their minions tend to
find the loopholes and work through them.
Unlike oaths (see below), the authority to enforce the
Escheat is not backed by Glamour. Instead, it carries the force
of law, tradition and custom. Occasionally the Dreaming works
its own chimerical subtleties around the Escheat, making certain that its rules are kept or forcing those who break it to reap
the consequences of their actions.
The six basic rights of the Escheat are detailed below.
The Right of Demesne A lord is the king of his
domain. He is the judge and jury over all crimes, large and small.
His word is law. A noble expects obedience from his vassals and

respect from all others. In return, a noble respects those lords

superior to him.
Reality: Nobility has had to make concessions in the face
of modern ideas of democracy and popular rule. Most nobles rule
through force, cunning, personal magnetism or custom.

Banality. Glamour is hard enough to find, and expending it on

mortals so that they can witness the Dreaming for themselves is
wasteful. Some changelings enchant select humans in order to
bring them into their freeholds as lovers or retainers, but they are

careful to remove any evidence of their existence from the

minds of these mortals when they return them to the mortal
world.
The Right of Rescue All Kithain have the right to
expect rescue from the foul grip of Banality. We are in danger
together and must strive together to survive. Never leave
anyone behind. Kithain are required to rescue other faeries or
any creature of the Dreaming trapped by those who serve
Banality.
Reality: Most changelings adhere to this principle. After
all, they might need rescuing one day. Seelie and Unseelie will

forget their differences and come to each other's aid when one
or the other falls prey to the Dauntain or some other agent of
Banality. While many changelings will try to rescue chimeric
creatures such as unicorns or griffins, few risk themselves for
minor chimera.
The Right of Safe Haven All places of the Dreaming
are sacred. Kithain cannot allow faerie places to be endangered.

All those who seek refuge in such places must be admitted.

Freeholds must be kept free of both Banality and worldly
violence.
Reality: Competition for the few freeholds that have

The Right to Dream Mortals have a right to dream

unhindered by our needs. The Dreaming will die if we steal
directly from the font. No one is allowed to use Glamour to
manipulate the creative process. Although you may inspire
creativity in the mortal mind, it is forbidden to give direct
instruction or to infuse a human with raw Glamour.
Reality: Most changelings interpret this as a prohibition against Ravaging the forcible ripping of Glamour
from beings. Many Kithain particularly Unseelie
ignore this ban, seeking a quick fix or an easy way to instant
power. Since this form of acquiring Glamour often permanently drains the victim, convicted Ravagers suffer harsh
punishments as a deterrent to repeating their crime. Dis-

survived the Shattering makes this tenet a hard one to

enforce. Rival claims to the same spot of dream-infused
ground often lead to warfare that encroaches upon its boundaries, although in most cases combat on the actual grounds
of a freehold is restricted to chimeric battle. Some lords bar
their freeholds to outsider changelings for fear that unwanted visitors may waste the Glamour inherent in their
holdings. Despite the demands of hospitality and courtesy
upon the domains of nobles, commoner freeholds are often
more inclined than their noble counterparts to admit changelings seeking refuge.
The Right of Life No Kithain shall spill the lifeblood
of another Kithain. No Kithain shall bring salt tears unto the
earth. No Kithain shall take from the Dreaming one of its own.

turbing rumors claim that some changelings infuse mortals

Death is anathema.

with Glamour, overloading the mortal souls with too much

creativity and feeding from their brilliant dreams. This
practice, if it exists, also violates this portion of the Escheat.
The Right of Ignorance Do not betray the Dreaming to
Banality. Never reveal yourself to humanity. Not only will humankind hunt us down for our wisdom and our power, it will overwhelm us with Banality and destroy our places of power. The more

Reality: This tenet is almost universally upheld,

particularly since the Dreaming itself seems to enforce it
by inflicting Banality upon a changeling who takes another changeling's life. When two Kithain meet in combat, they usually wield chimerical weapons, although
there are exceptions to this (such as nonlethal duels to
first blood). No "real" damage is caused by such a chimerical battle. The loser, if "killed," merely dies temporarily
to the Dreaming and returns to her mortal seeming until
reawakened by an infusion of Glamour.

humanity knows, the more ardently it will seek us, draining the

world of Glamour and petrifying our essence with its basilisk's gaze.
Reality: Most changelings, both Seelie and Unseelie, respect this rule since it serves as protection against the forces of

ChapreR TLUO: A (JJoRld of DReams

Cusroms and TRadirions

Over the centuries, Kithain society has developed a number of customs, some borrowed from human cultures and others
unique to the fae. These traditions define and lend color to the
lives of changelings.

Oorhs
Oaths are sacred vows that bind Kithain to one another
in certain specified relationships or else obligate the swearer
to undertake quests or journeys, fill certain roles, honor
specified rights or refrain from certain actions. Some oaths
bind one Kithain to another for eternity; others last for
shorter periods of time. Many oaths, particularly those taken

at Beltaine and Samhain, are sworn for "a year and a day."
The whole of Kithain society helps to enforce oaths, but,
more importantly, the weight of the Dreaming lends binding
authority to these solemn vows.
The wording of oaths is very important, because it weaves

Glamour into the bond that is formed by its speaking. Breaking

an oath is not done lightly, for the consequences (usually
specified at the time the oath is taken) assert themselves as soon
as the oath is forsworn. In addition to any innate penalties,
oathbreakers are shunned by Seelie and most Unseelie fae alike.
A changeling's sworn word is her greatest gift, and those
fortunate enough to receive an oath-backed promise ofloyaliy
or love consider themselves blessed by the Dreaming. Oaths
define a changeling's personal honor and respect. Spoken
oaths are the foundation of noble society, and any who break

an oath defy the values of their society and forego their right
to remain a part of it.

CouRtrly Love
The rituals of courtly love occupy a large part of nobles'
attention and sometimes form the major part of relations within
a noble court. The artistry and pageantry of ritualized courtship
lends itself to the fae sense of intrigue and love of romance.

Whether as participants or spectators, most members of a court

relish taking part in the subtleties of courtly love.
Romance among the Kithain embodies a rarefied and
elegant dance of skill and seduction, appreciated as much for its
form as for its content. Both males and females recognize its
usefulness in manipulating others to do their will, and take every
advantage to prove their prowess in affairs of the heart.
Courtly love expresses itself as an elaborate duet between
the "ardent suitor" and the "bashful beloved." In the past, when
mortals practiced this formal expression of desire, the suitor was
usually male and the beloved female. The more liberal Kithain
make no such demands on the gender of the participants. A very
strict protocol oversees all the steps of courtly love, from the
suitor's declaration of intent to the pursuit of the beloved, all the
way to the usual polite but firm rejection and the period of
intense mourning for lost love a time which presages the
beginning of the cycle once more. At every stage in the process,

Changeling: The DReaming

troubadours hover in the wings (if not on center stage), ready to

serenade the beloved in private or proclaim the worthiness of

or experimental arts are referred to as vulgar patronages. Both

the suitor before the audience of the assembled court.

whimsical names, depending on the nature of the arts they

The courting process consists of stylized flirtation. It is

customary for the beloved to alternately accept and reject the
suitor's favors, refining the art of teasing and encouragement
to a high level. The suitor has no rights except those granted
by the beloved, and is expected to prove her ardor at every
possible opportunity. Love poems and songs, heroic deeds and
interminable patience in wait for a smile or a kind word are all
necessary steps of the lover's journey. Love that comes without
a steep price, or that announces itself clumsily and without
grace, is not worth having.
Courting usually takes place in secret, but sometimes it
becomes a miniature drama, staged for all to see. Initially, the
beloved should reject the suitor, citing political or personal
differences as the reason. It then falls to the suitor to cajole,
convince, woo or win a reversal of the beloved's decision.
If the process succeeds in evoking the full passion of amour
(though not necessarily sexual congress) between suitor and
beloved, the two swear oaths of love to one another. Until this
bond is broken, lover and beloved remain inextricably joined in
spirit to one another. Only Banality can separate them. Lovers
assist each other regardless of personal risk, differences in Court
or conflicting loyalties. In some cases, one lover will sacrifice

patronize. Noble cliques include the Galateans, who patronize

herself for the other.

addition, they are often occasions when changelings and mor-

Patronage

noble and vulgar cliques often give themselves formal or

the visual arts of painting and sculpture; the Calliopians, who

revere both the written and spoken word; the Terpsichoreans,
who favor dance over other arts; and the Olympians, who
admire athletes and bodybuilders. Vulgar cliques include the
Groupies, who patronize rock and roll; the Anachronists, who
prefer the ancient crafts of the common folk; the Zoetrope

Society, which consists of film aficionados; the Mad Hatters,

who find inspiration among the insane; the Daydreamers (a
childling clique), who encourage the natural Glamour of

human children; and the Hackers, who promote Glamour via

the Information Superhighway.

The ImpoRrance of Holidays

Holidays and festivals occupy a central part of changeling
life. These periods of celebration not only serve as times when
mortals edge marginally closer to the Dreaming, they provide
the Kithain with the opportunity to remember the traditions
these holidays honor, thus bringing them in touch with their
lost past.
Kithain use holidays as excuses to expend Glamour, putting
it back into a world leeched of its revitalizing energy. In
tals may interact without fear of attracting too much Banality.

Changelings often tend to focus their Glamour-gathering

activities around certain arts that appeal to them. The art a
changeling selects for this purpose is known as her patronage.
Although childlings and wilders sometimes change their patronages from one art to another, grumps usually settle upon a
single art and stick to it. Wilders tend to choose experimental
arts to patronize; childlings prefer more direct and simple ones;

During holidays, Banality and disbelief are at their ebb, since

most celebrations have an innately supernatural aspect to them
that defies reason. Children who believe in Santa Claus and the
Easter Bunny are often joined at Christmas and Easter by adults
who act as if they, too, believe in these symbols of gifts and
replenishment. Humans, for these brief periods of revelry and
celebration, allow themselves to experience the fires of their
imaginations. Some changelings maintain that if everyday

grumps opt for more sophisticated or traditional arts.

could be a holiday, mortals would slough off their cares and

Most Kithain indulge in their patronages at every opportunity, visiting places significant to their particular art or arts
and collecting people who are practitioners of their patronages. The acquisition of items and people acts as a source of
rivalry between changelings, allowing patrons of the same art
to indulge in friendly competition to the benefit (usually) of

rationalizations and dream freely once again.

The changeling calendar consists of many festivals,
which are often used, as they were in medieval times, to keep
track of the passing of the year. Before the Shattering, the

their chosen art.

Cliques
Kithain often form groups known as cliques to share their
patronage with others of like mind, increasing its enjoyment.
Through patronage, Kithain inspire mortals to dream, and thus
add to the supply of Glamour in the world. Therefore, patronage
not only provides a pleasant pastime, it also makes a vital
contribution to the Dreaming. Most changeling cliques know
this, although they do not let the importance of their task get in

the way of having a good time.

Cliques associated with traditional or medieval arts call
themselves noble patronages, while those dedicated to modern

calendar marked the cycle of Seelie and Unseelie rule. Since

the Resurgence, many of the old traditions have fallen by the

wayside, but the forms remain constant as the dance of days
continues its stately progress through the seasons. New holidays have risen up to take the place of old ones, but the

procession of festivities goes on.

Changeling Fesrivals
During certain times of the year, those of the major festivals, all Kithain come together to celebrate the Dreaming. The
following celebrations are held in common by both Seelie and
Unseelie changelings, and constitute the major holidays of
Kithain life.

Imbolc, February 2nd The balefire is the most

important feature of a freehold, keeping out the cold wind of

ChapceR Tuio: <\ (UoRld of DReams

81

Banality and preserving the Glamour that maintains the freehold. Imbolc is a festival celebrating the balefire and its replenishment after the long darkness of winter. Also known as Bard's

festival which celebrates life and love. At one time, fae went out

Day, Imbolc marks great competitions among bards and other

performers. Originally sacred to the Celtic goddess Brigid,

into the fields and formed tame chimerical beasts into a line
between bonfires lit from the local freehold's balefire.

patroness of fire, smithcraft and poetry, Imbolc honors the

Beltaine once marked the formal beginning of the Seelie

half of the year, during which time the Unseelie surrendered its
power to the opposite Court. As such, Beltaine traditionally

creative spirit.

On Midwinter's Night, special travelers, called fire-

Beltaine, May 2nd One of the two major festivals of

the changeling calendar, Beltaine is a nighttime spring fertility

brands, set out from Tara-Nar, carrying lanterns that contain

fire from the Well of Flame beneath High King David's

represents a time of peace and amity. The infamous Night of

palace. The lanterns are used to replenish the balefire of

Beltaine peace.

every freehold during the Imbolc ceremony. It is considered

Beltaine also sees the blossoming of new romances, particularly between nobles and commoners. The bonfires serve as
festival sites where passions run uninhibited. Many childlings
are conceived during Beltaine celebrations; conception at
Beltaine is considered particularly favorable, since the feast

a bad omen if the firebrands fail to make their appearance at

a freehold before Imbolc.

Carnival, February 28th Formerly a wake for an old
age and a birthday party for a new one, Carnival has risen in
prominence since High King David assumed the throne. Now it
celebrates the new unity between nobles and commoners. It is
a night when kings and queens enchant entire cities, enabling
the wholesale gathering of Glamour. Masked by the human
Mardi Gras festivities, Carnival celebrations mark some of the
Kithain's wildest parties.
Borrowing from such diverse sources as English Boxing Day
and the ancient festival of Lughnasa, the ritual central to
Carnival involves the elevation of a local mortal, befuddled by
alcohol or dizzy with an overdose of Glamour, to the position of

Iron Knives stands as a notable instance of the gross abuse of the

honors fertility and new life.

Highsummer Night, July 17th Staged to coincide with
the hottest part of the summer, Highsummer Night epitomizes
mirth and freedom. It also provides an excuse to gather Glamour
from the "heat dreams" of mortals. During these celebrations,
changelings are free to toy with any mortals they encounter.
Pooka consider this festival their special holiday and refer to
it as "Pranksgiving." They hold a competition among themselves

to see who can play the most outrageous practical joke on a human.
The winner gains tremendous prestige. Highsummer pranks sometimes turn malicious, even though jests which result in loss of life

King or Queen of Carnival, while the local monarch takes the

part of a jester. The new "monarch's" word is considered law, or serious injury are regarded as inartistic and tasteless. Tangled
although in most cases, the chosen mortal is too addled by the romances, mistaken identities, transformations and thefts of heeffects of substance abuse to issue any commands which might roic proportions have greater appeal for pooka.

have lasting repercussions. The "jester," on the other hand, is

open to all the abuse of his or her new position. Some kings and
queens dread the approach of Carnival, but put up with it as part
of their duty as rulers.

There are only three laws of Carnival:

There can be no retribution for any word spoken or deed

done. A monarch cannot exact revenge against harassers.

Carnival is sacrosanct; all who attend are welcome
and safe. Anyone violating this principal is summarily
subjected to any punishment decreed by the bleary-eyed
Carnival King or Queen.

Let merriment reign!

Carnival ends at sunrise on the following day. In most cases,
the Carnival King or Queen is released from duty and sent home,
none the worse for wear. In certain Unseelie demesnes, it is
rumored, the mortal becomes a ritual sacrifice.
The Greening, April 4th Commonly celebrated in
southern Concordia, the Greening is an informal festival

commemorating the beginning of spring. It is also called the

Festival of Crocuses, as celebrants weave these early spring
flowers into their hair and clothes. Each childling receives a
crown of woven grass, and wilders participate in morris danc-

ing. It does not bode well for the coming year if no grass can be
found for weaving into crowns.

82

Changeling: The DReaming

Many Kithain weddings take place on Highsummer Night,

though not so many as at Beltaine.
Pennons, October 4th Pennons celebrates the martial
prowess of the Kithain. Its festivities include jousts, mock combats,
displays of weaponry and the slaying of chimerical beasts. The
name of the festival derives from the custom of bestowing a king's

pennons flags marked with royal crests upon the festival's

champions, who have the right to fly them for one year.

Artists, crafters and musicians also flock to Pennons, many

seeking patronage from lords, who are likely to be generous on this
festive occasion. Musicians find Pennons particularly rewarding.

Troubadours compose songs on the spur of the moment celebrating the heroes of the various events, and stage their own competitions, along with storytellers, using words and music as weapons.
Samhain, October 31st A counterpart to Beltaine,
Samhain is the second of the two major Kithain festivals. On

Samhain Eve, the wall between worlds grows thin. This is a

solemn time for Kithain everywhere. It is a night to strain
against the Mists, to part them and remember comrades who

have fallen. It is a night to honor ancestors who have been lost

as well as mortal companions who have contributed Glamour
through their creations and deeds.
Samhain also serves as a time for divination. In some courts,
soothsayers perform auguries to learn the fate of lost friends and
to divine messages about the coming year.

Before the Shattering, Samhain marked the beginning of the

Unseelie half of the year, when the Seelie rulers turned over their
authority to their opposites until Beltaine. Now that transference
of power resides only in the form of the Shadow Court's one-night

reign. Samhain provides a chance for the Unseelie fae to deride

everything they despise about Seelie society. Unseelie changelings
hold mock tournaments and courts, making fun of the monarchy

and privy council. Seelie changelings are encouraged to adopt

their Unseelie personas for this one evening and experience the
other side of their fae natures.

Childlings often join with human children in trick-ortreating their way through neighborhoods, gathering Glamour
from the real and imagined spookiness of the night and the
enjoyment of their mortal companions.
In addition to the calendar festivals, Kithain also celebrate
other special occasions. The Royal Lottery occurs whenever a
monarch steps down, falls victim to Banality or dies a natural
death, thus occasioning the choice of a successor. During this

celehration, changelings come from far and wide to hear the

dukes and duchesses proclaim candidates for the vacancy before
the casting of lots by the nobility to choose who will rule. These
events usually take place in the monarchs' glens.

Weddings between Kithain give rise to great festivities.

While some Kithain marry for life, others marry for a lunar

year (13 full moons) or a year and a day.

These marriages

celebrate life and love in the same way that the Beltaine and
Highsummer ceremonies do.
A wake occurs upon the death of a Kithain. When a common
changeling dies, her spirit is lost to the Dreaming for a time before
reincarnating in a new mortal body. Only the sidhe do not return
in this fashion; some believe that a sidhe's spirit is lost forever,
while others hold that a deceased sidhe is reborn as a commoner.

Wakes are crucial whenever a changeling dies from Banality or

from cold iron. The loss must be addressed in some fashion to
prevent Banality from gaining a stranglehold on all who knew the

lost Kithain. Wakes are blatant denials of Banality, combining joy

and sorrow in a tribute to the lost spirit. All distinctions between
Seelie and Unseelie are put aside during wakes, as each Kithain
remembers the deceased and strives to keep some part of her alive
in the Dreaming. Unfortunately many sidhe refuse to attend
wakes; they dislike being reminded of their own eventual death
and the uncertainty that follows.
Oathtakings also provide an opportunity for Kithain to gather

together, usually in small, private ceremonies. It is considered an

honor to receive an invitation to a formal swearing of an oath and
to act as a witness to the solemn pronouncement of a binding vow.

The most common oaths that are celebrated in this fashion include
oaths of fealty, questing and true love.

ChapreR Taio: A (JJoRld of DReams

83

What determines who we are? Although we try to

control our identity, a host of factors influence what we will
become. Our age, our education, our standard of living all
of these factors affect who we are. This is doubly true for
changelings. Age carries with it certain expectations. A
changeling's mortal background affects the facade she shows
to the world. The heritage of her kith influences her faerie
self. Identity isn't as simple as it may seem; it's built slowly
over time, layer by layer.
This chapter shows several aspects of the identity of
Changeling characters. Kithain can be defined in many
ways seeming, kith, age and house are just a few of the
major factors in their lives. These descriptions are guidelines, the framework on which you'll build the role you play
in the game. Don't take everything you see at face value, and

don't take everything here as absolutes. Feel free to break

any stereotypes you encounter. After all, you're creating a
person driven by raw chaos and imagination. Why let something as banal as a rulebook limit you?

The OOoRral Seeming

Trapped on Earth and exiled from Arcadia, changelings have adapted to a human world. Balancing a mortal
life against a Kithain existence has a profound affect on a
changeling's personality, but there are other factors as
well. How a fae is perceived by her peers is strongly
influenced by her age.
As part of their price for living in this world, changelings
age at the same rate as the mortals around them. There are

legends of fae who have lived for centuries, but the world

discourages such a blatant display of magical power. Youth is

highly prized in Kithain society. With youth comes innocence,

trust and belief in the magical.

The Kithain have very pronounced expectations on how
age affects identity. The age at which one undergoes the
Chrysalis strongly influences how a changeling is perceived. All
Kithain are considered to belong to one of three categories,
which are collectively referred to as seemings.

Childlings
Childlings, the youngest of the Kithain, aren't always as
innocent or naive as they seem. Though physically between the ages of three and 13, many are wise beyond their
years. Some have lived countless lifetimes; they simply

don't realize it in their current state. As outsiders to much

of adult life, they often see things in adult society that their
elders cannot.
In many ways, childlings are just like mortal children. The
world is their playground. They love the spectacle and pageantry of faerie life. Their elders may mistakenly think of them
as passive and peaceful, but with so much Glamour and energy
coursing through childlings, they can be hellacious forces of
chaos. The worst are vicious and feral; the best can be startlingly imaginative.
The wonder and innocence of childhood brings childlings
closer to the Dreaming. Banality affects them the least of all
changelingsthey live in a never-ending faerie tale. Some may

exist in a slightly dark or tragic tale, but even the grimmest are
ChapreR ThRce: The Kirhain

85

suffused with magic. Unfortunately, this also means that

childlings often have trouble being taken seriously by older
changelings, especially those who worry endlessly about the

troublesome game of life. Noble childlings encounter this difficulty as much as commoners do.
Confronted with mortals who insist they know what's
best for them such as teachers and parents childlings are
forced to hide their faerie identities. If the pressures of the
mundane world grow too great for them, they have no choice
but to run away from home and seek out a freehold that will
look after them.
Childlings enjoy a certain degree of privilege in Kithain
society. They're nurtured, taught and encouraged. Because
they're learning, they're often forgiven for their misdoings.
Inexperience, however, shuts them out from many adult activities. The solution is to live in a dream of their own. In their own
private reality, playtime never ends.

(JJildeRs
Anyone between the ages of 13 and 25 is considered a
wilder. Typically, they are rebellious, devious and hedonistic. They are by far the most numerous of the Kithain.

Because of this, they often strive to be the leaders of both

the Seelie and Unseelie Courts. After all, the childlings are
too young, and grumps obviously don't have the energy.
What other choice is there?

These wild, young Kithain have lost the naivete of

childlings, but they haven't yet succumbed to the cynicism of
grumps. Nonetheless, they tend to be arrogant and full of

themselves. Known for their daring and adventurous ways,

wilders love to be young. Mortal culture fascinates them,
especially its creative aspects. Their perspective on creativity
becomes more acute, and the Glamour of music, movies or
anything on the cutting edge draws them like moths to a

chimerical flame. When the fires of creativity consume them,

they fully realize what it is to be alive.
That flame can sometimes be a little too compelling.
Burnout is a wilder's greatest fear. They don't want to miss a
moment of their enchanted existence. After all, growing old
brings with it Banality and eventually the Undoing. The most
extreme wilders would rather die than lose the memory of what

it is to be young and fae.

Living on the edge, wilders follow ambitions that
propel them into positions of responsibility without authority. Rebelling out of desperation is the natural response. Those who still hang on to a second mortal life also
feel a overwhelming need to escape. Those who don't are
consumed by their passion. Either way, wilders live lives
filled with constant energy and motion. Chaos and adventure fuels their very essence.

Chumps
Grumps are the "grown-ups" of changeling society.
Having lost the innocence of their early years, many become

irascible and bitter. They miss the pleasures and Glamour of

86

Changeling: The DReaming

youth. Since Kithain are very sensitive to Banality, age

destroys their idealism as they grow older. The average
grump is still less banal than the average mortal, but by
Kithain standards, they are seen as stubborn and sedate...and
react accordingly.
One in 20 changelings is a grump. They prefer to be called
greybeards, but among childlings and wilders, the name "grump"
has stuck. By their late 20s, most greybeards fall before the
onslaught of Banality and lose their changeling essence. The
most unfortunate are Undone: they lose all memory of their
changeling lives. If a greybeard has been able to hold off this
fate for long, he has no doubt gained a degree of wisdom. The
staunchest changelings find ways to stave off this slumber,
even though they may find it difficult to set aside their mortal

Kirh

lives in the process.

reflection of the Dreaming. As one would expect, each kith also

has its own culture, history and ethnic pride; the following only

Greybeards see themselves as the most reliable and respon-

Legends tell that the fae were born of ancient dreams.

Fantasies have shaped the natures of the kith we know today.
Though the truth has been lost with the passing of years, we can
still see the results. A changeling's kith reflects his kinship and
knowledge, and it has a profound influence on his identity.

Each kith has certain abilities, affinities and weaknesses

inherent to it. These are a part of fae heritage. A changeling's
Court also has an effect on these. After all, each has learned to

adapt (or exploit) its identity as best it can.

The following nine kith represent the changeling races of
the Western world. They are by no means the only ones in the
world, as each faction of humankind has its own particular

sible of the Kithain. They often assume the duty of caring for

begins to describe their identities.

childlings, as wilders think they have more important things to

do. They are also keepers of tradition and lore, and they are eager
to pass on this knowledge to the young. If only the young would
listen more often....
When the burden of the mundane world becomes too
great, the easiest escape from ennui is the intrigue of the noble
court. These fae see themselves as the movers and shakers in
the higher echelons of the court, even if the wilders or their

Each of the following kith descriptions is broken down into

several parts. The following is a brief outline of what you can
expect to find in each kith description.
Name and Pronunciation: The name of the kith and its
proper pronunciation. Do not take the pronunciations as gospel,
however, as they tend to vary from kingdom to kingdom.
General Description: A brief history of the kith, where
they've been, and what they do now. It also includes something

rulers ihiiik other wise. Though they realize much of Kithain

about their outlook on life.

society is hopelessly antiquated, they have grown to appreciate

it. There is wisdom in the rituals of the Kithain, and the
greybeards treasure it.

Appearance: The most common description of the kith.

Many variations of these descriptions certainly exist; this,
however, provides information about what you are most likely
to encounter. These descriptions are of the kith's fae mien, not
a mortal seeming. Though the mortal seeming can be quite
different, there are usually close similarities between the seeming and the mien.
Lifestyle: How this kith commonly lives as well as what
its members are most often like as childlings, wilders and
grumps. Remember that these are generalizations, and in a
people known to embrace the mutability of dreams, variations
always exist.
Affinity: The kith's Affinity for a particular Realm.
Whenever a member of the kith casts a cantrip involving that
Realm, the difficulty is lowered by one.
Birthrights and Frailties: The inherent strengths and weaknesses of the kith. Birthrights that have apparent physical effects
(such as a troll's mighty strength, a sidhe's breathtaking beauty, or a
pooka's animal features) do not function around mortals, while
Birthrights with "non-apparent" effects (such as a sluagh's sharpened senses or a boggan's social radar) do. For the purposes of these
descriptions, mortals are always assumed to be unenchanted. Mortals who are enchanted are the same as Kithain for the purposes of
Birthrights functioning in their presence. Those Birthrights that
allow a kith to never botch at a certain roll always function normally.
Quote: A quote that could commonly be heard from one

A changeling's age also determines his

starting Glamour, Willpower and Banality
Childling
Beginning Glamour: 5
Beginning Willpower: 1
Beginning Banality: 1

Wilder
Beginning Glamour: 4
Beginning Willpower: 2
Beginning Banality: 3
Grump
Beginning Glamour: 3
Beginning Willpower: 5
Beginning Banality: 5

of this kith.
Outlook: A look at the kith's general opinion on the
rest of the fae.

ChapceR ThRee: The Kirhain

87

(BOG-guns)
Boggans derive their greatest pleasure from work. An
honest job, good company and a regular routine are all most
boggans require. They're known throughout the society of the
Kithain, for their hard work and integrity. It is said that a boggan
is as honest as the dirt on his hands.
This honesty includes a need to help others. Boggan homebodies are known for their hospitality, and few can refuse to help
a traveler in need. Wilders often take to the road to seek out
those in need of help, even when this makes them seem like

troublesome meddlers. Seelie boggans

display altruism out of compassion and the goodness of their
hearts: Unseelie boggans find
themselves drawn to the
needy out of opportunistic
desires. Regardless of Court,
this kith's philosophy of
noble service glorifies
helping others. Status among their
kind is measured
by the number
of people
they have
"helped."
Beneficiaries who grow
complacent,
however, are cut
off quickly.
Boggans who prefer to stay at home value
comfort and security.
Whether that home
belongs to them or
someone else makes
little difference. The
more sedate types

settle into pleasant

lives in caretaking po-

sitions; carpenters,

gardeners, cooks and barkeepers have all gained notoriety

among their kind. As long as the people whom boggans help

appreciate them, the simple folk do their best.
There is another reason why boggans humbly integrate
themselves into households: They are notorious gossips. The
secrets they just "happen to overhear" are considered just reward
for their hard work. Seelie boggans insist that they gather this
information out of simple curiosity. Unseelie tuck their information away to be pulled out on "special occasions." Whether
motivated by altruism or greed, boggans have managed to turn
a vice into an art form.
Despite this weakness, boggans are deservedly proud of

their reputation as hard workers. Some have been known to

work themselves to death to do a job correctly. Questioning the
quality of a boggan's work is a sure way to send her into a rage.
Though no one has actually seen an angry boggan stamp herself
to death, some wilders have tried. A boggan who has done less
than her best considers herself to be deeply in debt to those she

has tried to serve.

The concept of debt is important to remember when
dealing with boggans. Though they consider volunteer service
to be the greatest of honors, most would sooner die than be in
debt to anyone. Seelie boggans often refuse payment for their
services, and may actually be offended by such offers. Unseelie
boggans consider forcing others into positions of debt to be a
true sign of power. It is dangerous to scheme for wealth, however. The most avaricious Unseelie boggans are referred to as
boggarts, and are treated with disdain by other Kithain. A
boggan's fear of indebtedness often keeps him from establishing
close ties. Although they will cheerfully work with others,
boggans rarely enter into oaths of any kind.

Anyone who thinks a boggan will always be subservient is

a fool. Although a boggan devotes himself to the service of

others, he always knows his own worth. Even when he is

employed by others, a steadfast representative of this kith sees
himself as the master of the situation. By rendering service to

those in need, boggans gain a sense of nobility that no title or

position can equal.

Appearance: Boggans are short of stature, with thick,

downy hair and a tendency toward plumpness. They often have
small, bright eyes, emphasizing their large noses. Their hands

are fairly large and callused, with agile fingers and gnarled
knuckles. Boggans often have exceptionally thick eyebrows,
which frame their eyes and grow wildly. Their skin is tanned,
and darkens and wrinkles with age. Their attire is usually simple
by Kithain standards.
Lifestyle: A warm hearth, a well-stocked kitchen, a comfortable bed these are essentials in a boggan home. While
some boggans are known for their talent in the kitchen or the
parlor, many of them find jobs in professions like construction
work and emergency services. Wherever there's honest work to

do, boggans find themselves right at home.

Childlings are mischievous and always running underfoot. They tend to gather wherever work is being done. They
may not always be attentive while helping out, but they often
learn their trades at an early age. Once the chores are done,
they're eager to get into mischief.

Wilders cannot but help but seek out adventure. Why

hide under your mother's apron when there's a world to see out
there? Despite their wandering ways, once they find a motley of
adventurous Kithain, they stick with that group, and very little
can drive them away. Of all the group, they're the most likely to
worry about the wholesomeness of the food they purchase and
the quality of the tobacco for their pipes.
Grumps often settle into permanent residences where

they can putter about. This is often be a place where they can
support as many fae within a local freehold as possible. The level
of comfort in this place is a prime concern for them.
Affinity: Actor

Attend to the words of William Surefoot as

he roasts your dinner.
On Eshu Watch these wanderers closely. They'll
come trading tales for a warm hearth and a full belly, but
they sometimes leave with full pockets, too.

On Nockers I admire their diligence, but they

tend to get carried away with their work. They really
should learn to enjoy life more.
;

On Pooka Irresponsible and foolish. They'll do

their best to keep your spirits high, but they're rarely
around when there's real work to be done.
On RedcapsRedcaps have foul table manners and
fouler attitudes. I'm glad I don't have to clean up after
them.
On Satyrs Well, they certainly are enthusiastic
about seeking their...um, wisdom. Don't refill their wine

glasses too often, or there'll be trouble, mark my words.

On Sidhe The sidhe are all too often misunderstood. It's admirable that they carry the ideals of another
world. It's too bad this one is so hard on them.
On Sluagh They always know more than they tell.
Listen to them closely. Show a little generosity, and they
may repay you with a choice bit of news.
On TrollsThey value honor and duty. In my book,

that makes them nobler than the sidhe.

Perception + Empathy (or Subterfuge) roll allows a boggan to

Craftwork Boggans never shy away from hard work.

Infact, it brings them together. They have a reputation for being
swift and superior craftspersons. If unobserved, they can accomplish any task involving simple physical labor in one-third the

normal time.
/d? v
Because of their affinity for work, boggg,ai can never botch
Crafts rolls.
ft;
;p: '
Social Dynamics Since tjpy're offSn intimately
acquainted with the workings of hoij|||iglds,<ilbggans have a
heightened sense of the relationships between people. Gossip
gets around even in the largest freejjblds. Sfelie pick up clues
such as the subtle glances of would-lfe lovefs; Unseelie tend to
notice conspiratorial relationships and rivalries. A successful

puzzle out a group's social dynamics. The difficulty can range

from 5 (for a small traveling band) to 10 (for a royal ball
brimming with intrigue).
This Birthright functions normally even when dealing with

mortals and the unenchanted in social situations.

Call of the N^edy Boggans cannot stand the sight of

another person in filed. When confronted by someone in
legitimate need, a boggan must make a Willpower roll (difficulty
8) to avoid assisting thajsperson in some way.

Quote: Why,whathajjjwppenedtoyou, my friend? Here, have

a seat by the fire wfajie I ge t jjjii something warm to drink . Please , tell
me oll'ajpout it. . . .,

ChapreR Trmee: The Kirhain

89

(EE-shoo)
Eshu embody the spirit of adventure. Originally descended

they sample the local arts and fashions and quickly learn to

from the dreams of the ancient tribes in Africa, India and their
homeland in Chaldea, the eshu can now be found in any part of

emulate them. Once they feel they have learned enough, they
take the knowledge with them. Whether rich or poor, each eshu

the world. When they left their homelands, the eshu set forth
into the world and wandered wherever their dreams would take
them. Consumed by wanderlust, they value traits that ensure
survival on the road, such as charm, sharp wits and ingenuity.

carries with him the collected wisdom of all his travels. Regardless of who others may call dukes or kings, eshu consider
themselves princes of the road.

After millennia of such travels, they have learned to adapt to

and to adopt the cultures they have encountered. This has made
their talents for songcraft and storytelling truly amazing* ; ;
The reputation of the eshu proceeds them, teaming to
live by her wits, a wise traveler always looks for an angle. If this

Appearance: Although eshu of all racial stocks exist, most

have dark complexions, black hair and black or deep blue eyes.

They tend to be tall and muscular, with long limbs and narrow
features. Whatever fashion they follow, eshu are always dapper
and charming, though they tend to favor scarves and silks with

a Middle Eastern or African flavor. It is said that the dawn of

means running a good scam, so be it. For|irie?eshu, this ivorks time itself can be seen by staring into an eshu's eyes.
both ways. If someone else manages to Jet-scant an eshu, he's :
Lifestyle: Eshu are always on the move. Their wanderlust
certainly worthy of respect. Such t|jksters are grudgingly ; takes them anywhere and everywhere. Reporters, gamblers,
rewarded for their accomplishment; after all, how else are the dilettantes V- any trade that allows for travel suits them well.
eshu to learn new scams?
|t
:
Childlings make better followers than leaders. Always
An eshu's curiosity and vanity
get him into all sorts df; attentive and polite, they are full of questions and observations.
trouble. For this reason, eshu are slojjr to trust and teadtQ keep , They're primarily loners, though, and will never follow the same
their own counsel. Their sacred ceremonies are held away froti) a'dult for long. Many prefer to live as runaways or stowaways.
other Kithain, and only a few fellow travelers are invited ta
Wilders believe that the greatest adventures are yet to
attend. An invitation to an eshu festival is an hbrior that's come. A young hero might style himself as anything from a
:
si
difficult to achieve.
!t,
:
x, ""'""',
jmodefh-day African deity to a resourceful wanderer. Any legConsummate talespinners, bards, tr|jljers;ahd eon artists, end of a:great hero is a challenge for him to exceed.
the restless folk use the wisdom of a thousand Journeys to guide
Grumps tend to prefer a few locations to which they
their Arts. Performance art suits them well, for eshu; consider return again and again. They learn to settle at each place longer
the spirit of the moment to be everything. Any*lne who and trade stories of deeds that have already been done; their
provides an eshu with new tales, good songs or dances, a blissful bardic circles are legendary.
liaison or strong drink is treated as a dear companion...until
Affinity: Scene

*
I

the spirit of the moment has passed. Inspired by this bliss, they

move on and seek even greater adventures. Other Kithain

might think them fickle, but who cares? One who cannot
follow the path is best left behind.
Eshu follow those paths with pride, and impressing
others is important to their kind. Mere survival is not enough
an eshu must have class. Dignity is everything to them,

Spirit Pathways: Eshu have an amazing sense of direction and exquisite timing; they always seem to arrive at their
destinations at the most opportune moments. The path an eshu

follows is always the most interesting route possible, filled with

I
f

even if it involves an odd definition of "self-sufficiency." An

danger and challenge. Seelie triumph righteously over adversity; Unseelie leave bitterness and misfortune in their wake.

eshu will go without food and shelter if accepting it means

giving up her pride.
Whenever possible, these Kithain dress in splendid garb
and jewelry, which others consider exotic or flashy. To blend in,

Either way, the stories are always worth the trouble! No matter
what she encounters along the way, an eshu will always find her
way to her destination...eventually.

90

Changeling: The DReaming

 Talecraft: Whenever an eshu encounters a true adventure, he becomes wiser and his repertoire of stories grows. Eshu
characters gain an additional experience point for any session in
which they learn a fantastic new story or perform an incredible
feat. (Tricking a chimerical dragon or outwitting a lofty noble
are two examples of such feats.)
Eshu can never botch rolls involving Performance or

Empathy.

Recklessness: Confidence and curiosity are inborn traits.

Eshu cannot resist a challenge, gamble or quest if there's a way
to come out of it alive. They're not stupid they won't take on
suicide missions but they do believe their luck can carry them
through any hardship.

Quote: That sounds like quite an adventure, but 1 have a tale

totopthatone! Pass me some of that spiced wine, andl'lltellyou....

Hear the tales of Hazim Rashad, a courier of

the Kingdom of Apples.
On Boggans I have never understood commoners
who are content to live in one place and serve but one
freehold. Their hospitality, though, is wondrous.
:
On Nockers Cynical artisans who have no recourse but to get caught up in the world of their creations.

Too bad. The real world is far more fascinating.

On Pooka A pooka generally makes an outstanding traveling companion, even if he has an odd way of
showing you respect.
On Redcaps Hideous, brash and dangerous. Stay
out of their way, and beware of their foul moods.
On Satyrs Always ready for a saucy tale of
romance or a wild party. Be careful of what they carry in
their wineskins, though.
On Sidhe Their dreams are made of glass. If they
studied this world a little more closely, perhaps they would
not live in so much pain.
On Sluagh Whispered secrets make for interesting stories, and they are very good audiences. It's worth
the effort to coax a tale or two from them.
On TrollsOnce you earn the respect of a troll, you
can trust him with your life.

91

(NOOCra)
Nockers are master artisans. Their skill and inventiveness are legendary; so is their cynicism and
bitterness. Typically, they are highly critical of their rulers and eminently sarcastic of the people around them. Most
nockers dislike having to deal with
"imperfect" things, including people.
Most prefer to surround themselves
with treasures of mechanical wonder
and ingenuity, instead. Things are
much more reliable than people, and
they're much easier to fix. Nockers
are also known for their great talent
for Grafting chimerical inventions.
A nocker's standards of perfection are impossibly high. These
Kithain got their name from their
habit of constantly rapping on things
to inspect their quality. Unfortunately, they treat others the same
way. They continually "knock" others by insulting them, testing their
reactions and trying to find their
faults. While this is a great way to
test machines, it doesn't work as
well with people. As far as nockers
are concerned, they've elevated ridicule to a high art form. This hardly improves their popularity.
Nockers are also fiercely individualistic. Once
one has selected her tastes in artwork and craftsmanship, she immediately condemns everyone else's. When she works, she develops a
style of craftsmanship that defines the work
as hers. Anyone else's attempt is second best.
Then again, a nocker's creations are an expression of her identity: if her work is no good,
then she's no good.

Nockers have other weaknesses, but

they will never admit to them. They usually

yearn for an escape from their flawed lives:

Changeling: The DReaming

music, treasure and even courtly love attract them.

Denied ambitions stir the passions they bury beneath
their work. Romantics pity nockers. Their cynical
facades, the romantics say, hide the fact that they can
never attain what they truly desire. In fact, if they did
attain their desires, it would cease to be so appealing.
In any attempt at romance, a nocker will wear at the
minor flaws of a relationship until the magic is gone.
Tinkering is the only surcease from a life trapped in

such an imperfect world. The dream is everything;

reality is a disappointment.
Pursuing their obsessive and passionate natures,

nockers lose themselves in creation. Their greatest

creations are in the chimerical world. It's hardly
surprising that they excel at creating things that
could never be. Their mundane lives may never
mirror the vision of their art, but not for lack
of trying. Whatever their chosen mediums,

they strive to make their dreams real.

Appearance: Although a far cry from
the deformed stereotype of legend, nockers
are nonetheless grotesque in their own
fashion. They tend to have thick reddish
skin, pointed ears and knotty digits. Their
faces look like masks of overdone stage

makeup: pasty-white complexions with red noses

and cheeks. Their translucent white hair frames
prominent brows that crown their beady, ratlike
eyes. A nocker's rarely seen grin reveals rows of
pointed teeth. Their court clothing is typically clean
and smart, second only to the sidhe in fashion and
complexity. Curls, spirals and swirls are nockers'
favored patterns.

Lifestyles: Nockers deal better with machines

than people, and drift to wherever they can get more
work done. Programming, engineering and mechanical work are all ideal occupations.
Childlings carry an imp of the perverse. They
will tinker with machines to destruction. Most would
rather take things apart rather than fix them. How

else are you going to find out how something works?

 Wilders get their kicks from the modern world cars

and computers are all the rage. All the machines they experi-

Be patient with Drago McHenry. He seems

ment with seem second-rate; there's always room for a few

to be having a little trouble with the duke's *57

Chevy.
On Boggans Heh! They think they're so good at
what they do. Sloppy, rustic folk. You want something
done right, do it yourself.
On Eshu Yabbet, yabber, yabber. They'll talk your
ears off about places you'll never see. Tricky *@&*#s!
On Pooka Frivolous! Wasting their time on pranks
and nonsense. What's that gonna get 'em?
On RedcapsI guess I can get along with themuntil
they get pissed off.
,:

"improvements." Unseelie solve this with more tech; Seelie

deconstruct modern devices into classical components. Regardless of Court, wilders are eminently critical of other
people's designs.
Crumps slowly lose their edge and take it out on everyone
around them. They settle into positions of authority from which
they can drive younger Kithain insane with their continuous
criticisms and interference.
Affinity: Prop

On Satyrs They seem to think that the glamorous

Forge Chimera Nockers can create simple, nonliving

life means sleeping around and swilling wine. They deserve

what they get: trouble!
On SidheThey always seemed a little distant to me,
but I'm not gonna turn down a fat commission from 'em!
On Sluagh Buncha freaks. Most of'em need to get
a tan. Then again, most of them need to get a life. What's
to trust?
On Trolls They aren't as bright as they think they
are. If you want to associate with trolls, make sure you're on
their good side.

chimera. If an artisan has basic working knowledge of how a

device operates, she can conceive of how to build a better

version. In general, her creation cannot involve electricity,

magnetism or chemical reactions, though Storytellers can feel
tree to allow nocker characters to break this rule for extremely
creative devices.
To create chimera, the nocker needs raw chimerical material and a forge or machine shop of some kind. The creative
process is represented by extended rolls of Intelligence + Crafts.
The difficulty and number of successes depends on the size and
complexity of the project. With five successes at a difficulty of

5 a nocker can create simple items (doors, baseball bats); 10 or

more successes at a difficulty of 9 can result in large or highly systems) and get a -1 difficulty on any roll to fix, manipulate or
complex items (siege engines, semi-automatic knife-throwers, control that device. Unseelie get the same bonus with one type
and so on).
of high-tech or modern device.
Nockers must have some degree of privacy when constructThis Birthright functions normally when in the presence
ing chimera. While it is possible for Kithain to be present,: a
nocker cannot work with chimerical materials in the presence j
of mortals.

<

'

Fix-ItNockers are masters of machines, and everyone

knows it. A few harsh words or well-tinned threats can iritiiiM*
date a malfunctioning machine into work ing properly. A nocker
can fix nearly any mechanical device, by making a successful
Intelligence + Crafts or Intimidatufl roll. The difficulty can
range from a 5 (for simple, familiar problems) to as high as 10 (a
complex machine that's really acting up). This takes time and
a lot of hostility, but nockers genemlly
both in.::spades.
Many a balky engine-block has been frightened into wesrking
properly by a nocker simply growling at it.
=
:*
In addition, Seelie and Unseelie cftftspersofts can choose
different specialties during character creation. Seelie can choose
one anachronistic device (waterwheels, sf^jjffL engine!, piatley

i*:r:]?laws -** Nockers are cynical because they're such

perfectionists. They ||n always see ways for things to work
better, but they can never quite achieve their ideals. Some say

this is a curse from the First Artisan; others claim it's a karmic
debt lot theif cftljude problem. Regardless, anything a nocker
creates will have one trivial (but irreparable) flaw. This serves
as 3 constant frustration to; the artisan who's crafted it. Even if

tlie noftker scored/five or Jhore successes on a creation roll (a

complete success), there will still be an elusive, annoying fault.

? Quote: Yeah, that's what you think! What would you know
about @#%&*? I don t take advice from someone who smells as bad

as you do! Now either cjliit stinking the place up, or have a bath in my
ly^scrubbing machjjjce!

'"''"

'4

.-Sir

ChapceR ThRee: The Kirhain

93

(POOkuh)
Pooka are among the most
charming and congenial of the
Kithain. However, they're also rapscallions, scoundrels and ne'er-do-wells
known for their deceitful, devious,
eccentric and mischievous ways. If
eshu are reckless, pooka are demented. Their lives are a constant
barrage of pranks, lies and wild
stunts. They love to play and
hate to work. Faerie lore claims

the pooka will be confused. Maybe the focus of her attention

needs a little help with his sense of humor. Maybe it'll take a
little more work to "cheer him up." Or perhaps he's afflicted with
a deadly curse: He's mundane. Mundanity is disturbing to
pooka, and they have an overwhelming fear of becoming banal.
Their eccentricity is their easiest escape.
The mortal world is a mystery to them they're exotic
creatures who share a primal affinity with the animals they

resemble. They excel at shapechanging, and even their mortal

seemings always carry some signs of their bestial alter egos. In
fact, a pooka can take on the form of his chosen beast. This

that pooka are descended from

increases his opportunities for mischief.

innocent dreams of long ago,

A changeling's animal affinity will often tie into her environment. Pooka who dwell in the city often take the forms of

when mortals watched animals

at play and wished they could

dogs, cats or even rats, while country pooka may emulate horses,

be so free as well.
Everything is larger
than life for pooka. They
find it difficult to take

wolves or wild hares. Most are mammals, but a few avian and
reptilian pooka do exist. Eshu have told tales of lion, kangaroo
and platypus pooka, but few believe them. Many do believe,
however, that stories of animal tricksters throughout the world

mundane life seriously,

were no doubt inspired by these fae.

and they'll do anything

to discourage the sadness

For all their mischief, pooka have a strong sense of nobility.

Seelie pooka are loyal friends and courageous in battle. If one of

that it brings. If they carry

their pranks causes real pain, they are genuinely sorry. Unseelie

,1 piece of that sadness

pooka can be vicious and feral, but most do their best to fit in
with their Seelie brethren. In fact, their streak of mischief results
in them pretending to be Seelie on occasion! Flocks, herds and

Jeep within their hearts,

you'd never guess it.

Pooka's lives are a blur
of happy chaos. They

chase away doldrums

with an almost desperate effort. No joke is too

low if it gets a laugh.

Truth is anathema to
a pooka. Anything she says
will be peppered with lies

to make it more interesting. After spreading foolishness and misinformation,

she'll retreat to a safe vantage point where she can
watch the fun. If the object
of her pranks is angered,

parades of pooka travel about, enacting plays and carnivals for

fae and mortals alike. Wherever they go, they bring laughter,
deceit and confusion. Welcome to the greatest show on Earth.
Appearance: Whatever forms they choose, pooka are usually cute. Though their appearances are manifold (depending
on the nature of their animal affinities) they are often furry, with
elongated animalistic features and even actual animal ears.
Lifestyle: Whether they live as actors, clowns, jugglers, court
jesters or stand-up comedians, pooka somehow manage to eke out

a living doing what they love. Perhaps that's the biggest prank of
all. Seelie drift toward promising mortals who need a little cheering up; Unseelie act as confidants to those who can ensure their

survival. In the city, one can expect them to see them around
universities, the city parks or maybe the bohemian part of town. In
the country, be sure you're kind to the animals you meet.

 Childlings are little angels, especially when they think

they're going to get caught. Seelie childlings are like playful
baby animals, always causing trouble and trying hard to avoid
punishment. Unseelie childlings are destructive little beasts,
but soon learn the fine art of making sure the Seelie get blamed.
Wilders have a notoriously crude sense of humor. Imag-

ine a class clown who'd seduce your best friend's S.O. while
planting a stink bomb in the school's ventilation system. When
his pranks are going really well, he'll even get a luminescent
gleam in his eyes. Be careful when a wilder pooka starts to
sharpen his claws.

Crumps age gracefully. Most of them settle down to jobs

in which fools can make an easy living. While their sense of
humor never fades, it does become more subtle. Greybeard

pooka tend to prefer elaborate pranks that can take weeks to

orchestrate properly.

Affinity: Nature

BiRthRights
Shapechanging Each pooka has an affinity with an
animal of her choice. When completely alone, she can
shapechange into that animal (or back from it) in one turn.

Shapechanging costs a point of Glamour, but reverting back is

free. The pooka has all of the animal's natural abilities (claws,
speed, leaping, etc.), although it's only possible to assume the
forms of mundane beasts. Even the large and scary forms tend to

Behold the wit and wisdom of Runcible Shaw

Chronicler of Peculiar Events,
On Boggans Never around when you need them,
and when they are, they're so stingy! Why the last one I
met only gave me three helpings of dessert, y : ; : >:
On Eshu Hang around these guys and you'll have
a fairly calm life. Couldn't think of a safer way to travel
cross-country.
On Nockers Nockers have such a wondrous joie
de vivre. Hearing them regale us with their great praise for
everything is a delight. Do tell us what they said about
boggan craftsmen again!
On RedcapsUm.. .here. Light the fuse on this and
give it to that redcap over there. He'll be ever so thankful.
I'll just wait behind this troll.
? ; ; : :
On Satyrs Their festive occasions definitely need
a few pooka around to liven them up. Spike the punch,
and watch the fun begin!
On Sidhe So regal. So elegant. It must be wonderful to be the center of so much intrigue and politics.
On Sluagh Outspoken and cheerful.
On Trolls If ever you get into more trouble than
you can handle, stand behind one of these.

be far more playful than deadly, even when a fight breaks out.
Changelings can't ken the animal form of a pooka in her
mortal seeming. They really don't need to see the animal form

pRailries

to figure it out, though: a pooka often shares a few of the animal's

Lies People may trust a pooka, but no one in their right
more endearing qualities. A cat pooka, for instance, might lick mind would believe one. They're infamous for their elaborate
her fingers after a meal, or purr when stroked. In her faerie m|ei|,. >4iAS,.No matter how important a issue may be, a pooka must
she might have little ears and a long swishing tail. ; 's
always mixe|n a lie. It's her nature. A pooka must make a
ConfidantThe innate charm of a pookaifeaks down the Willpower rol?:(difficulty 8) to tell the whole truth.
barriers of even the coldest people. Adding afljerie's curiosity t<3 '"'; Different pooka have different styles of lying. Some Seelie
that makes him an outstanding confidant, Once during a conver- pooka always say the opposite of what they mean, while many
sation, a pooka may roll Perception + Empathy (or Subterfuge) to .Unseelie purposefully tell the truth now and then to throw

get a changeling or mortal to spill her, guts; the difficulty is the

"victim's" Willpower. Each success allows a truthful answer to one
personal question. This isn't an instantaneous effect, though. It
takes time, effort and roleplaying to coax out the information!
:
This Birthright functions normally at all timest: even

listeners off-guard, Unseelie pooka sometimes couch their lies

very carefully if an Unseelie makes his Willpower roll at the
beginning of a scene, he can mix lies and truth freely. This can

make him even more dangerous....

Qiiote: Of course, it itgis then that I realized that I had to save
with mortals.
M
. 'j^
| ftheift afe It's amatmg whajfsuper glue will do to the scabbard of a
A pooka can never botch an EirifadSf%r|5ubtefiuge roll, broadsword.... ,J?<s';%i:.,,,*:

ChapreR ThRee: The Kirhain

95

Redcaps are the stuff of nightmares. These monstrous

Kithain are feared for their vulgar and disgusting ways, and they
revel in the terror of others. It is said that nightmares gave them

form, and many Kithain believe it. Hordes of redcaps delight in

taunting, insulting and just plain abusing mortals and fae alike.
Originally named for their bloodstained wool caps, redcaps
have always been devoted servants of the Unseelie Court. These
days, wool caps are considered quaint there are better
things to do with blood. In modern times, they take any
opportunity to paint the town red. ..with one substance
or another. The sight of a shocking red streak of hair

or a bloodstained shirt under a leather j acket is enough

to disturb the staunches! of fae.
Regardless of their other affiliations, redcaps often
consort with local mortal gangs dominated by their kind.
While the mortals may know this gang by another name,

the entourage is known to changelings as a corby. Come

nightfall the corby of redcaps ravages the countryside.
A corby is a traveling freak show, disturbing and
unnerving the staid and sedate mortals it encounters. Spreading mayhem and destruction are its

highest ideals.
Unlike trolls, redcaps don't intimidate people with brute strength. Attitude

is all they need. A bad attitude is the

essence of a redcap's being, and the brutal
visage of his fae mien reflects this. Violent
tempers and atrocious manners show diem
at their worst, though few of them can back up
their attitude with cleverness. Redcaps rebel against any figure of
authority that can't flatter them or crush in their skulls. They see
themselves as oppressed at every turn, which crudely
justifies their dirty fighting, harsh retribution toward the
mortal world, and violent lives as murderous thugs. If
there's a redeeming quality in the black hearts of these

bastards, few Seelie fae have noticed. Too bad for the Seelie.
Staunch Unseelie admire redcaps' determination. Traditional lays and songs tell of redcap heroes slaying dragons and other
beasts that have threatened the fae. Not surprisingly, redcap
troubadours have their own intense versions of these tales. Fierce
redcap bodyguards are prized by Kithain who can earn their
respect, although such masters are advised to keep healers on hand.

96

Changeling: The DReaming

The appetites of redcaps rival their ferocity. Renowned for

their eating prowess, redcaps often indulge in gorging contests
that would make a shark vomit. Sometimes this even involves

food. Some Kithain refer to them as "bulldogs" or "pit bulls," and

attest that a redcap's will is as strong as his bite. Those actually
bitten by redcaps shudder at the memory. In bygone days, these
fae bit off body parts of their victims as trophies and wore human
bones as testimonies to their ferocity. The victims of such

attacks seldom survive this practice.

Seelie redcaps are rare, but they do exist. They're endangered,
largely because Unseelie redcaps everywhere despise them and hunt
them down. A Seelie redcap's tiresome idealistic speeches about
chivalry often fills them with wrath. Heroic and steadfast, Seelie
redcaps live for the thrill of chivalrous battle and to fight against
impossible odds. This is the primary reason many of them are killed
by roving packs of Unseelie. The lucky ones are only maimed before

they descend into an Unseelie Legacy of bitterness and anger.

Each corby of redcaps has its own particular idiom, and in
the mortal world, each gang goes by a different name. Some
prefer anachronism, living as bandits along the roads and
byways. Most prefer a more modern life, roaming the streets in
packs. Regardless of their preferences, redcaps make sure to let

everyone know of the violence they have at their command.

Appearance: Redcaps tend toward stocky builds, with
grayish, mottled skin and thick, bandy legs. Even Seelie redcaps
havehorrid, bloodshot eyes, skeletal noses and rubbery, wrinkled

faces. Worst of all are their ghoulish mouths, filled with yellowed, crooked, flat teeth used for grinding and ripping.
Lifestyles: The more violent the neighborhood, the more
comfortable a corby of redcaps will be there. The thought of
living outside a city can be chilling to some. Running a gang is
a respectable job; joining a gang is some|fmes a matter of;
survival. Those who can find time away from their corbies might
work as boxers, muggers or streetwise artists.
;
Childling redcaps are bullies, and the ^tyranny' of the
playground is their law. Their hobbies are more sadistic than

deadly. The pain of others fills thenfwith g|te.

L
:
Wilders are worse. As gangsters, vaftdals and malcontents, they live to ruin the lives of qthers, even in the simplest
of ways. Body-piercing and tattooinljare competitive art forms
among them, and they prefer to adorrwhenffelves with needles,
chains, bolts and screws. A redcap's first piercing is a rite of
passage, regardless of whether or not itl|hvolves her consent.
Crumps earn the admiration of the Unseelie Court, and
they demand respect with violence, arrogance and threats.

Some gangbangers make the mistake of challenging ;these old

bastards, but few survive. Their prowess in battle ilsIMif;:aSf

Don't move. Danny Sandbags, a squire to Sir

Du Bois, is going to give you his opinion.
On Boggans If you ever need laundry done, go to
one of them. Too bad they're so easily shocked by
bloodstains.
: :
,
On Eshu You're a fool if you gamble with an eshu.
They've got some great stories from the battlefield, though.
On NockersWhat a pain in the ass these guys are!
Bitch, bitch, bitch. I'll give 'em something to cry about!
On Pooka Hmmm.... Oh, sorry. I was just thinking about those traps I set.

On Satyrs If you're looking for some strong brew

or a babe, these guys will hook you up.
On Sidhe Stay clear of the sidhe. They may look
weak, but they'll turn you into sushi with their blades.
And if they sic the freehold on you sucks to be you.
On Sluagh And they say I'm sick? Have you seen
where sluagh live?
'>;'; :! j : : f
On Trolls Tough in a fight. Dumb, but tough.
Your best bet is to try to outnumber them.
animal meat, but when hunger strikes, anything will do. We do
mean anything.
As long as a redcap can put his mouth around something, he

can eat it. Large objects can be chewed into smaller pieces.
Digesting something particularly vile or tough (such as wood, steel,
romance novels or toxic waste) requires the expenditure of a point

of Glamour. Keep all arms and hands away from redcaps at all times.
Any trite a redcap attempts to use this Birthright in
psmbat, he mustspend a point of Glamour, just as if he were
trying to eat something not normally edible. The base damage

for a redcap bite is Strength + 2 (difficulty 5). Additionally, the

redcap may try to sever an opponent's limb. Severing a limb
:With:this ability requires five successes on a Dexterity + Brawl
roll (difficulty 8), or three successes if the victim has been
grappled first. This attacksinflicts a minimum of three Health
Levels of damage if successful, in addition to any damage rolled.
Bully Browbeat: Rldcaps can intimidate anything, even
imaginary or chimerical obj ects. The difficulties of all Intimidation rolls are reduced by one. A successful roll causes chimera to
obey without question; sentient creatures can resist with Willpower {rolled at a difficulty equal to the redcap's Willpower).
This Birthright functions normally at all times, even in the
presence of mortals or unenchanted supernatural^.

touiuling and utterly ruthless.

Affinity: Nature

Bad Attitude: No one likes a redcap, not even other

redcaps. Some noble freeholds try to ostracize or kill redcaps just
on general principles. As part of this stigma, they suffer a +2

Dark Appetite: Redcaps can literally eat anything. They

can chew through cars and eat their way through walls. Their
bulldog teeth are brutally flat and hard as steel; their digestive
systems (thankfully) remain a mystery. Most prefer human or

difficulty (or greater) for any roll involving a social situation

other than browbeating.

Quote: You trying to start something with me? Bring it on,

punk! Heh, heh, hah! I'll paint the walls with your blood!

Chapres ThRee: The Kirhain

97

(SAYtos)
Wild and passionate, satyrs satisfy their lust and desires

pain. An Unseelie satyr pities his lover, then freely Ravages

with abandon. These fae insist that wisdom is found in

passion. If it's true, then satyrs are by far the wisest of the

her in service to his passion. Hither way, this can be dangerous.

When the Song of Pan is playing, chaos flows freely, and the

Kithain. While others may decry their earthy ways, they'll

come around sooner or later for advice, a bit of support or a

aftermath can be fatal. Answering the call of passion, satyrs

follow their own wisdom.

down-and-dirty good time.

Satyrs are well-known for their lack of restraint. A goat will

their hair long and rarely shave. Goats are shamelessly

cheerfully tell a redcap where he can ram his axe and then gallop

away laughing his head off. Their stamina is also legendary.

Appearance: Satyrs are lean and furry; both sexes wear

forward in their ways, and prize sensuality in all its forms.
They have furry legs, cloven hooves and small horns jutting

Whether partying, drinking or charging into battle, satyrs have from their foreheads. What few clothes they wear are usually
definite physical advantages over their kin. Though neP'W Iterafeie and easy to remove.
beautiful as the sidhe, they never lack for lovers. They claim it
Lifestyle; Music is a common passion for goats, and making

is because of their open minds and bold abilities, but many

a livingty it is an ideal lifestyle. Wineries, brew pubs, bars and

changelings think the Gift of Pan has more"'to do with it.

Life for a satyr is not all lust and roses, though. Most satyrs

:;nightclubs attract herds of satyrs. Pushing their stamina to the

limit, they work hard for all the pleasure they can get from life.

enjoy solitude and scholarship. Friegilship aifd intellectual:

exercise also sustains them. They make good confidants and
excellent philosophers; indeed, thei.imental contests can rival

ChildliHg satyrs are also known as "fauns." Learning the

essential skills in life ~ like singing, music, running and
wrestling ^ are among trfeir primary concerns. Their musical

their drinking ones. Poetry, debajp, phifipsophy, music -**,, performances are usually ixquisite. Childlings have four soft

tiny nubs8 for horns. " " !:Jj|

Wilders are the vyy essence of fae chaos: lecherous,

these quieter pursuits fascinate them;'nee the contemplation

grows too extreme, however, they'ijj eager to experience the
other side of life again. Living theirfj|'es to the fullest, they'll
embark on another infamous carnal'spree. More often than
not, they'll bring their intellectual coigpanioli?, along m an.
effort to broaden their horizons.
jij':%-,. '''- "'
Although very affable, satyrs can alsol|jf quite clannish.
Their kith bands, called tragos, are extended"fl||Rilies. Friends
and lovers, playmates and enemies may come and go, but tragos
endure. If a satyr dies or falls to Banality, her trago holds an epic

you'll be old. Each pair of nubs grows together to form two horns.
The size of a male's horns are a source of pride, as well as the
brunt of numerous jokes. Six inches is about average for a male's
display of virility; a female's horns are a bit smaller.
Grumps seek wisdom to escape from the sadness of their
lost, youth. Although they enjoy a good drink and a spirited
debate, they know their best years are behind them. When a

wake with endless songs and frenzied dancing. Separating a goat

greybeard's sorrow becomes too great, his trago takes him out for

from her trago is almost impossible. Only the foulest of crimes

could lead to exile.

one last epic fling. The grump dies at dawn the next day. The
horns of a greybeard satyr are impressively large, and they often

Truth is nothing to them without beauty, and they have a

soft spot for precious things. They are not materialistic, however; it is easier for them to collect people to play with until their

curve back along the top of the head like a ram's.

Affinity: Fae

*'%%<

@j[*

""'-':. V:'.-

rambunctious, and wild. Bat, drink and be merry, for tomorrow

amusement is satisfied. This can get rather difficult if the

playmate gets attached. As good as satyrs are with ideas, feelings

Gift of Pan Dionysian revelry is high ritual to these

are a mystery to the goats.

Satyrs' passions often run unchecked because they don't
know how to control them. A Seelie satyr may try to understand a jilted lover, but can never fathom the reason for her

fae. Singing, music and dance can be used to stir fae and mortals
alike to the height of carnal passion. Anyone who fails a
Willpower roll (difficulty 7 ) is swept away by hidden desires and
the activities of the evening.

98

Chanpelint/: The

After an hour or two, the Banality of the those in the

area slowly drops. Everyone involved, mortal or not, has his
permanent Banality lowered by one for as long as the satyrs
continue to perform. Tragos can combine their efforts to
lower Banality even further. Each satyr fueling the fire can
lower the revelers' temporary Banality by one more, to a
minimum of 2. These effects last only for as long as the satyrs
continue to entertain. Lost Banality returns at a rate of one
point per hour.
Physical Prowess All satyrs add one to their Stamina,
even if this increases it above 5. This bonus is in effect at all
times. When they call upon the Wyrd and take their faerie form,

or when not in the presence of mortals or the unenchanted, their

Have another drink while Gregorius Galli

speaks to you of the Kithain.
On Boggans They work hard, but comfort is their
highest goal. I suppose that's the life they want. I don't
think it's much of one.
On Eshu Yeah, their stories are great, but their
conversations are even better. Talk to one about his
travels, and you'll learn a hell of a lot.

On Nockers Their cynicism doesn't last forever,

and if they get behind a task, they'll work their asses off.
On Pooka Save for their annoying pranks, they
can be useful if you know how to work with them.
On Redcaps What a shame. They think they

know passion, but they only know anarchy.

On Sidhe I'll never understand them. One minute,
they're fragile and delicate; the next, they're the greatest
:
of heroes. How odd.
/ .: ; = :
:.. :
On Sluagh Their wisdom is dark and painful. Too
bad they're too entrenched in their sorrow to see the
truths of life:,.::' , : : :" :<". " :.'" f.;
On Trolls You want to see nobility? Witness the
devotion and honor of a troll.

goat legs can carry them at shocking speeds. Each turn, they can
move 25 yards + three times their Dexterity.
Regardless of form, satyrs can never botch Athletics rolls.

pRailcies
Passion's Curse Passion has its unpleasant moments
as well. Satyrs are prone to wild mood swings, especially when
they're drunk. With the slightest of provocation, they may
explode into a torrent of fury or a fit of weeping. Furthermore,
on the rare occasions when they try to resist temptation, the
difficulties for all Willpower rolls are increased by two.

Quote: Oh, yes, all wisdom is found in passion. By the way,

your eyes look lovely by firelight....

JSHEE)
As exiled nobility, the sidhe remember a time when
they ruled proudly in a living dream. Known and feared
da) as the Good Folk, their whims enchanted and terrified
mortals for millennia. Now that tale has ended. The
gates to Arcadia have closed, the song has ended, and their
new kingdom grows cold. For sidhe, the age of wonder has died,
and they mourn its passing.
This mourning, however, has not ended their lives. Though
they fear death like few faeries ever could, they are facing
their fate with regal bearing. While others consider
them cold and arrogant, the sidhe refuse to
lie down and die. For them,j the dream is

still alive, and they strive to awaken the

world from its slumber. The very presence of a sidhe inspires supernatural
\
I awe. The sight of a sidhe in her true
form captures the hearts of mortals
and the essence of the Dreaming.
Faerie passions run deep love or
vengeance is never forgotten. The ideI als of the sidhe are even fiercer, and cost
I them dearly. Such passion has its price,
/ though. Even Seelie heroes would rather
destroy themselves in a blaze of glory than
fade away. Their less energetic brethren lose
hope and become self-indulgent, letting their
freeholds fall into despair as easily as they fall
into melancholy. Others become Unseelie tyrants, ruling through cruelty and intrigue.
Though exotic in their beauty and lost in their
ideals, a few travel among commoners. No
matter what path they choose, sidhe are far
from human and always stand out among

those with whom they associate.

The blessing and curse of the sidhe is to live
deeper in the Dreaming world than most fae ever
will. This walking dream-state gives most sidhe a
glazed look and unfocused air. Bards' songs say that
the eldest sidhe live in the past, present and future all
at once. Sidhe are also notorious for switching between

100

Courts without warning. Considering their whims, it's no wonder few changelings trust them.
Banality is a deadly curse, and sidhe suffer more from it than
any other Kithain. Death is an even greater fear, for sidhe are not
believed to be reborn as other changelings are. In these dark

You may be seated while Erioch Evenstar has

an audience with you.
On Boggans It is quite helpful to have gentle and
honest commoners. Be careful of what you say around

times, most never return from death; and it is speculated that the

them, though.

few that do are reincarnated as commoners for them, a fate

worse than death. Faced with this dire fate, they resent the
Arcadian sidhe for exiling them from paradise. The most hopeless of the Earth-bound sidhe quest in vain for Arcadia or throw
themselves into orgies of Glamour-gathering to sustain themselves. The thought of simply fading away is too much for them,
and they will do anything to stay alive. Tormented by their

On Eshu They may boast and brag, but you

should never refuse their tales from afar.
On Nockers Their skills are useful, even if their
attitude is grating.
: .'' ; /
On Pooka Fates forefend! Why do they work so
hard to ridicule the noblest of the fae?

dreams, the beautiful sidhe are outsiders in a human world.

Appearance: The sidhe resemble humans of unearthly

beauty; their bodies are perfect, their features pleasing and their

On Redcaps Unpleasant, untrustworthy and

crude. They're little more than common thugs.
On Satyrs They're good for a brief dalliance, but
otherwise, they're not as deep as they make themselves
out to be.
On SluaghIt is certainly better to be the recipient
of their information than the subject of their curiosity.
On Trolls Honest, fierce and devoted these
are the qualities of a staunch man-at-arms.

hair richly colorful. They are ethereal and carry a hint of sadness
even when they laugh. Tall and lean, they are fierce and regal,
with tapering pointed ears, angular features and a commanding
gaze. Their eyes are of odd yet striking colors, such as violet or
silver. They rarely wear anything but the finest clothing.
Lifestyle: Just as the sidhe have positions of esteem in
the courts of the Kithain, they tend to hold valuable positions in the mortal world as well. Wealth and privilege are

Empathy or Intimidation rolls) are at a -2 difficulty. Anyone

common to them, and they are expected to live affluent lives.

Those who cannot often become resentful and fall into a very

who tries to attack an angry sidhe head-on must make a

Willpower roll; the difficulty ranges from a 6 (for the average

Unseelie state of mind.

sidhe) to an 8 or 9 (for one of suitably high station).

These abilities only affect other Kithain and the enchanted,

Childlings know of the blessings of their inheritance

from a very early age. The best of them act like perfect little

gentlemen and ladies, but the worst of them are spoiled rotten
and throw tantrums when things don't go their|lfity. Wilders know they have the oppojfenity to indulge
their every whim outside of court. Although high spirited and

presumptuous on occasion, they are Watched carefully once

court begins. Seelie wilders are overconfident that their chivalry and nobility will prevail; Unseelie wiltfers are'rebellious
and scheme for power.
.>;
> v
>
;>;

unless the sidhe calls upon the Wyrd.

Noble Bearing Whether heroes or villains, all sidhe

are dignified/Any cantrip that would directly make them look
foolish immediatiiy fails.

Sidhe cannot bqjph Etiquette rolls.

pRailries
t"- Banality's Curse Sidhe are truly not of this world. The

taint of Banality affects them more strongly than it does other

fae.
Each temporary poin| of Banality that a highborn gains
Crumps fully realize the weight of their lofty positions.
becomes
two points. If a sfdhe character must make a roll at a
Many carry the burden of memories at years gone by. They pine
difficulty
equal to her Banality (or a roll that's resisted by
for their glory days and grieve theljjistakeli|*hey have made.
,Banality),
treat it as one level higher.
Their greatest release from this w%r^:piflft)spfeotiori is the
intrigue of the court.
a
v
f" Sidhe are also prone to fits of depression. The weakest of
Affinity: The sidhe have not spenlenouglvtime on Earth them can overcome tjjjifese fits by changing their Legacies back
and forth. When this happens, the spell must last at least from
to aquire an Affinity.
i
mobnrise to moonrise or sunset to sunset. Strong-willed sidhe
! escape tjhis IRania by retreating further into their Legacies;
Awe and Beauty Sidhe get two extra dots or*^|p$r*.; .SediSiecome impossibly idealistic and Unseelie sink to the
ance during character creation, even if this increases scores

very depths of villainy. Their great extremes can make them

above 5. They cannot help but stand out in a crowd.

almost unendurable.
Quote: Who am I? I am the center of the storm, lama master

The fury of a sidhe scorned is a majestic and terrifying sight.

When one is impassioned, all of her Social rolls (especially

of the sword. Draw your blade, cur, or die where you stand.

ChapreR Thsee: The Kirhain

101

(SLOOah)
Called the underfolk by many, the sluagh are often pariah
even among other fae. Though rumors persist of undergound

catacombs and mazelike lairs, most sluagh prefer crumbling

Victorian mansions to dank sewers. Places dark and forgotten
attract them. Those who intrude into their inner sanctums often
leave with nightmares. Just as they value secrets and mysteries,
sluagh treasure their privacy, and do a great deal to foster
reputations that discourage visitors.

Loremasters say that these Kithain were once Russian

faeries who lived under mountains or mortal hearths. Now they
live out of sight in the cracks of the world, hidden untiFifiey

choose to venture out, sometimes to court, sometimes to mortal

almost painfully formal. They regard each other with deep

respect, and band together against outsiders if need be. Shrouded
in mystery, the sluagh hold the secrets of their kith closest of all

as they cultivate their image. In darkness they thrive.

Appearance: Sluagh are pale and grotesque, yet oddly
compelling. Some unfathomable deformity seems to cling to
them like leprosy. They lack teeth and have small, tired,
mysterious eyes. They carry a vague odor of decay, a smell that

grows more pungent with age. Sluagh favor archaic clothing,

usually black and always intricate.
Lifestyle: The most civilized sluagh frequent dusty mansions, antique shops or musty libraries. The most decrepit seek
out theunderworld, lurking in sewers, crawlspaces and forgotten

environs. Whether they live in parlors or crawlspaces, sluagh are

unsettlingly polite and have a great love of formality. Such is
even more unnerving to the other kithffooggan rumors hint at

places beneath metropoli. They are shy, yet territorial, demand-

secret sluagh rituals, sacrifice and wild carnage under the,earth.

The underfolk enjoy the effect they have on outsiders, and are
amused at the reputation they have acquired. Even redcaps fear

fae don't fully understand. Hermits and recluses by nature, they

don't like to be disturbed without good reason. They always
main tain private spots to which they can retreat, even if theyare

their clammy touch.

in motleys.

>

ing adherence to extensive rules of etiquette and protocol other

;|

Despite their preference for quiet, adventurous sluagh do

visit the surface courts, cultivate friendships and enter oathbonds

; Childlings are street urchins who take very poor care of

their appearance. Their clothes are torn, their hair is disheveled,

with outsiders. They will go out of their way to aid or protect an

and they arouse great sympathy for their suffering. They delight

outsider who has shown them respect and friendship. These

good deeds are frequently misinterpreted by other suspicious
changelings, so such relationships are often brief. Still, even
sluagh who find a clique they can trust neli| to have a secret
place to which they can retreat.
%

in all that disgusts hu man children, and hold a strong affinity for

hidden places.

,f

Wilders are the guardians of the uncovered spots of the

world. As they grow older, their skin grows paler and their hair

turns jet blacijIThey have dark hollow eyes and elongated limbs,
The underfolk collect information (secrets are bejtter,, .fingers and toes.
though), and barter their knowledge to interested parties. Rev-"
Grumps age at an alarming rate. Their skin hangs on

elation is joy; the more unsettling the revelation, the greater the

them like it is somehow too large for them, their hair is soon

joy. While Seelie use their knowledge for more noble ends,
Unseelie can make a crooked living through blackmail. Secrets

streaked with shocking gray, and their bodies become warped,

stooped and crooked. Oddly enough, they seem to enjoy this,
Sluagh prize decay in many forms, and this is but one more.

are but one commodity to them, though. Broken toys, strange

knickknacks and anything resonant with nostalgia makes for an

excellent item of trade. Outsiders are mystified by the value

sluagh place on these items, but then again, perversity is the
sluagh's trademark.

Though it is said that all sluagh follow Unseelie ways, they

rarely throw in behind either Court, keeping instead to themselves. Among their own kind, these kith are generous and

102

Channeling: The

Affinity: Prop

5iRrhRighrs
Squirm Dislocating body parts is a popular amusement
for these desiccated creatures. Confining them is almost impossible. Although they cannot change their shape or mass, underfolk
can contort into disquieting shapes with unnatural ease. This

requires a few minutes of entertainment and a roll of Dexterity +

Athletics; the difficulty ranges from a 6 (escaping from ropes) to a
10 (worming through the bars of a locked cell). The only substance

that can completely imprison them is, of course, cold iron.

A sluagh cannot use this Birthright in the presence of
mortals or the unenchanted.
Sharpened Senses The unusual upbringing of these
fae heightens their senses. Subtract two from any Perception roll
a sluagh makes (to a minimum of 3). They may see through
illusory magic by making a roll of Perception + Alertness

(difficulty 7).
This Birthright always functions normally.
It is impossible for sluagh to botch Stealth or Alertness rolls.

Listen closely and you may learn a thing or two

from Elspeth Danvers, Collector of Antiquities.
On Boggans How ambitious! To creep and listen
and gossip!
On Eshu Their stories are their secrets, warm
living things, not the cold knowledge we drag from the
grave. Listen well when they speak.
On Nockers How singularly insecure they are,
eternally seeking praise. The best one might hope for is
to learn some new profanity.
On Pooka Good for a laugh, even if they do live
in a world of lies.

;. ; . < ; :; : :

On Redcaps These pit bulls know only madness, not fear. I know things that would leave them
shaking.
On Satyrs They believe knowledge is hidden
only in joy and lust. They do not know the wisdom of
silence and sadness.
On Sidhe They are not without their shame,
the mightiest of all. If you knew what I know of them....
On Trolls So stoic and brave., .what hides in your
heart? What pain do you bear?
: :

Curse of Silence Sluagh cannot speak above a

whisper, no matter how hard they strain to be heard. Since they
dislike social situations and hold to very odd rules of etiquette,
add two to the difficulty of all of their Social rolls.
While a sluagh may not appear to
whisper to mortal ears, the individual in question is usually quite
soft-spoken.
Quote: Why did you come

here to my attic and disturb my

rest? Are you here to find
something from long ago?
Be careful you don't

open something you

can't close....

(TROLS)
Duty, strength and honor are the hallmarks of a troll.
Warriors without peer, they hold to the old ways of plain
speaking and simple truths. Honor is a way of living to them, and
once they have pledged their support to someone, they dedicate
themselves fully. Many trolls expect the same honesty from all
fae, and are often disappointed as a result. In fact, many fae think
of the trolls as being naive for this very reason, especially when
it comes to trust. A troll's devotion is not easily dismissed,
however; they're also seen as patient, reliable and chivalrous.
Trolls consider dedication to be the measure of their worth.
If a trolls breaks his word or betrays a trust, he weakens until he

him as much. If he fully acknowledges a betrayal or rejects his

beliefs, his faerie mien changes, and his visage becomes hairy

a troll's lair starts to degrade, others begin to worry about his

Titan's Power Wilders gain an additional Bruised

Health Level and an additional dot of Strength during character
creation, even if this raises this Trait above 5. Grumps get two
extra dots in Strength and two additional Bruised Levels (for a

and coarse-featured. At this point, he is recognized as an

Unseelie troll. The worst of Unseelie trolls are typically referred

to as "ogres." Once Unseelie, a troll will begin to associate with
disreputable fae, and the triumph of maligned villains over
celebrated heroes will fill him with self-worth.
For this reason, Seelie Kithain speak highly of trolls, and
acknowledge their worth among the Kithain. They're too valuable
to lose to the Unseelie Court. Trolls are more than the guardians
of the people and places they protect; as staunch defenders, they
has atoned for his offending deed. In additions-trolls cannot use are also seen as guardians of the values of honor and chivalry.
their great strength without just cause. Taking such an unfair
Appearance: Trolls are large, ranging from seven to nine feet
advantage over an adversary would be unchivalrous, after all.
tall, with thick bones and weightlifters' muscles. Seelie giants carry
Legends tell that the trolls were actually the first noble kith;, an air of nobility; though many favor a Nordic look, they tend to
when the sidhe appeared, a great war began. The trolls lost, and have slaty blue skin and thick black hair. All trolls, however, have
as a result, swore loyalty to the sidlj^. Sinc|:;then, serving as icy blue or pale green eyes. Trolls have large powerful jaws, wolflike
guardians has been their destiny. JJJ
j|
*^y/' . - teeth and small ridged horns on their foreheads.
I
This kith has an impressive reputation largely because of their
Lifestyle: In mortal life, trolls choose honest professions
Seelie brethren. Seelie trolls are oftertosferredjsto as "giants," and where they can put their sk|lls to use. Athletics and police work
their mortal seemings are usually ruggnly pro"|d and handsome. are two such callings. Their tastes are spartan, and they greatly
Bravery and stoicism define their character. Always seeking civil - prefer work to relaxation;.
ity, they typically use formal titles whe|j|; addressing others and
Childlings groyjjj^up fast. They learn that the ways of
dedicate their souls to those they respect; In romance, they are; children are weak, and they take on honorable duty at an early age.
ardent suitors who go for all the courtly trimmings. In loyalty, it is Childhood is something best left behind. Stoicism is embraced.
I
nearly impossible to sway a Seelie troll's beliefs once they are
Wilders test their strength and abilities to the limit.
established. They prefer spartan quarters and simple li^||gj recog- Great misers ity inspires them to great tasks. They are incredibly
nition of service is reward enough to them.
^*lmt > : modest about their accomplishments, however, and are always
Yet there are limits to what a troll will endure. The mockery struggling to out-do themselves.
of a pooka or a nocker will hardly rouse a troll, but if a troll's
Grumps are slower than their younger brethren, but possess
patience is broken, she will fly into a monstrous rage, destroying superhuman strength. After a career of service, they choose one
everything and everyone until she calms or is taken down. Even person or place to protect until the death. No force on Earth can
the most foolish pooka watches closely for the darkening of a move a greybeard troll who has made up his mind about something.
troll's visage. These fae can also be stubborn. Changing a troll's
Affinity: Fae
mind can be as difficult as moving a mountain.
A kingdom is safe as long as its trolls can be trusted. When
well-being. A troll's eyes begin to darken as he starts to question
trust and honor. This is the beginning of a troll's descent into his

Unseelie Legacy. Most trolls try to bear this temptation with

epic stoicismonce the descent has begun, others will not trust

104

Changeling: The DReaming

Lay down your arms and lend an ear to Eric

Grimmson, aguardof the Freehold of the Setting Sun.

On Boggans Commoners take care of the essential

tasks of a freehold. Without them, where would we be?
On Eshu Perhaps they're a bit dishonest, but they
always find adventure. How I envy that!
On Nockers Ingeniously clever, I'll admit, but
you're better off ignoring their complaints.

On Pooka Thieves. Liars. Fools. Never let one

stand behind you.
On Redcaps So much sound and fury! One solid
blow and they go down bleeding.
.
On Satyrs They pretend to be wise to justify a life
of debauchery.

On Sidhe They may be

pompous, but they do uphold chivalry. If a sidhe is strong, you must

support him. If he falls, then you

must replace him.
On Sluagh If their ini^^^^^^f* formation is so trustworthy,
V \ \ ^^^^^^HHp, why do they all have to whis, i * F^^^^^^HPI per and hide?
. ..
total of nine Health Levels). However, greybeards also add +1
to the difficulty of all Dexterity-based rolls.

This extra strength does not function in the presence

of mortals or the unenchanted unless the troll has called
upon the Wyrd.
Stubbornness Nothing can interfere with a troll's
devotion to duty. When in the service of a cause, trolls get
an extra two dice to any Willpower roll to resist temptation
or distraction.

This Birhtright is always in effect.

No troll can botch an Athletics or Alertness roll.

pRailcies
Bond of Duty Any troll who dares to renege on a
sworn contract or oath becomes sickly and loses her Titan's
Power. Only by atoning for her lapse of trust can she regain
her Titan's Power. Usually this involves fulfilling a new oath.

Seelie trolls never lie to fae they are protecting; Unseelie trolls
uphold their bond of duty, but usually prefer to support more
disreputable fae. This trust must extend both ways; if a troll's
trust is betrayed, he will be filled with anger, and must roll

Willpower (difficulty 8) to avoid becoming violent. Their

stoicism belies great rage, perhaps one that has been with them

since the Earth was young....

Quote: As long as my lard requires the service of my blade,

I will stand by his side.

lapreR ThRee: The Kichain

105

Houses
Politics and intrigue are meat and drink to the sidhe.
Divorcing a highborn from his political affiliation is nighimpossible. When a house suffers, all sidhe within that house
suffer. In fact, most sidhe in the world today have been exiled

from Arcadia because of their house affiliations.

This affiliation can define a sidhe's personality, his
politics and his approach to rulership. Although commoners
can swear allegiance to a house or even receive titles in one,
their bonds are never as strong as that of the sidhe. Fealty to
a house is a measure of honor and pride. Even the circumstances under which a Seelie sidhe becomes Unseelie can be
influenced by this alliance. During character creation, commoners can have membership in a house, but only with the
permission of the Storyteller.

Each house bestows a certain benefit (called a Boon) to the

Kithain who support it. However, for each Boon bestowed,

there is also a Flaw, a disadvantage that the members of the
houses must endure. Many houses have conditions that they
require of their members; upholding these is second nature to
the highborns.

There are also countless stories explaining why the houses

returned to Earth during the Resurgence. Unseelie believe that
the sidhe fled Arcadia because it was dying. Extremists even

believe that by questing throughout the mortal world, changelings may find a way to restore the balance between the two
worlds and reopen the gates of Arcadia. Seelie and Unseelie
debate how this balance should be restored.

Some sidhe have memories of being sentenced to exile,

but always have distorted memories of who or what exiled

House Dougal
The members of House Dougal are perfectionists known

them. Perhaps it was the High Lords of Arcadia or the High

King...or perhaps it was for another reason. The answers are

for their technical acumen. Lord Dougal, the founder of the

house, was a great faerie smith who devised a way to weave

hidden in dreams, yet the ruler of each house has an explanation that he or she firmly believes. Whether these explanations are true is highly debatable. The rationales for the exile

Glamour into steel, making it safe for faeries to use. Some

say that Lord Dougal himself stayed behind on Earth during

of the houses are detailed below.

and machines.
Members of this house are very precise, both in word

the Interregnum because of his fascination with metalwork

and deed. When a plan is made, they insist that it be

The Nine High LoRds

N ine lords watch over the Earth-bound houses of the
sidhe. Five are of the Seelie Court, three are of the

Unseelie Court, and one is a madman who claims to

speak for the Shadow Court, Though it is rare for all nine
to gather together, collectively they speak for their respective families. Each holds a great measure of influence
within the Parliament of Dreams, the august legal body of

carried out to the letter. Efficiency is considered the highest of virtues. Very few of them rule, preferring instead to
make sure everything runs like clockwork. Because of their
orderly disposition, they often work as clerks and barristers, although they perform their tasks with an intellectual
flair. The rare member of House Dougal who does rule
usually governs his fief in a very matter-of-fact, practical
manner, but tends to deal with problems better in theory

Kithain society. Each has developed an entourage to

travel across the terrestrial sphere to gather information

than in practice.

about house politics. In defiance of the Arcadian sidhe

who exiled them, they refer to themselves as the High
Lords of the Fallen World.

other fae. Few can live up to their expectations, which tends

106

Changeling: The DReaming

This ideal of perfection puts them at odds with many

to make these sidhe even more elitist. They take their

amusements far too seriously. Higher mathematics, mechanics, architecture and smithwork are common vocations

tor them. They're no strangers to hard work, and they firmly

believe that "if you want something done right, you've got
to get House Dougal to do it."
When reality fails to live up to their ideals, sidhe of
House Dougal tend to display one of two solutions. Their
first reaction is to roll up their sleeves and redouble their
efforts. In fact, they can display an amazing display of
willfulness when they're desperate to make an ideal work.
Should this fail, they fall into their Unseelie Legacies until
they find something that stirs their idealism again.
Their penchant for precision also presents a curious
weakness. When witnessing a well-maintained machine or
a masterpiece of engineering, they can become enraptured.
Some attain a state of reverie and can contemplate such
things for hours. Through hard work, perhaps, reality can be
fixed to imitate the ideal.
The blazon of House Dougal is or, an arm embowed
maintaining a hammer sable on a chief gules three cogwheels or. (Three gold gears on a red field above a black arm
and hammer on a gold field.)
Boon: Members of House Dougal are strong-willed and
known for their ability to invest Glamour into everything
they do. Once per story, a member of this house can convert
a portion of her temporary Glamour points into temporary
Willpower points (up to the level of her permanent Willpower). This must be done during some sort of physical
exertion: working, exercising or participating in combat.
Flaw: Physical reality seems flawed to these fae, just
as they are flawed. Only through hard work can they
overcome these flaws. Sidhe of this house always have a
physical handicap that must be compensated for. This is
usually something that can be corrected by cunningly
Grafted smithwork: a mechanical leg for a club foot, an
intricate eyepiece for poor vision, and so on. These
handicaps are present, though not always as visible, in
their mortal seemings.
Exile: During the Resurgence, the sidhe of House Dougal
were exiled to Earth because of their fascination with technology. The current ruler of the house tells a story of
building a massive siege engine, just prior to the resurgence,
to defend the gates of Arcadia from mortal invaders. The
threat was highly exaggerated, and the havoc wrought by
the infernal device disgraced them. Sidhe troubadours tell
and retell legends of the mechanical monster created by
High Lord Donovan. Each tale ends differently, as no one
can fully remember it.
High Lord Donovan currently resides in a freehold built
around a factory in the western lands of the Kingdom of
Apples. While the factory itself is an empty husk in the
mortal world, within the Dreaming, it is a fortress of chimerical inventions. A dozen nockers apprentice within the
Freehold of the Forge each year.

House Giluned
This house has always been tainted by the scandals of its
founder, Lady Eiluned. As the creator of the so-called "House
of Secrets," she conspired with many dark and mysterious
beings and powers to gather magical knowledge. Although
many now work as counselors or advisors for the Seelie Court,
some whisper that Eiluned will eventually become an Unseelie
house. Regardless, sidhe of this house seem to enjoy the best of
both Courts.
Eiluned sidhe are valued for their extensive occult knowledge, their uncanny ability to gather secrets and their preternatural talent for intrigue. Fiefs ruled by House Eiluned are
filled with mystery. There are accusations that House Eiluned
voluntarily accepted exile on Earth as punishment for a
horrible and forgotten crime. Members of the house counter
that their Seelie affiliations prove they are innocent. This

doesn't prevent Eiluned sidhe from falling into their Unseelie

Legacies, however.
Eiluned sidhe know darkness as well as they know light.
When an Eiluned sidhe needs to work with treacherous or
unscrupulous characters to gather secrets, she is capable of
deliberately becoming Unseelie until she gets what she wants
(see pg. 108). This state must last either from moonrise to
moonrise or sunset to sunset (that is, at least a full day). If the
changeling doesn't get the secret she lusts after, she cannot
become Seelie again until she learns the truth.

ChapreR ThRee: The Kirhain

107

House Eiluned's blazon is per chevron, sable and argent,

two decresents and a pentacle counterchanged. (Two silver
crescent moons on black above a black pentacle on silver.)

Boon: All members of this house have an impressive

talent for magic. All cantrips cast by Kithain of House Eiluned
automatically gain an additional success.
Flaw: Members of this house have an overwhelming
curiosity and are attracted to mysteries and conspiracy. An
Eiluned must spend a point of Willpower to avoid meddling in
a mystery or becoming involved in a plot. Some even have a
treacherous streak, briefly becoming Unseelie to form a dark
alliance and then turning Seelie to prove their innocence. The
Kithain distrust many of them; the difficulties of all their Social
rolls are increased by one.

Exile: There are three stories concerning the reasons of

House Eiluned's exile to Earth. The first relates to the curse of
an ancient artifact rescued from the soul forges of Western

Arcadia. The second concerns a pact with an ancient order of

warlocks. The third says that a promise has been made between
the ruler of the house and a pretender, an alleged Unseelie High
King in exile.
It is said that High Lord Ariadne dreams in a chariot that

exists only within the Dreaming. She is rumored to emerge only

when the moon is full. The physical substance of this conveyance changes each month, and tales are told of the fell beasts of
burden that draw it. Each month, she retires for a full week to a

place of secrecy, where she gathers the knowledge assembled by

her entourage.

House Fiona
Sidhe are creatures of extremes, and the nobles of House
Fiona are no exception. Lady Fiona and the sidhe of her house
stayed on Earth during the Interregnum so that they could
continue to explore its pleasures. Some even say that the house's
founder rejected the call of Arcadia because of the love of a
mortal man. This would not be surprising in the least; Fiona
thoroughly immerse themselves in Earthly pleasures.
Fiona sidhe are overly fond of food, drink, drugs and sex,
and are often called away from higher pursuits by appeals to their
baser needs. Anything that gives them a rush is fine with them.

rarely pull rank on commoner Kithain. For this reason, its

members are beloved by commoners, and fiefs ruled by House
Fiona are happy ones, if a bit on the wild side.
The blazon of House Fiona is gules, a lion passant reguardant
argent. (A silver lion walking on a red field, looking back over
its shoulder.)
Boon: Defiant to the last, Fiona sidhe are renowned for
their great courage. Though they understand fear, it does not
control them, even in the face of death. Any attempt, natural or
magical, to generate fear in them automatically fails. Only

threats to a lover's life can frighten a Fiona, and they often

When the chance to indulge presents itself, they descend into

succeed very well.

their Unseelie Legacies until their lusts are slaked.

These reckless nobles continually flirt with disaster. They
love to taunt the status quo, even going so far to aid their
enemies to bring about a little discord. Still, when called upon
to fight, this passion takes a different focus; Fiona fae are fierce
warriors who live for the fury of battle. Many are addicted to the

Flaw: Sidhe of this house have an overpowering attraction

to danger. Even if the object of their pleasure is somewhat safe,
they can find a way to make it dangerous. This is especially true
of their romantic trysts, which are usually epic and almost always
tragic. Creatures of pure ethereal beauty, they tend to fall in love
with outlaws, strangers, wanderers, mortals and other "unacceptable" types. Often such loves become true and complete

tumult of the battlefield. The thought of dying in battle, and

tempting fate by fighting recklessly, fuels this passion even

more.
House Fiona claims to have hundreds of traditions and

passions that cannot be denied. Some of them overcome this

customs that are strictly obeyed, even though no two members

ring to anyone they know.

Exile: The love story of Lady Fiona and her mortal lover has

of the house can seem to agree on what they are. Thus, each
member lives by her own rules and her own code of honor.
Theirs is also the most accommodating of all houses. Fiona

108

Channeling: The DReaming

Flaw, but only by becoming hateful toward all romance. The

most tortured become obsessed with preventing it from occur-

been told, retold and changed a thousand times. Like many

Arcadian tales, no two versions are the same, as no one can fully

remember the details. In every version, Lady Fiona dies tragically, and the fae of her house descend from Arcadia to attend
her wake. Each year on the same day, a sidhe troubadour speaks
to her in dreams.

Another legend tells that the current High Lord of House

Fiona was exiled from Arcadia by a jealous rival. Placing the

honor of his house at stake, he challenged this rival to a duel. In

losing, he sentenced the 13 members of his entourage to Earth.
Nonetheless, many Fiona sidhe insist that they left Arcadia to
show their fealty to Lord Rathsmere and their contempt for the
High Lords of Arcadia.
Lord Rathsmere is renowned for his prowess as a swords-

as a paladin serving Charlemagne and a major-general serving

Napoleon. Rivals swear that he must have aided Machiavelli as
well.
Members of House Gwydion are conservative, duty-bound
Kithain who place the well-being of their kingdoms above their
own. Unfortunately, they let everyone else know this. Their rule
is often marked by extreme arrogance, and they categorically
state that only members of their house are fit to rule. From there,
each member of House Gwydion proceeds to state that she is
more fit to rule than her brethren. The internecine feuds that
result can only be halted by one thing: a threat from outside the
house. The members then band together to prove the superior-

man, and his base of operations is the Freehold of the Questing

ity of House Gwydion. When the threat ends, it's back to

Blade in southern France. There, he is training an elite entourage of sidhe for what he believes will be the battle to retake

business as usual.
Their anger, like their rivalry, is legendary. When confronted with something that offends their honor, they have
been known to go berserk. Furthermore, when a fae of House
Gwydion is presented with a rival that he cannot overcome, he
becomes Unseelie until he can find some way (any way, no
matter how base) in which he can triumph. Once triumphant,
he returns to his typical Seelie arrogance.
The blazon of House Gwydion is vert, a falcon maintaining
an oak leaf or. (A gold falcon, facing left with a gold leaf in its

Arcadia. As part of this training, he tells numerous tales about

forgotten creatures banished by Arcadia during the Resurgence.

When presented with a sidhe who possesses exemplary skill at

arms, he dreams a quest for the warrior concerning one of these

legendary creatures.

House Qcuydion
House Gwydion is perhaps the most "noble" of all the
houses. While other houses retreated to Arcadia long ago, the

beak, wings raised, legs splayed, against a green field.)

Gwydion sidhe chose to face the Sundering head-on. Gwydion

Boon: With a successful Perception + Kenning roll, mem-

sidhe believe that their lord and founder has been reborn again

bers of House Gwydion can sense if someone is telling the truth;

and again as a noble sidhe. He is said to have been resurrected

the difficulty is the subject's Willpower. For some reason (perhaps by an ancient pact), members of House Eiluned are
immune to this.

Flaw: Although they are great warriors, sidhe of this house

are prone to great rages. Whenever they reach the Wounded
Health Level (from either chimerical or physical damage), or
when their honor is insulted, they must make a Willpower roll
(difficulty 5). Those who fail fly into a berserk rage and attack
anyone near them, ally or enemy. While berserk, they ignore all
Health Level penalties until they reach Incapacitated.
Exile: Kithain of House Gwydion insist that they returned

to Earth by their own choosing. Enemies attest that a highranking Seelie in Arcadia exiled them to Earth as punishment
for their arrogance. In the mundane world, they reasoned,
Gwydion sidhe would be forced to live up to their bold claims.

High Lord Ardanon claims to be descended from the

founders of the mythical land of Ardenmore, despite the evidence repeatedly presented by loremasters that such a land
never existed. Within a castle in northern Germany, he dreams
each night of a faerie's quest in Arcadia. Whether these stories
are true is highly dubious, though he has carefully documented
every one. When the Bedlam evoked by these stories becomes

too strong, he moves like a force of nature to descend upon a

random freehold to demand hospitality and question them on
recent politics. Then he returns to the Freehold of the One True
Dream to continue his tales.

ChapreR ThRee: The Kichain

109

right to exist undisturbed. They fiercely despise Ravaging and

Banality; their peaceful demeanors can turn wrathful when they

encounter such.
Kithain of House Liam do not advertise their allegiance.
Other houses revile them, although Gwydion sidhe will not
allow Liam sidhe to be mistreated. Exiles or not, they're still
sidhe. Despite their secrecy, House Liam is the most widespread
house, and its members travel all over the world. Liam sidhe

serve as sages, loremasters and storytellers who remember the

earliest fae societies.
House Liam can rarely rule openly, but they accept just
about any changeling under their banner. Despite this, even the
most common changeling would never accept a title in the
house. They do quietly hold claim to some territories, but many
of these are barren and despoiled urban fiefs.
Liam's blazon was struck and discredited when the house
was exiled. The symbol has since been erased from all faerie
records, although certain members of Liam still possess shields
displaying the heraldry of the house: an oak tree blasted and
eradicated, argent. (A silver oak tree with bare branches and
exposed roots on a blue field.)
Boon: Liam sidhe find it easy to affect mortals with Glam-

our. The difficulty to affect any mortal (whether casting a

cantrip or enchanting) is always lowered by one.

Ban: Because of their mortal affiliations, Liam sidhe begin
with one extra point of permanent Banality. Furthermore, these

sidhe are known as oath-breakers. No other changeling will

honor their oathbonds, hospitality or justice. Liam fae are

House Liam
The quietest (and some say the wisest) of all the house
founders, Lord Liam was exiled to Earth for his eloquent defense
of mortal folk. Centuries ago, the earliest Kithain held a great
contempt for humans. Many saw them as the cause of rapidly
spreading Banality, and some argued that revenge against them
would remove this curse from the world. For many years, Liam

frequently the target of discrimination.

Exile: There was no need to pronounce exile upon House

Liam. The silent followers of this fallen house took up the quest
to return to Earth when the opportunity presented itself. Once
the gates of Arcadia opened, they fled to where they could hide
from persecution.

The current ruler of this house, High Lord Noman, is a

stood alone against those who argued for retribution against

beggar who wanders throughout the world. Each night, he

dreams of another member of his house in danger, and he quests

humans. The outrage against Lord Liam was so great that all who
supported him were condemned by the High Lords of Arcadia,
and his followers were exiled to Earth.
Members of House Liam don't see humans as perfect far

in secrecy to render aid. It is said that he carries a treasure that

allows him to display a different face every week. Behind the
mask is a visage that he will only reveal to the Nine High Lords
and the Parliament of Dreams.

from it. They do, however, believe that humanity has earned the

110

Changeling: The DReaming

House Ailil

House Giluned

House Leanhaun

House 5a1oR

House Fiona

House Liam

House Dougal

House Qaiydion

House Scarhach

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In Changeling, you play the role of a fictional character

that you create. Before you even begin the game, you must

Qerring SraRred

design your character from scratch, including her history, personality, appearance, lifestyle, profession and goals. The more
detail you put into your character, the more fun you will have

following points:

playing her. This chapter guides you through that process and
offers suggestions on how you can flesh out your character and
make her believable and whole.

On CReoring a ChaRacreR
Characters are the pivotal point for the story that
will develop through the course of your chronicle. Their

interaction is the fulcrum over which the events in the

story balance. Before you begin to play, you must tackle
the most important aspect of the game: character creation. Without the characters, there is no story. This
phase sets the foundation for your part in the game. The
more time and thought you invest in your character, the
more depth he will have and thus, the more fun you will
have playing him.
Take your time. Be creative. Think of the diverse
and wonderful array of people that you have met in
your life and their quirks, aspirations and speech patterns. Changeling is not about who can create the

most powerful character the fastest. It is about developing a story of fantastic proportions with all the little
intricacies and surprises of real life. It is about creating

Before you begin to build your character, think about the

Your character will be a changeling, a faerie who has
been forced to assume a mortal body and cope with mortal
society. Most beginning characters have little knowledge of
changeling society and may have only recently experienced
their Chrysalis. All new players are advised to read Chapter
One: The Dreaming, Chapter Two: Setting and Chapter
Three: The Kithain in this book before beginning character
generation.

You can create a character of any age, race, sex

and culture.
All characters are unique. There are exceptions to every
rule. As long as you can justify a departure from the norm
within your character history, your Storyteller may consider

allowing it. Your Storyteller will serve as your guide through

character generation, and has the final word in approving all
aspects of your character.
Changeling is a game, and as such, it has rules. These rules
help to standardize the course of events within the game and to
describe your character. You will assign numerical values to
most of your character's Traits. These will be used during the
game to keep your character's successes and failures consistent
with her strengths and weaknesses. The exact method for this is

detailed later in this chapter.

your own myth, your own legend. Your story starts

with your character.

ChapreR FOUR: ChaRacreR CRearion

115

The Role oF rhe SroRyrelleR

It is the Storyteller's responsibility to guide the players through the character generation process and to educate them on the nature of the World of Darkness and
changelings. The more prepared the players are to begin
building their characters, the easier the process will be.
The Storyteller should take the time to answer their
questions and to address their concerns. Without players

and good characters, there is no story to tell.

If there are players new to Changeling, the World
of Darkness or roleplaying in general, consider making
the first "game session" just a time to explain a little
about what this is all about. The Storyteller should
describe the world in which the troupe's characters live
and give examples of some of the types of events their
characters might experience. When they are ready to
begin character creation, the players will need copies
of the character and personal history sheets. They
should take a moment to look over these sheets and ask
questions. Then, the Storyteller can guide them through
the character creation process step-by-step. This may
take an hour or an evening. However long it takes, it is
well worth attention and time.
Once the players have completed their characters,
they will need an explanation of the rules system. It will
help to use their characters as examples and to run them
through several sample challenges. A short, sample scenario will illustrate the rules of the game to them, much
in the way playing a practice or open hand when learning
a new card game gives everyone a better feel for it. During
this practice scenario, the players can become comfortable with describing their characters' actions and rolling
their Dice Pools to determine success or failure. Although
the rules are neither complicated nor difficult, players will
benefit from a practice scene in which they can actually
work through the mechanics; :
>
When everyone feels comfortable with the rules and
the general nature of roleplaying, you can begin running
preludes for the characters. Preludes are the players'
introduction to the game as well as their characters'
introduction to the chronicle. They are described in more
detail later in this chapter.

Srep One:
ChdRacreR Concepr
(JJheRe ro Begin

Examples:
A young street tough who likes to get into fights, has no
respect for mortals and uses his Glamour to take advantage of
them whenever he can.
A noble who feels that the Escheat must be upheld,
whatever the cost, and any who transgress must be punished to
the full extent of changeling law.
An older intellect who has lived a full life and is ready to
settle down into scholarly pursuits, but situations keep forcing
her out of her shell and into scraps and trouble.
A medical student who isn't thrilled with the discovery
she's a changeling, and wishes she could just go back to being a
regular person.
A high school student who wants nothing more than to
be grown up and treated like an adult, but who always seems to
say and do the wrong things.
A criminal who has recently experienced his Chrysalis
and feels that this only makes him more powerful and less bound
to obey the law.
A young professional who has recently experienced a
tragedy in her life that made her re-evaluate her priorities, adjust-

ing them more toward helping others and experiencing life rather
than on advancing her career or her position in the Seelie Court.

Kirh
Now you must decide what type of changeling you would like
your character to be. Most player characters will be from the nine
Western kith. Your character's kith will be closely linked to her

personality. Each kith has its own distinctive outlooks and idiosyncrasies. Look over the options offered in Chapter Three, and
choose one that you feel you would most enjoy playing.

CouRr
Choose whether your character is Seelie or Unseelie. This
choice expresses, in broad terms, her world view. The Seelie
Court is born of the stuff of dreams, while the Unseelie Court

spawns from the darkness of nightmares. For a more in-depth

explanation of the two Courts, see page 71

Legacy
Every changeling has both a Seelie and an Unseelie Legacy.
They describe the two fundamental facets of her personality,
Only one is dominant, however, with the other lying dormant
or j ust beneath the surface. This is determined by your character's
Court. For example, if your character's Court is Seelie, then her
Seelie Legacy is the dominant one. Further information and
types of Legacies can be found on page 129

Seeming
Your character's seeming reflects her mortal age, as well as
inflicting certain personality and physical characteristics upon

Start by formulating a basic concept for your character, a

her. There are three different seemings, each encompassing a

general idea of what she is like. Think less in terms of fine detail
(that comes later) and more in broad brushstrokes, something
that you can build a story on.

certain age bracket: childling (mortal birth through approximately age 12), wilder (13-25) andgrump (26 and older). More
information on seemings can be found on page 85

116

Changeling: The DReaming

House
Sidhe nobility have divided themselves into different houses
or affiliations. Each of the five noble houses has distinct philosophies and bestows a certain reputation upon its members,
whether those members deserve it or not. To belong to a house
is to espouse its beliefs and dictums. Your character's personality

will suggest which house she belongs to and, in turn, her

affiliation with that house bestows Boons and Flaws on her.
Only sidhe are traditionally considered true nobility and
able to belong to houses. With the end of the Accordance War,
however, many commoners joined houses or were awarded
membership in them. Not all sidhe choose to join a house,
preferring to remain unaffiliated. While this can hinder their
chances for advancement in the court hierarchy, these sidhe
frequently no longer care about the trappings of court politics.
If your character has no affiliation with any of the

houses, write "unaffiliated" on your character sheet in the

appropriate blank.
A complete listing and explanation of each of the five
houses can be found in Chapter Three.

Step Icuo:
In this stage of character creation, you assign the numerical
values that represent your character's Attributes and Abilities.

You are given a specific number of points to purchase levels of

efficacy in each of the various types of Traits. How you divide
these points between them determines where your character's
strengths and weaknesses lie.

AttRi&ures
A character's Attributes define her inherent characteristics.
These are the Physical, Sociai and Mental capacities with which
she was born. The most basic of all the Traits, they deserve more
thought than any others.
Physical: These Traits describes how strong, nimble and
sturdy your character is. They define the strengths and weaknesses of the body; action-oriented characters usually have
these as their concentration.

Social: Your character's Social Attributes measure her

appearance and her ability to relate to others. They are the
primary concentration of politically oriented characters.

Mental: Mental Attributes represent your character's

thought capacity, including such things as memory, perception,
learning potential and the ability to think quickly. Characters
who are smart or intellectual concentrate on these.

Before you start to spend points on Attributes, you must first

prioritize the three Attribute categories: Physical, Social and
Mental. Think about whether your character is accomplished in
problem-solving or prefers to let her fists do the talking. Is she a
social creature or a brainy wallflower? She will be good in the
primary category, average in the secondary category and poor in
the tertiary category. The priority you establish determines how

many points you have to spend in each category.

ChapreR FOUR: ChaRacteR CRearion

117

Spending Poinrs
Once you have prioritized the Attribute categories, you are
ready to begin spending points. When you do, you will be
purchasing "dots" in the Traits listed under each category. One

point buys one dot in a Trait.

ArcRi&ure Poinrs

'"-

describe Talents, Skills and Knowledges for which she has an

aptitude or training.
Talents: These Abilities are intuitive and internal. Most
of them cannot be practiced, studied, or learned from a book,
although there are exceptions. More often than not, they are
gained through direct experience.
Skills: This category includes any Ability that must be
learned through practice and hands-on application. It takes
more practice and trial-and-error to learn more.
| Knowledges: These represent Abilities that require the

Primary: You may distribute 7 points among the

Traits listed under your character's primary Attribute.
:;
Secondary: You may distribute 5 points among the
rigorous application of the mind. Generally, a character has
Traits listed under your character's secondary Attribute.
learned them through school, books and mentors. On the rare
Tertiary: You may distribute 3 points among the
occasion, they can be self-taught.
Traits listed under your character's tertiary Attribute.
: .
'
,' . . 7^1
As with Attributes, you must prioritize between the three
categories
of Abilities (Talents, Skills and Knowledges). ConAll characters start with one free dot in each Attribute.
sider
what
type of expertise your character would be most
Divide your points within an individual Attribute category
proficient
in
(primary), in which she will be average (secondbased on your character concept. Later you may change your
ary)
and
in
which
she will be below average (tertiary).
mind about these ratings, or have to change them due to other
aspects of your character. Worry about that when it comes due

for now, just focus on setting your character's ratings according to your concept.

A&iliries
Abilities, define what your character knows and can do
rather than how strong, personable or smart she is. They

118

Changeling: The DReaming

Spending Poinrs
Once you have assigned a priority level to each of the
categories of Abilities, you are ready to begin spending points.
When you do, you are purchasing dots in the Traits listed under

each Ability category. One point buys one dot in a Trait. Unlike
Attributes, you may not, at this time, give your character more
than three dots in any one Ability Trait. Later, you will be given

the opportunity to raise them, but for the sake of balance, you
must abide by a ceiling of three dots in each Ability Trait.

/\6i1iry Poinrs
Primary: You may distribute 13 points among the
Traits listed under your character's primary Ability category.
Secondary: You may distribute 9 points among the
Traits listed under your character's secondary Ability category.
Tertiary: You may distribute 5 points among the

Traits listed under your character's tertiary Ability category.

You may divide your points within an individual Ability
category however you see fit as long as you put no more than
three dots in any one Ability. Later you may change your mind

about these ratings as your initial ideas become more fleshed out.

Srep ThRee: Advonroges

Your character's Advantages encompass her Backgrounds,
those things from her environment that she draws on for
information and aid, and her Arts and Realms, the components of her faerie magic. You do not prioritize the different

categories of Advantages as you do Attributes and Abilities.

Instead, you have a designated number of points to assign
within each category.

Srep FOUR: TonpeRS

Three types of Traits make up the Tempers: Willpower,
Glamour and Banality. They are segregated from other Traits
because they fit into the rules system somewhat differently than
the other traits. If you have not already done so, write down the
ratings for these Traits from your character's seeming. These

values are mostly static, and there is no point-spending involved. (See page 87 for the Temper ratings of each seeming.)

(JJillpouieR
Willpower rates how much self-control and free will your
character has. Willpower is essential for controlling one's temper, resisting temptation and persevering despite opposition.

Your character's permanent Willpower rating cannot exceed 10

dots. (See "Willpower" on page 150.)

QaTTIOUR
Your character's Glamour rating measures the magical
force she can evoke through her Arts and Realms. Her permanent Glamour rating can never exceed 10 dots. (See "Glamour" on page 151.)

Banaliry
Banality indicates how infused and tainted your character
has become by reality and the disbelief of humanity. The older

Backgrounds
Each character gets five points to allocate among the
various Backgrounds. You spend points to buy dots within these
Traits. One point buys one dot.
Your Backgrounds, like everything else, should fit with the
concept that you have chosen for your character. They can be
used to round her out and should be explained in detail in her
history. Some of the Backgrounds will require some development, such as Treasures and Companions. Because your Background ratings may change before you have fully completed your

character creation, don't worry about defining them in detail

right now. Come back to them later.
The Storyteller may wish to restrict certain Backgrounds,
depending on the nature of the chronicle. Conversely, the
Storyteller may require that you take certain ones in order for

a changeling's seeming, the higher her Banality rating. (See

"Banality" on page 152.)

Srep Five:

and pRailries
Depending on your character's kith, she will have certain
Birthrights and Frailties that may affect some of her Trait values.
Take a moment to look again the Birthrights and Frailties for
your kith in Chapter Three; you might need to make some

changes to your Trait values. For example, satyrs add an extra

dot to their Stamina Trait because they are so physically sturdy,
while sidhe get to add two dots to their Appearance rating to
reflect their unearthly beauty.

your character to fit in with the chronicle. Backgrounds are

detailed fully later in this chapter.

Srep Syc: pRee6ie Poinrs

ARCS and Realms

Now the real fun begins! You have 15 freebie points that
you can spend to raise any Trait on your character sheet, with
the exception of Banality. Freebie points, however, do not have
the same value as the points you were spending earlier. As the

Arts are special secrets and powers that allow changelings

to cast cantrips, or faerie magic. You have three points to spend
in Arts. Before choosing your character's Arts, it is recommended that you read Chapter Five: Arts and Realms. The

Arts themselves are described there in detail, as are the rules for
casting faerie magic.
Realms describe the subjects a changeling may affect when

casting her cantrips. You have five points to allocate among the
Realms. Before choosing your character's Realms, it is recommended that you read Chapter Five: Arts and Realms.

chart shows, different types of Traits now cost more.

You may boost your Attribute ratings, raise Abilities over

three dots, or pick up new Traits with the expenditure of
freebie points. You may not, however, increase any Trait to

more than five dots or add to the Banality Trait. Tempers

cannot be raised above 10.

ChapreR FOUR: ChcmacreR CRearion

119

Poinrs
Attributes
Glamour
Realms

Willpower
Abilities

Backgrounds

Cost
5 points per dot
5 points per dot
3 points per dot
3 points per dot

2 points per dot

2 points per dot
1 point per dot

Srep Seven:
GDeRirs and Flaais
Merits and Flaws represent aspects of your character's
personality and history. They are supplemental Traits used to
add spice to your character. Although their use is optional and
at the discretion of the Storyteller, they can be a useful tool for
creating an interesting character. When you take a Flaw for your
character, you earn more freebie points that you can spend on
any Trait. Merits, rather than earning you freebie points, cost
freebie points. Merits and Flaws may only be added during the
freebie point phase of character generation. See page 153 for
the complete listing of Merits and Flaws.

Srep Cighr: Specialties

All of your character's Traits should now be set. At this
point, you can go back and look at any Attribute or Ability
Traits in which you have four or more dots. If you like, you can
choose specialties for your character in these Traits. This is
optional, although recommended to further refine your character. Some Abilities, such as Science, Performance or Crafts, may
require that you specialize at a certain level. A listing of
potential specialties is included with the description of each

individual Trait later in this chapter.

Srep Nine:
CDusing/Ravaging ThReshold
Most changelings have a preferred method of gathering
Glamour, called a Threshold (Ravaging for Unseelie and
Musing for Seelie). Does your character like to find Glamour by watching children play, or does she prefer to rip it
from someone being frightened by a horror movie? More
information on Thresholds can be found in Chapter
Seven: Glamour Systems.

Srep Ten: SpaRH of Life

It's been said the devil's in the details. Details are what
make your character a complete and unique individual. The
following areas are crucial to determining what your character

120

Changeling: The DReaming

is like as a person. You do not necessarily need to write these

down, but spaces are provided for them on the personal history
sheet, and it is recommended that you do so. If nothing else,
think about them not only now but throughout the career

and life of your character.

Appecmance
Your character's physical appearance makes her Traits
visible to other characters. You may be asked to give a general
description of her to aid other players in imagining the story.

Attempt to turn the concept and relevant Traits of your character into aspects of her appearance. Certainly, there will be
obvious differences between a childling and a grump, but it is up
to you to describe those differences.
Choose your words carefully when writing your character's
description. High Dexterity can be described as a slender, agile
frame or long-fingered hands. It is much more evocative to say,
"Shara moves with catlike grace," than to say, "Shara is very
dexterous." Include references to clothing, hair color, eye color,
body size and any scarring or tattoos. The more detailed the
description, the easier it will be for other players to imagine your

character as you intend her to look.

A changeling has both a faerie appearance and a mortal
appearance. These will differ greatly in many cases, and it is

QuiRrSS
By giving your character quirks and idiosyncrasies, you can
add a great deal of depth and interest to her. Write a few
sentences describing the unique and possibly odd things that
define your character. A quirk could be a twisted sense of humor,
a gentleness toward animals, or a habit of grunting when
answering yes to a question. It could include mannerisms such

as constantly twirling a curl around her finger, or walking

around with an unlit cigarette hanging out of her mouth.

CDorivarions and Cjoals

What drives your character? What makes her laugh, makes
her cry, makes her angry, makes her nervous, makes her afraid?
What gives her hope? In what does she believe? Does she have

an obsession or a higher purpose? Jot a few notes about your

character's goals and motivations. Thinking about these will
help you get under her skin as you start to roleplay her.

CDoRral Idenriry
A changeling character is born mortal and lives a mortal
life until the day she experiences her Chrysalis and becomes
aware of her faerie nature. Throughout their lives, changelings must cope with the mortal world and survive within it.

important to know what your character looks like to both

A very important aspect of your character is her identity in

normal society.

mortals and to other changelings. The changeling appearance

tends to be more colorful and remarkable, whereas the mortal
appearance may be dulled and seem haggard in comparison.

Some changelings completely remove themselves from

mortal society, spending most of their time in freeholds. This is

Example mortal seeming: Maribeth appears to be in her

early 20s, of average height and slender build with long, agile
fingers and hands used to holding her beloved violin or her
favorite poetry books. Her high cheekbones, deep-set eyes and
thin lips give her a slightly mystical appearance that some find
appealing. Her poker-straight brown hair is forever escaping
whatever headband or hairclasp she uses, and a few wistful
strands drift around her face. Her cloud-gray eyes are clear and

miss little around her. Soft-spoken and shy around people, loud

noises startle her, and she dislikes being the center of undue
attention, preferring to watch from the background. Nervous
smiles flit across her pale face, and most people think she would

be a great deal prettier if she smiled more. Her clothes are

frequently plain and always seem a little too large for her.
Example fae mien: As a sluagh wilder, Maribeth (also

known as Melinda) grows even more thin and pale, almost

ghostlike. Her high cheekbones and deep-set eyes now give her
a slightly starved look. I ler gray eyes take on a slight glitter,
especially when a good idea comes to her. Her soft-spoken voice
sinks into a whisper that some sluagh find difficult to hear. Her

brown hair darkens and lengthens to her waist; she frequently

puts it in a braid, and any loose strands look more alluring than
wistful. Her fingers look like the frame of a fan, and scramble
over her violin like pale spiders. Her shy manner is reminiscent
of a retiring Victorian lady, and she often wears long, darkcolored Morticia Addams'-style dresses and veils.

very dangerous, as the balance between their fae and mortal

natures must be maintained or they risk slipping into Bedlam.
Changelings must carefully balance their mundane and fae
lives; even the sidhe must have some time out of the freehold.
What is your character's mortal life like? Where does he
work or go to school? Where does he live? Does he have mortal
friends or business associates ? Does he have mortal family ? What

was his mortal childhood like? What were his parents like? Was
he abused? Did he have brothers or sisters? Was he adopted or
raised in an orphanage? How does your character feel about
mortals? Did he turn his back on his mortal family and friends

after his Chrysalis?

Changeling Idenriry
Much of this has already been determined by your choice of

Traits, especially Backgrounds and Abilities. However, there

are other aspects of changeling life you should think about. From
the moment a changeling experiences her Chrysalis, her life
changes irrevocably. One thing in particular that you must
choose for your character is her faerie name. All changelings
have a True Name or a soul name that is different from the name

given them by their mortal parents. Later in life, a changeling

may decide to use a nickname based on his True Name, but few
ever give out their True Names to anyone other than their most

trusted allies because of the power they hold over them.

Were one or both of your character's parents changelings or
kinain? How old was she when she experienced her Chrysalis?

ChapccR FOUR: ChaRacceR CReacion

121

lat was her reaction to her new changeling self excitement? horror? fear? How active or interested is she in changeling
politics and court? How does she feel about the Escheat and
whether or not it should be upheld? Does she have any preju-

dices against other kith, and if so, why? What does she do to
strengthen the Dreaming? Does she have an outstanding geas
that has carried over from a past life or her time in Arcadia?

What is it, and what is the story behind it?

Cquipmenu
If there are any mundane possessions that you want your
character to have (such as a Walkman, pocket knife, apartment
or vehicle), you should work out the details with your Storyteller
before play. Otherwise, you will have to acquire the equipment
during the course of the game. This can take time and is not
automatically successful.
Almost any mundane item that fits your concept can be
obtained with Storyteller approval, provided that your character has sufficient dots in the Resources Background. Special
chimerical items and treasures can only be gained by possessing
a particular Background.

ChdRoereR CRcarion ChoRr

ChoRacreR CRcation PROCCSS
Step One: Character Concept
Choose concept, court, Legacy, house
(if applicable), seeming and kith
Step Two: Select Attributes
Prioritise the three categories: Physical, Social,

Mental (7/5/3)
Choose Physical Traits: Strength, Dexterity,
Stamina

Choose Social Traits: Charisma, Manipulation,

Appearance

Choose Mental Traits: Perception, Intelligence,

Step Three: Select Attributes
Prioritise the three categories: Talents, Skills,
Knowledges :
Choose Talents, Skills, Knowledges (13/9/5)
Step Four: Select Advantages
Choose Backgrounds (5), Arts (3), Realms (5)
Step Five: Finishing Touches
Record beginning Glamour, Willpower and
Banality as determined by your seeming.
Record kith Birthrights and Frailties

Spend freebie points (15)

Choose Merits and Flaws

122

Changeling: The DReaming

Questions and AnsaieRS

The following questions should give you some-

thing to think about when fine-tuning your character.

Browse through them and see if they inspire anything
that you can add to your character's history to make
her a more rounded persona.

What is your character's passion? What is her

favorite thing to do in her free time?
What does your character really hate? What
will she never, ever do?
What was the most shameful thing she ever did?
The one thing she regrets?

What is her greatest hope?

What is her greatest fear?
Where does she stand with regard to her sexuality, the sexuality of others and social issues related to
sexuality?
How does she feel about killing people ? Has she
ever killed anyone? Would she?

Legacies
See also Legacies, pp. 129-135.

Scelie Legacies
Bumpkin: Common sense and practical wisdom are best.
Courtier: The social whirl is both a battlefield and a workshop.
Crafter: You craft joy yourself, with your own two hands.
Dandy: You crave to be the center of attention.
Hermit: Reclusive and forlorn, you avoid the company of
others.
Orchid: Better safe than sorry; to be pure is to be unsullied.
Paladin: Struggle and competition are your meat and drink.
Panderer: You seek to please.
Regent: The weight of responsibility rests upon your shoulders.
Sage: If knowledge is power, then knowledge shared is even

better.
- , : . : . ; ' : .
.
. .;; ., .,'. . :
Saint: You feel the pain of the world and yearn tefix it Squire: You are there to serve.
Troubadour: Life is an art form, love is its practice.
Wayfarer: You wander free and confident, for the world is
your playground.

(Jnseelie Legacies
Beast: You must be obeyed.

Fatalist: Nothing ever makes you happy.

Fool: Always the clown, you refuse to take anything seriously.
Grotesque: You delight in disgusting others.

Knave: You like to push others to their limits.

Outlaw: You take what others work for.
Pandora: Your curiosity will be your undoing.

 Fiona: Adventurous and unpredictable, House Fiona is

'eacock: You are the most wonderful creature in the world.
known
for its passion.
lake: Your greed can never be satisfied.
Gwydion: Noble and conservative, yet given to
Riddler: The truth is best obscured.
Ringleader: You are leader, and others would do well to agree. terrible tempers, House Gwydion is known for its wise and
fair rulers.
Rogue: You foment chaos for your own amusement.
Liam: Brooding and dark, House Liam is known for its
Savage: Civilization and laws are crutches for the weak.
advocacy and guardianship of humanity and its deeply held
Wretch: You are worthless, beneath contempt.
moral and ethical ideals.

Seemings
See also Seeming, pp. 85-87.
Childling: Though you are little more than a child in
mind and body, no one can deny the wisdom behind your
eyes.

Temper Scores Glamour: 5, Willpower: 1, Banality: 1

Wilder: You are a teenager in attitude and appearance.
Radical and experimental, you chase after the stuff of new
dreams.
Temper Scores Glamour: 4, Willpower: 2, Banality: 3
Grump: You are a full-grown adult, seen by most
changelings as "over the hill." Despite this, you are respected.
Temper Scores Glamour: 3, Willpower: 5, Banality: 5
:;;
:
!
; :

Kirh

' i . :r. ..: - ^/^;:^. ' '

See also Kith, pp. 87-105.

Boggan: Quiet, conservative folk who like to involve

See also Backgrounds, pp. 146-150.

Chimera: Chimerical objects you own or chimericdl
creatures with which you are allied.

Contacts: Information sources available to the character.

Dreamers: Mortal artists whom you patronize.
Holdings: Faerie freeholds you claim as your own.
Mentor: Another changeling who advises and supports you.
Remembrance: Your connection to the Dreaming and
the unconscious knowledge of the fae.
Resources: Mortal wealth, belongings and monthly
income.

. : " '.

"' ' ;:: :: ; ": . : : : : ; : .:;

Retinue: Enchanted humans and retainers with whom

you associate.
Title: Your rank within the nobility.
Treasures: Glamour-imbued items that you possess.

themselves in others' affairs.

Eshu: Wanderers, vagabonds and storytellers, they,,

See also Arts, pp. 171-188.

spend much of their time on the road, spreading the stories of|
Chicanery: Allows the casting of cantrips associated
the fae.
with
trickery and befuddlement.
Nocker: These dark and brooding creatures are widely^
Legerdemain: Allows the casting of cantrips involving
known for their smithing and craftsmanship.
l|
pranks
and illusion.
Pooka: Tricksters and rapscallions to the last, these

Primal:
Allows the casting of cantrips involving healshapeshifters never pass up an opportunity to play a prank. :
ing
and
resilience.
Redcap: Brave but brutal bullies infamous for their \
Soothsay: Allows the casting of cantrips associated
rapacity.. .and for the peculiar nature of their sustenance.
Satyr: Though driven by their passions, these change- with luck and prophecy.
Sovereign: Allows the casting of cantrips associated
lings possess an inner wisdom.
with
command and rulership.
Sidhe: Beautiful and terrible, sidhe are the noble ruling|
:
:

Wayfare: Allows the casting of cantrips involving

kith of the fae. .:, .. : > t :,:;: ; ;., ? j - / ;' .. : . '!
movement
and travel.
Sluagh: The whisperers in the night, these arcane
changelings concern themselves with learning dark secrets,
Realms
Troll: Huge and terribly strong, trolls are known nearly
See also Realms, pp. 188-189.
as much for their honor and steadfastness as for their strength.
Actor: Describes your affinity with people.
1 louses
Fae: Describes your affinity with fae and changelings.
Nature: Describes your affinity with things of the
See also House, pp. 106-110.
natural
world: animals, plants, air, water, fire, earth.
Dougal: Practical and straightforward, House Dougal
Prop: Describes your affinity with manmade things,
is known for its skill with machinery and knowledge of
metalwork.
from necklaces to matches to computers.
Eiluned: Mysterious and wise, House Eiluned is known
Scene: Describes your affinity with a particular location
tor its knowledge of the stars and understanding of Glamour. or setting. '
. ; . ; : :>' ', : ,' .. . . .
Time: Describes your affinity with the realm of time.

ChapreR FOUR: ChaRacreR CRearion

123

oF
ChaRacrcR CRearion
Angle is creating her first Changeling character. She takes
a moment to ask lan the Storyteller about any general requirements for her character, learning that the new chronicle will be

taking place in southwestern Virginia, in the heart of the Blue

Ridge Mountains. lan requests that Angle create a character

who would fit into a more rural setting. Angie gathers her tools
the Changeling 2nd edition book, blank sheets of paper, a
pencil and copies of the character sheet and personal history
sheet and sets to work.

Next, Angie divides her five points among Emma's Social

Traits (Charisma, Manipulation, Appearance). Without much
difficulty, she decides that Charisma is by far the most important

Trait for Emma to have and puts three points in it. She divides
the remaining two between Manipulation and Appearance,
buying only one dot in each.
Looking at the Mental Traits and her three points to spend,
Angie considers just buying one dot in each of the three Traits.
After more thought, however, she changes her mind and decides
that Emma would likely have stronger Perception than she
would Intelligence. Angie decides to spend two points in
Perception and puts the remaining point in Wits. Emma may
not be all that smart (Intelligence), but she is aware of what's
going on around her (Perception) and able to react with relative

Concepr

speed to problems (Wits).

Angie first thinks about a general concept for her character.

She decides that she wants her character to be female, a

responsible yet fun-loving young adult who is rather athletic in
nature and coaches children's sports for a living. She sees her
character as one of life's cruise directors, determined that
everyone enjoy themselves and ensuring that everyone plays by

the rules to create an atmosphere that fosters fun. Angie likes

"Emma" for her character's name.
She decides Emma's kith is satyr, because of the kith's

A&iliries
With Emma's Attributes established, Angie is ready to
prioritize the Abilities. She considers the three categories (Talents, Skills and Knowledges), and knows without a doubt that
Knowledges will be tertiary. She gives some thought to the other
two, looking at the lists of Traits that go with each, and decides
that it makes sense for Emma to have Talents as her primary

Ability category. Emma tends to react to things instinctively,

rather physical nature and also because satyrs embody the funloving side of her character. Next, she considers the two Courts

without much thought, and relies on her innate aptitudes more

and chooses Seelie, because she wants her satyr to have a

Talents, Skills, then Knowledges.

relatively positive and sensible outlook.

Angie concentrates on spending her 13 points among the

Talents. She immediately picks Athletics out as the most
important for Emma, and spends three points on it, bringing it
up to the maximum value allowed during character generation.
Next, she singles out Alertness and buys two dots in it, claiming
Emma's experience coaching and competing in team sports as
her justification. For the same reason, she spends two points in
Dodge. Angie now has six points left to spend. She puts two in

For her Seelie Legacy, Angie has some trouble. She reads
and rereads the options, debating between Saint and Sage. In
the end, however, she chooses Bumpkin because of its intrinsic
practicality and down-to-earth common sense. She feels this
will serve her character well in her mortal profession as a coach

and in her overall goal to be the "hostess with the mostest." She
picks Savage as her Unseelie Legacy, thinking that a character
with such a penchant for fun could easily turn uncontrollable if

she were to lose her pragmatism.

Emma's career makes her seeming an easier choice. Angie

makes Emma a wilder, a young adult who has survived the
insecurities and perils of puberty to emerge with a strong sense
of self. She decides against affiliating Emma with a noble house;
Emma is just a commoner, and would not likely have had the
opportunity to distinguish herself enough to be a part of one.

ArrRi&ures
Now Angie can now begin to spend her points and assign
Emma her Attributes. Angie wants Emma to be more of a
physical character than anything else, an athlete and a coach.

She names the Physical Traits as her number one priority for
Emma. She decides that Social Traits would also be important
to Emma and places those second, with Mental coming last.
Angie looks at the three Physical Traits (Strength, Dexterity

and Stamina), and tries to decide which of them is most important

for Emma to do well in. She has seven points to spend, and decides
to put three in Dexterity and two each in Strength and Stamina.

124

Changeling: The DReaming

than any training or education. Angle's priorities arid up as

Empathy, since Emma deals with people on such a personal

level, and two of them in Kenning to allow Emma to sense the

faerie things and people around her. For the last two, she spends
one in Persuasion, for convincing the teams she coaches to win
and behave, and one in Intimidation, for when those times
Persuasion doesn't work.

Moving along to Skills, Angie decides to spend three of her

nine total points in Etiquette, something Emma undoubtedly
learned as she was planning and hosting banquets and dances for
her friends. She puts two points in Drive so that Emma can drive
the team bus to games and safely take the kids to and from the
field. Angie looks over the others, and decides to buy two points
in Stealth. She laughs to herself as she imagines Emma sneaking
up on a pair of young teammates smoking behind the bleachers.

Her last two points she spends in Leadership, knowing that itfits

Emma's personality to be a leader of sorts.

Angie has five points to spend in Knowledge Traits. She
chooses to buy three dots in Enigmas; while Emma may not
be all that smart, she does have a knack for coming up with
team strategies and working crossword puzzles. She puts one i

point in Law, due to Emma's responsibilities as a coach and

as a member of changeling society. The last point she spends

of two freebie points, and to raise her Glamour by one dot at

a cost of three freebie points. That done, all of Angie's

in Medicine, knowing that with a team of unruly kids,

original freebie points are spent.

someone is bound to get hurt.

CDcRirs and Flatus

Advanrages
Angie reads all the available Backgrounds carefully to

determine where to spend her five points. First, she decides

to put one point into Resources; although Emma is not rich,
she does have an income. Next, she peruses Treasures and
ventures to put two points into it, creating a water bottle
that automatically heals one level of damage whenever a
mortal or a changeling drinks from it. She also decides that
she would like for Emma to have a Companion, so she puts
her last two points in that. She thinks about what she would
like, and comes up with a large, colorful bird that talks and

retrieves golf balls for Emma. Angie jots down the bird's
name George and a few notes regarding his personality. Later, before play begins, she wants to write a more indepth description of him.
Angie thoroughly reads all the Arts and Realms descriptions before she begins to allocate points to them. Once
done, she begins with Emma's Arts, immediately putting two

points in Primal due to her athleticism and Primal's connection with the body and other things physical. The next
choice comes less easily, but in the end, Angie decides to give
Emma one point in Wayfare, another Art that somehow

seems related to physical movement.

For Realms, Angie concentrates two points in Actor based
on the amount of time Emma spends around mortals and two
points in Nature, again to reflect Emma's connection and
affinity for all things physical and natural. The last point she
puts into Fae. As the self-appointed cruise director for her
oathcircle, Emma would undoubtedly have learned some influence within the Realm of Fae.

TempcRS
Because Angie did not remember to mark her Willpower,
Glamour and Banality ratings on Emma's character sheet, she

quickly looks up the section on seemings. She takes her point

values from those listed under "wilder." She gets two dots in
Willpower, four dots in Glamour and three dots in Banality.

stating that Emma now has a driving urge to prove that she
is just as civilized as anyone else, perhaps moreso.

Through the acquisition of these three Flaws, Angie has

earned three extra freebie points to spend on Emma. She
decides to purchase Acute Senses (1 point Merit), justifying
acute hearing with the time she spent in the wilderness.
Finally, she spends the last two freebie points to give Emma

one dot in the Survival Skill.

Specialties
Emma has four dots in both Dexterity and Charisma, and
lan the Storyteller suggests that Angie choose specialties for

these. For Dexterity, Angie picks Catlike Reflexes, feeling

that it makes sense with Emma's good Perception and satyr
kith. For Charisma, Angie chooses Diplomatic, knowing that
Emma works hard to live up to social norms and not make
anyone angry with her.

CDusing ThReshold
Since Emma is of the Seelie Court, she has a Musing
Threshold. After looking over the choices, Angie chooses Foster
Trust as a reflection of Emma's nurturing nature.

5iRrhRighrs and pRailries

Angie now looks over the pages on satyrs again, rereading
the sections on Birthrights and Frailties in particular. She

discovers that Emma gains an extra dot in Stamina because of

her kith. Angie also notes her other Birthrights and Frailties on

her character sheet for easy reference.

pRee&ie Poinrs
Angie takes her 15 freebie points and tries to
where Emma's Traits are lacking. She spends five
points to buy another dot for Emma's Appearance and
a dot in Intelligence. This leaves her with five to

One Flaw in particular stands out as Angie peruses the

list. She decides to give Emma the Dark Secret Flaw (1
point). She has an idea as she reads over it, and determines
that when Emma experienced her Chrysalis, she awakened
as Unseelie. Still a childling at the time, Emma ran away
from home to live in the forest, little more than an animal,
entrenched in her Savage Legacy. As the story unfolds in her
mind, Angie decides to go back and change the Treasure
Background she originally chose to a Mentor Background,
leaving it at two dots. She slowly weaves a history for Emma
in which a Seelie Mentor, another satyr, found Emma on the
verge of death, starving and barely able to survive in her new
environment. Through careful and gentle coaxing, Emma's
mentor managed to tame her wild nature, bringing her over
in time to her current Seelie Legacy. Angie then takes Mild
Phobia (1 point Flaw), claiming that Emma is terrified of a
return to her Unseelie side, and Compulsion (1 point Flaw),

decide
of the
five for
spend.

Angie chooses to raise Emma's Willpower by one dot at a cost

SpaRrs of Life
Angie now begins to fill in the gaps about Emma, touching
up here and cleaning up there. She takes a moment to imagine
Emma in her mind and then to write down what she looks like

in both her satyr and her mortal forms:

Mortal:
Emma's heather-blue eyes gaze out from a heart-shapedface that

seems more wholesome than attractive. Her short brown curls appear
to have been blowing in the wind, uncombed and unruly. Emma
stands up straight, an air of pride shewing in her carriage. When she
moves, her long limbs swing freely with the grace and ease of an

ChapteR FOUR: ChaRacteR CRearion

125

athlete. Her health shows in the pink of her cheeks and the easy smiL1
that spreads across her face at regular intervals.
Fae:
Emma has high Amazonian cheekbones and piercing blue eyes
that seem able to peer into the darkest night and see with utmost
clarity. A mixture of browns, reds and golds, her short curls wave
around the bases of her rippled horns, which rise from her forehead to
curve back into sharp points. Emma never stands still for long, her
movements controlled and purposefully graceful, hinting at an energy
tying just below the surface, ready to erupt from her at any moment.
Well-toned and sturdy, Emma's satyr legs are covered from her hips
down to her mahogany hooves with miniature curls of the same colors
as those on her head. Emma's laugh is deep and hearty, though
somewhat restrained, coming straight from her gut.

Once Angie has written Emma's descriptions, including

her usual choice of attire and any weapons or items she might K'
carrying, Angie can establish quirks for her. Angie thinks tor ;i

moment and decides that Emma tends to be rather soft-spoken

and reserved. This conflicts somewhat with her satyr kith, but
that seems to be quickly developing as Emma's main lifeconflict. Her fight against the savagery that lurks inside her
causes her to suppress her more natural satyr instincts, express-

ing them only when she can be completely in control of the

situation and her emotions. Emma's going to experience a
personal crisis every time her passions start to exert themselves.
Angie feels that this will make Emma interesting to play.

Angie further decides that Emma's only two goals in life are
to make others happy and to fend off the savage beast that is a
part of her nature. Her motivations nearly always include an

attempt to avoid anything that might ignite her more powerful

emotions and to keep her satyr mood swings under control.
Other than that, her desire to prove to everyone that she is
civilized and cultured is key to her personality.
Next, Angie spends some time detetmining what Emma's
life was like before she experienced her Chrysalis and ran away
from home to live in the woods. She gives Emma a youngersister
and two loving parents who were crushed when their eldest

daughter suddenly disappeared. She also works on Emma's

current mortal life, the name of her team and the community
where she coaches.
This part moves faster as Angie discovers that the pieces are

beginning to fall into place. She works on Emma's changeling

history, writing a short description of Emma's mentor and about
her feelings during and shortly after her Chrysalis. She also
chooses a faerie name for Emma, Emhalynna, and decides that
Emma abandoned her mortal name when she was rescued by her
mentor. She writes down "Donna Francis" as Emma's mortal
name, in case it should ever be needed during the game.

She makes a list of appropriate equipment that Emma

would have. Then, taking a deep breath, she looks Emma over
one last time. With a smile, she turns Emma over to lan for his

approval and prepares to roleplay Emma's prelude.

126

Channeling: The DReaming

Name: Emma
Court: Seelie
Player: Angle
Legacies: Pumpkin/Savage
Chronicle: 3lue Ridge Mt. Chronicle House: Unaffiliated

Seeming: Wilder

Kith: Satyr
Motley: None

r ^ustoi*3
Physical
Strength
Dexterity Catlike Reflexes
Stamina

Q Manipulation
O Appearance

Athletics
Brawl
Dodge
Empathy

O Perception
OOOO Intelligence
000 Wits

if viymnil^K*
Skills

Talenrs
Alertness

OOenral

Social
OO Charisma Diplomatic

.oo
,000

.000

Knowledges

OOO Crafts
OO Drive

OOOOO Computer
OOO Enigmas

OOOOO
00

OOOOO Etiquette

OO Gremavre

OOO Firearms

OOOOO Investigation
000 Law

ooooo
ooooo
oooo
ooooo
ooooo
oooo
ooooo
ooooo

Intimidation

OOO Leadership
OOOO Melee

Kenning
Persuasion
Streetwise
Subterfuge

OOO
OOOO
OOOOO
OOOOO

OOOOO Linguistics

OOOOO
OOOOO
OOO
OOOO

Performance
Security
Stealth
Survival

Lore
Medicine
Politics
Science

tf/ ^yi wu ij^^ |pl

BackgRounds

Realms

A.Rrs

..inpanion

noo Primal

ooo Actor

Mfntor

onn

OOOO Fae

' "sources

oooo
ooooo
ooooo

'irk Secret (1 pt. Flaw)

Mid Phobia her Unseelie side

Wayfare

ooooo Nature

ooooo
ooooo

000000

ooo
oooo

ooo
ooooo
ooooo
Real Chimerical

Bruised

Q Q Q Q Q Q Q Q Q Q Hurt

Injured
.'mpubion prove she \5 civilized
CJJillpOLUeR^
Wounded
(1 pt. Flaw)_________
O O O O O O O Mauled
Vute Senses hearing

QQQQQQQQQQ
Ravaging/CDusing ThResho1d=
Foster Trust

QjcpeRience:

Cri

PPled

Incapacitated

=Bana1iry=
O O O O O O

Gift f (Wtame passions by singing or

playing), Passion' s QjtnDafcswings; +2

difficulty W Willpower rolls)

Permission granted to photocopy this page for personal use only.

Mortal Name; Ponna Francis

Faerie Name; Emhalvnna fEmmal
Mortal Age:_ 22
Mortal Profession (if any): Coach at

Chimera/Companions/Treasures; George: l

red and green bird: talks and retrieves golf

balls; sarcastic, playful, loves Emma, craves
attention, sleeps a lot.___________________

Wilkerson Grade School_______

Emma's? heather-blue eyes gaze out from

Changeling; Emma has hiflh Amazonian cheekbones and piercirn

a heart-shaped face that seems more wholesome

blue eyes that seem able to peer into the darkest night and see with

than attractive. Her short brown curls appear to

utmost clarity. A mixture of browns, reds and golds, her short curb

have been blowing in the wind, uncombed and unruly.

Emma stands up straight, an air of pride showing in
her carriage. When she moves, her long limbs swing
freely with the grace and ease of an athlete.

wave around the bases of her rippled horns which rise from her
forehead to curve back into sharp points. Well-toned and sturdy,
Emma's satyr legs are covered from her hips down to her mahogany
hooves with miniature curls of the same colors as those on her head

Mortal;

Quirks; Can't sit still for long, soft-spoken, reserved

Motivations & Goals: Avoid situations that mirjht trigger her stronger emotions, fight her
Unseslie Legacy, prove to the world that she is cultured and civilized__________________

Mortal; Loving mortal parents, younger sister

Changeling: Emma's traumatic Chrysalis threw her immdi:

(Tara). coaches the Wilkerson Grade School

Tigers (basketball, track, football, soccer): Emma

atelv into her Unseelie Legacy (Savage) at the aqg of 10. Emma ran
away from home and lived for a short time in the national forest. She

never returned home after her Chrysalis

found it difficult to survive there and almost died. Her mentor

_____________________________

(Velderon) is a kind and cheerful satyr cirump with a 0006, head on h'6

____________________________
_____________________________

shoulders. He found Emma and, over time, coaxed her out of her
Unseelie Legacy, teaching her to survive in the world of the Kite

A variety of sports equipment, first-aid kit, an old school bus that she bought used from the
school and painted bright purple, rented apartment__________________________________

Permission granted to photocopy this page for personal use only.

The PRelude
The prelude is your character's introduction to the chronicle,
combining past history, personal details and the Chrysalis itself.
A short game session (or portion of a game session) in which the
Storyteller and the player play out one-on-one, the prelude

the protection of the local noble, or do they have one all their
own? Is the freehold a forest glen, a mansion or a coffeehouse
near a university?

(JJhor aRe rhe goals oF rhe oarhciRcle?

Not all groups have formal goals, but a common enemy or

gives both player and character a chance to get their feet wet
before plunging into the game.

problem may become the focus of a story or even an entire

During your prelude, you may want to go through one or

two typical scenes in the character's mundane pre-Chrysalis
life to contrast mortal existence with the colorful and dream-

many groups form out of friendship and shared experience rather

than through the introduction of a common foe.

filled life of a changeling. If any time has passed for the

character between her Chrysalis and the current date of the

chronicle, you may also do one or two short scenes portraying

events that have happened since.

You may find that some of your initial choices weren't right

for the character as more history develops through the course of

the prelude. In this case, feel free to change them as long as it
doesn't affect the final point cost spent on your character.
Unless the Storyteller grants you permission, you can't have any
extra freebie points to reconfigure your changeling. The Storyteller may, however, grant an experience point or two for

roleplay that occurs during the prelude, at her option.

The OorhciRcle
Once everyone has finished their preludes, they should
get together with the Storyteller to figure out how their
characters are affiliated with one another. They may be
complete strangers at first, or they may all have been memIXTS of the same oathcircle, motley or household for years. If
the Storyteller chooses, the actual formation of the group
and the circumstances surrounding it may constitute the first
siory of your game. If the troupe's characters have been

whether for any period of time prior to the beginning of the

chronicle, then the players must all agree on the nature of the
group they would like to form.
Here are some questions regarding pre-established
onthcircles that the troupe should think about. Some of the
answers will be determined by the chronicle, or the Storyteller
may choose to dictate them.

(JJheRe is the oorhciRcle 6ased?

Not all groups are based around a freehold. Where does your
^roup generally hang out? Does it move around from city to city,
or do you all live within a few blocks of each other? Where you
set your chronicle will have a powerful effect on the tone it will

chronicle. This is one way to bring a group together, though

(JJho aRe rhe oarhciRcles enemies?

What are the motivations of the group's enemies? If they
are not changelings, what are their powers? Has the group come
in contact with Dauntain or Prodigals? Many of the oathcircle's
enemies will likely be kept secret by the Storyteller at first, to be

revealed later during the chronicle. This question merely helps

to determine any history that the oathcircle might have with

antagonists of which it is aware.

(JJho aRe youR FRiends and allies?

Who are the friends and allies of the oathcircle? Is
there anyone whom the group protects, or is protected by,
and if so, why?

Legacies
For changelings, life is a balancing act, whether it be
between Banality and Bedlam, faerie and mortal, or Seelie and
Unseelie. Legacies represent both the most basic aspects of a

changeling's personality and the duality of it. All changelings

have both a Seelie and an Unseelie Legacy. Choosing Legacies
for your character is one of the most important aspects of

character creation. Your character's Legacies will be your guide

to roleplaying her nature.

Changelings walk a fine line between their Seelie and
Unseelie Legacies. Each and every one of them knows this. The
two sides are considered halves of the same whole. At one time,

the Seelie and Unseelie Courts worked in harmony. The Seelie

Court ruled half the year, from Beltaine to Samhain, at which
time they turned the throne over to the Unseelie Court for the

second half of the year. A changeling's Unseelie Legacy was not

originally something she abhorred or feared. It was merely
viewed as a natural part of herself, the part that was less
restrained, more sensual, and sometimes more exciting.
After the Shattering, a great deal more tension developed
between the two Courts. Both have their own ideas of how the

lake. Both the troupe and the Storyteller should carefully

consider this choice.

Dreaming should be protected and preserved, or for that matter,

whether it even deserves to be. Many Unseelie Ravage the

Does rhe oorhciRcle have a freehold?

the Dreaming abandoned them, they owe it no loyalty and seek

Having a central base that needs protecting and where

characters can regroup often keeps a chronicle going and offers
story options. Is there a local freehold where most of the

to bring on the Long Winter in order to get it over with as soon

group's activity is based? Do they hang out at a freehold under

Dreaming, taking what they can get from it. They feel that since

as possible. Seelie believe that the Dreaming must be preserved,

and that acting in its guardianship or even dying for it is one of
the highest honors. Of course, each changeling is a unique
individual and has her own perspective between these extremes.

ChapreR FOUR: ChaRacreR CRearion

129

A changeling's primary Legacy is that which coincides

with his current Court, whether it be Seelie or Unseelie. The
other becomes secondary, but still has its affects on the

character's personality, asserting itself from time to time,

especially during stressful situations. You may wish to consider
and incorporate aspects of your secondary Legacy while playing your character. Keep in mind, however, that the secondary
never overrides the primary.
At times, a changeling may switch from one Court and
Legacy to the other, especially as the result of a traumatic event.
Most changelings cannot consciously shift from one to the other
and usually prefer to stay in their present Courts, their current
Legacy dictating their feelings on the matter. The change, when
it occurs, is a natural event, sometimes gradual, sometimes
sudden. It is caused by a shift of identity in the Kithain. The
Storyteller decides when and if it would be appropriate for a
character to change Courts, and it should always be accompanied by negative repercussions to the character. Such repercus-"
sions might include the creation of harassing cjjitaera, the
character's motley rejecting him, or unwanted attention from
other changelings and antagonists in the J|i8lir Dreamirjif.
Most changelings go their entire
witnpat changing

Dreamrealms may well exact a toll from those who violate the
fundamental truth of their own existence. This counter-reaction may take the form of hostile attention from chimera, subtle
changes in the changeling's faerie seeming, or in the distortion

of the changeling's perception of the Dreaming.

The Storyteller may use her discretion when assigning the
Dreaming's response to a character's violation of his Ban. The

toll should be consistent with the character's Legacy, however,

For example, a Paladin who regularly avoids conflict and
challenge may find himself faced with belligerence at every
turn street thugs singling him out, or the lady behind the
counter suddenly becoing surly as he steps up. A Regent who
shirks his duties and responsibilities may find whatever what
he wears quickly becomes tattered and dull. A Grotesque who
consistently shows his softer side may find roses and daisies
growing in his hair.

Seelie Legacies
A changeling's Seelie Legacy falls toward the lighter side of
Although Seelie fae can be just as conniving and manipulative as Unseelie, they tend to have less selfish motivations,

: gray.

and they definitely work within and bow to the authority of the

Courts. Some changelings sit so closejjp the middle that it is Seelie Court. As you choose your Legacy for your character,
often difficult to tell which Legacy f dominant at any given ; consider why shljbehavesthe way she does, as this will be useful
moment. The majority tend to go froiji one ex|reme|p the o'tbj|r in determining hew you rpleplay her.
with little need to guess which side |hey're (In nowi

'\ "!

Queers and Bans

?
Solid and practical, 'you approach every problem with
Listed beneath each Legacy's ||escrip|ion is the Quest agjjmmon sense and pragmatism. You bring the conversation
and Ban of that Legacy. The Qulst explains what your back to the point and:Jisk the questions that get the right
character must do to fulfill her Legacy, or in game terms, artswers. Always prepared, you think about possible scenarios in
regain lost Willpower. The Ban is a ijecifickaction that a advance and take precautions against them. You love solving
character with that Legacy would make e%f|f effort to avoid, problems, both your own and those of others. You become
since it runs counter to her Legacy. These alfemerely offered frustrated with||iople who don't seem to think quite as logically
as roleplaying guides, although your Storyteller rt||j, wish to as you dil;*"'""
enforce them in your game.

"**;=..:J:/,:.K

The Storyteller is the judge in all questions regarding

Quests and Bans. She determines when a character's actions
justify the reward of a Willpower point as dictated by his Quest.
She also decides when a character's violation of his Ban will

" Q u e s t : Whenever you successfully apply a practical solution to any problem, you regain Willpower.
Ban: Never miss an opportunity to solve a problem through

practical application of logic and common sense.

cause him problems. A character who consistently violates his

Ban may negatively affect the amount of Willpower he can earn

CouRrieR

through his Quest. Losing Willpower this way is a means of

encouraging players to remember and apply their Bans when

flirtation as tools to lighten the mood. You live for social

interaction. You are a student of etiquette and a lover of
dances, parties and courtly gatherings. Your tact and grace

roleplaying their characters, but should only be used in the most

extreme cases.
Characters who ignore their Quests and Bans may be
affected in other ways besides Willpower. Changelings are more
in tune with the Dreaming than any other race, and the
Dreaming sees through all their masks to their true natures.
Legacies are not merely psychological profiles, but also indicative of a changeling's archetypal connection with the Dreaming. Kithain who reject their true natures are behaving in a
manner counter to the nature of the Dreaming, and the

130

Changeling: The DReaming

Somewhat the social butterfly, you use wit, charm and

often place you in the position of diplomat. Because your goal

is harmony, you are deeply concerned with politics, ritual,
custom and the preservation of order. Often working behind
the scenes, you soothe hurt feelings and encourage others to
relax and have a good time.
Quest: You regain Willpower whenever you deflate a
volatile situation and return the gathering to peace and
harmony.
Ban: Never purposely make anyone angry or upset.

The urge to improve things burns strong within you. You

see everything in terms of what you can do to make it better.
Nothing brings you greater joy than creating something beautiful or useful out of the ugly and useless. You are never without
a project of some sort, whether it is a painting, a sculpture, an

organization, or the training and molding of a less-than-perfect

individual. You enjoy the process, but can't wait to see the
finished product.
Quest: Whenever you create something of lasting value,
you regain Willpower.
Ban: Never miss an opportunity to put your touch on
something and improve it in some way.

Dandy
A social climber at heart, you are an expert at court etiquette.

Your goal is to get as high up the ladder as possible. Court intrigue

and gossip feed you, and you can always be found at the periphery
of any trouble, watching and listening to see what you can learn
and possibly use for your own benefit at a later time. Somewhat of
a snob, you look back down the ladder with disdain, especially at
those who might take your position from you. However, you know

better than to bum your bridges. As a result, you tend to play the
diplomat. You will do anything to make yourself look good, often
helping others and taking risks in order to do so.

Quest: Whenever you succeed in strengthening your hold

on your current position or in getting a promotion, you regain
Willpower.
Ban: Never miss an opportunity to ingratiate yourself to
one of your superiors.

You are reclusive and ascetic by nature, preferring your own

company to that of others. Introspective by nature, you view
everything from a very personal standpoint. When in public,
vou tend to be quiet, speaking only when spoken to, unless your

input has such extreme relevance that you feel you have to say
u. One of the benefits of this is that others tend to see you as wise,
since when you do speak, your words often make a profound
point that was overlooked. Despite your desire to be alone, you

,ire drawn out by the need to watch and learn. Your curiosity

about the nature of things and your place among them keeps you
trom being totally isolated.
Quest: You regain Willpower whenever you find the
solution to a problem through inner reflection rather than
hrash action.
Ban: Rarely speak unless the situation is dire and you feel

that your viewpoint has not already been expressed.

ORchid
Up until now, you have lived a pampered, protected life,
whether it was in Arcadia or in your mother's arms. Suddenly

YOU have been forced out into the light and faced with the harsh
realities of the world. You find it difficult to trust anyone, and yet
you fervently wish for someone to come along and take care of

ChapceR FOUR: ChaRacceR CRearion

131

you. You have no experience dealing with the dangers and hurts
of the real world. Wide-eyed and innocent, each new disaster

threatens to shatter your world. You let others make your

decisions for you, not out of preference, but rather as a result of
the insecurity you feel when faced with problems.
Quest: Whenever you escape a frightening situation with
your sense of well-being and innocence intact, you regain
Willpower.
Ban: Never trust a stranger; never reveal yourself to anyone.

ences, or perhaps you just feel that others sometimes need a little
push from you to find their fulfillment. You spend more time on this
than you do pursuing your own interests and gain great pleasure
from it. A skilled manipulator, you work most of your magic from
behind the scenes, dropping hints or subtle encouragement.
Quest: You regain Willpower whenever you cause someone

else's happiness or fun without them realizing your part in it.

Ban: Never do anything that you know would undermine

another's happiness.

Paladin

Ret/enr

You are the quintessential competitor, and your story is that of

the brave, stalwart athlete or hero. Constantly searching for new
challenges to overcome, new adversaries to wrestle, new causes to
fight for and protect, you live for the chance to slay the monster,

Nobility in its purest sense, you are the ruler, the patriarch
or matriarch. You are the judge and the legislator who sorts
right from wrong. More than any other, you feel the heavy
burden of duty and obligation. Often, you have to deal out
punishment. Although you despise it, it is a necessary part of

fulfill the quest or win the game. Without the thrill of striving against
others (or yourself), life quickly becomes dull and meaningless.
Quest: Whenever you successfully overcome a truly challenging situation, you regain Willpower.
Ban: Never refuse a fair challenge.

PandeRCR
You love to see other people happy, and do whatever you can
to encourage them, whether through playing matchmaker or
refilling a drink. Perhaps you live vicariously through their experi-

132

Changeling: The DReaming

your responsibilities, and you perform it with as much wisdom

and fairness as you can muster. You have resigned yourself to

the fact that regency is a lonely and often misunderstood
mission, and you do not let your own personal feelings interfere with the charge of your station.
Quest: You regain Willpower whenever you resolve a
situation through the strength of your leadership.

Ban: Never compromise or shirk your duty or the laws by

which you live, whatever they may be.

Sage

(JJayFaRCR
the teacher. You have

Your story is that of the endless wanderer, the great explorer

traveled many places and seen many things. You have learned,
and you willingly share your insights with others. The quest for
knowledge and wisdom is paramount to your goals in life. You

You are the advisor, the wise one,

and adventurer who has a love in every port and rarely stays in

see something to be learned in every situation. Like the old man

you act first and think later. This sometimes saves you;

on the mountain, you don't force your wisdom on others, but

share it with an open heart to any who wish to learn. You can

times, it gets you in trouble. Impatient and easily bored, you are
always looking for the next adventure.

often be found in quiet consultation with a confused wilder or

telling stories and anecdotes to childlings.
Quest: Regain Willpower whenever someone follows your
advice and succeeds at his chosen task.
Ban: Never stand in another's chosen way, for the path to

Quest: Whenever you survive a life-threatening scene

through your own cleverness, you regain Willpower.

wisdom is different for everyone.

The darker side of faerie nature manifests in a changeling's

Unseelie Legacy. Being Unseelie is much more complex than

Saint
You feel the pain of those around you and strive to ease their
suffering. You give freely of your time, your belongings and
whatever you have in order to help others. This often places you
inaposition of martyrdom, so complete is your altruism. Your own
happiness is secondary to that of others. You can become so
obsessed with your cause that you endanger yourself. However, you
would never do anything that might bring harm to others.
Quest: Whenever you protect someone else or alleviate

their suffering, you regain Willpower.

Ban:

Never knowingly cause distress or harm to anyone.

SquiRe
ttle
this

sure
rom

Rather than stepping out into the limelight, you prefer to

support and help those who do. You are Tonto to the Lone
Ranger, Watson to Holmes, Kato to the Green Hornet. You
care nothing for glory or recognition, but merely seek the
chance to be a small part of the process. You abide by the words

of your present hero, and no task is too menial for you if your

one

hero requests it.

Quest: You regain Willpower whenever you play a support-

line

ing role in an accomplishment, but take no credit for it.

Ban: Never contradict or undermine your current heroic
companion.

irch
iorts

:avy
out
rt of
dom
ilfto
tood
nterve a
vsby

TROU&ddoUR
You walk in a fog of pink and lilac optimism, feeling
emotions more strongly than others and expressing them at
every opportunity. You are an idealist who believes in the
potential for a perfect world, a perfect love, a perfect life. You
step into every situation with enthusiasm and wide-eyed wonder, anxious to experience the thrill of the moment. When you

love, you love with abandon. When you cry, your tears would fill

an ocean. When you are happy, you make sure everyone knows
it. Forgiving and loving, you rarely find it in yourself to hate

anyone, seeing them instead as just another fascinating piece of

your glorious world-view.

Quest: Regain Willpower whenever you complete a task in
the name of a higher ideal (love, friendship, romance, etc.).
Ban: Never hide your feelings.

any one place for long. You live by your wits, though your restless
nature often lands you in dangerous situations. A reactionary,

Ban:

other

Never plan for the future.

(Jnseelie Legacies
just being evil or vile. Unseelie Kithain can be equally as noble
and honorable as their Seelie brethren. The difference lies in
their motives and methods.

Beasr
You seek to conquer all who oppose you, destroying them
if possible. Your world view is defined by those who bow to you
and those who get eaten because they didn't. To you, all exists
at and for your pleasure. You play people off each other, like

chess pieces on a board, with no consideration for anyone's

needs but your own.
You take what you want without asking,
and you destroy those weaker than yourself for amusement.

Quest: Whenever you remove significant opposition to

your goals, you regain Willpower.
Ban:
Never retreat; never compromise your territory.

Foralist
Like Pooh's companion Eeyore, you have a less-thanoptimistic view of the world. You expect things to go wrong, and
you take a dark and sullen pleasure when you are proven right.

Because everything is doomed to end disastrously, there is no

reason to struggle. You have no hope for a bright future, but

rather are resigned to inevitable gloom. You find comfort in your
pessimism, because you know you'll never be disappointed.

Even when things turn out to have a happy ending, you know
that it's only a temporary illusion and the real disaster is
undoubtedly following right behind.
Quest: Regain Willpower when your warnings for doom
turn out to be correct.
Ban:
Never laugh except in bitterness and sarcasm.

Fool
You are the divine trickster, the clown, the one who laughs
last and loudest. Because you believe that there is no meaning
in the world, no underlying reason for anything, you take great
pleasure in spoiling people's well-laid plans by sticking the

proverbial monkey wrench in the works. You almost feel it a duty

to play the agent of chaos, knocking others off their pedestals of
dogma and making them eat their spouted words of honor and

ChapreR FOUR: ChcmacreR CRearion

133

curiosity often overcomes you, especially if you have been

forbidden to go somewhere or do something. The more someone
insists that you shouldn't do something, the more it makes you
want to do exactly that.

nobility. Sometimes you work for weeks, months or even years

formulating your pranks, laying the foundation and setting the
trap so that when your prey steps into it, they fall all the harder.
Quest: Regain Willpower whenever you manage to deflate
the ego of someone you have labeled as self-righteous.
Ban: Never search for the "whys" behind your life; there are

Quest: You regain Willpower whenever you survive something dangerous that you were strictly forbidden to do or warned
against.

none.

Ban: Never keep a secret; never obey an order.

CjRoresque

You love disgusting others and go out of your way to push Peacock
their buttons. You prey on the sensibilities of others, with a
You are the most attractive, smartest, best person in the
blush or a shocked gasp for your applause. The more extreme the world, and you want to make sure that everyone knows it. If
reaction, the happier you are. You make it your life's work to you're not the center of attention, you're not happy. As long as
discover what upsets people and then inflict it upon them. A you are being heaped with praise and adulation, you're the most
master of insults, you cut right to the heart, throwing out all gracious, modest-seeming person around, but as soon as attenpropriety and etiquette in favor of shock value. Nothing is too tion is diverted from you, you become vicious. You are not above
low for you, from bodily noises to insulting someone's mother. tantrums and fits of violence in order to draw others' notice.
Quest: Whenever you cause someone to falter or lose his Jealousy rules your choice of friends and enemies.
composure, you regain Willpower.
,,J!K
I
Quest: Whenever you conclusively prove that you are the
Ban: Never display an overtly pleasant or appealing side of | best at something, you regain a Willpower.
yourself.
j|['
';., , .-"*- mi"*:'.:tB,<(h: Never acknit failure or fault.

Knave

jf*

y ^;'v" j RoHc
^~, : .
.

" '<: ^

\
*|g.

With a sparkle in your eye, you cajole, encourage^ tempt,

You are a greedy sensualist, a miser, a glutton, an obsessive
trick and manipulate others into exploring their darkest desires. collector and a hoarder of experience. You care little for other
You are the pusher, the perverter, talcing the sweet and turning people, except as objects to collect and use at your whim, pretty
it into the sordid. You see yourself a| a teacher of sorts ^ you things to set around and provide you with pleasure. You revel in
teach people what base and feral itreatures they really are. : material gratification and show off your good taste at every
There's nothing you love more than t6 corrupt the innocent and opportunity. Sharing is not a word that you recognize, however.
do it with such panache that they cjften n%er even realize , =You flaunt what fbu own,:be it the beautiful woman on your arm
or the glittering diamond on your finger, but you would never
they've been compromised.
Ill,
V
Quest: You regain Willpower whel||ver ytju cause some-., consider giving a gift to anyone or helping the needy.
one to do something she would normally be opposed to and she
Qinesit: Regain Willpower whenever you succeed in your
enjoys it.
/ '-"" IPpfitsuit of pleasure^1'

Ban: Never protect anyone from the harsh relii||fes of life. I

Ban? Never give anything away without either hope of

:;Kjeward or a hard fight.

Ourlotu
You look out at the world and see an ocean of mindless
automatons that haven't the slightest clue of what it's all about.
You believe it's your duty to take advantage of them. How else
are they ever going to learn? A thief and a cad, you take what you
want from others without a moment's hesitation or guilt. If your
victims are stupid enough to be victims, then you see no reason
not to use and abuse them. You feel no pity for people they've
made their own beds, and, by golly, they can lie in them.
Quest: RegainWillpower whenever you commit a completely selfish act that hurts someone.

Ban: Never do anything that helps others more than it

hurts them or helps you in the long run.

PandoRa
Like Pandora, you just can't seem to keep your box shut.
You open your mouth and trouble flows from it in great crashing
waves. You just can't help yourself. You love to get someone in
trouble by revealing their secrets for them. Furthermore, your

134

Changeling: The DReaming

RiddleR
You are an enigma, the mystery that no one can figure out.
You are in love with secrets and never give a truly straight

answer to any question. You obscure everything in double

entendres, mysterious terms and outright lies. You take joy in

confusing and confounding others, satisfying your own need to
feel that your intellect is superior to theirs. You are especially
careful to shroud your own psyche in deepest mystery, and your
greatest fear is that someone will learn what you're really like.
Quest: Whenever you manage to confuse or mislead someone, you regain Willpower.
Ban: Never allow others to discover the truth about you or
your origins.

RingleadeR
You have your gang and you rule them with an iron fist.
You work hard to build and strengthen your organization,
preaching loyalty and submission to the cause you embody.

You will not stand for your law or authority to be undermined.

While you understand that a group is more powerful than any
one individual, you do not consider yourself equal to your band
of followers. You are the head, and they are the arms and legs.
They are your tools, and you use them at your whim to further
your own goals.
Quest: Regain Willpower whenever you accomplish something as a direct result of the devotion of your followers.
Ban: Never allow any one person to endanger the whole of
your organization or your goals.

Rogue
You don't need to work; so many others out there can and
will do the job for you. Others see you as a leech, but while
they're licking their wounds and cleaning their boots, you're
spending your share of the pot. All things considered, you prefer
taking the path of least resistance. There's always some gung-ho
hero ready to leap to the fore and do all the dirty work. Why not
let him? And so what if you're there with your hand out when
it's time to reap the reward. You didn't ask that guy to do it; you
just didn't offer to help.
Quest: Whenever you achieve something that you do not
really deserve, you regain Willpower.
Ban: Never work.

Savage
For you, the only viable way to live is like the animals
in the forest, eating what you can catch, mating when the
urge strikes, and fighting to establish superiority. Everything else is senseless. Civilized conversation, etiquette and
technology wastes of time. Modern inventions only
distract you from your true nature, and keep you from
satisfying the instincts that bum in your soul. You long for
a return to the days of primal self-indulgence and the law of
nature. In the meantime, you just live your life as if they
wore already here, feral and proud of it.
Quest: Regain Willpower whenever you conquer "civilized" foes through your own cunning and might.

Ban: Never indulge in civilized folly.

(JjRCCCh

You have no positive self-image, and assume that

everyone else hates you as much as you hate yourself.
Perhaps you are the wallflower who never gets asked to
dance or the loser who was never invited to birthday
parties; regardless, you believe that everyone hates you and
that you are a pitiful outcast. Sometimes you seek pity and
aid from others. Other times you seek to punish them for
their pity and aid, being especially hard on anyone that
shows you compassion and caring.
Quest: Whenever others vilify you as worthless or throw up
their hands in despair of ever getting through to you, you regain
Willpower.

Ban: Never admit to success.

ChapreR FOUR: ChaRacceR CRearion

ArrRi&ures
Specialties
For each Attribute rated 4 or higher, a player may select a
specialty. A specialty shows that the character has developed an

expertise in a specific sub-category of that Trait. In rules terms,

this means that the player gets to reroll any 1 Os scored on actions
directly involving the specialty. The player not only keeps the
first success, but now has the opportunity to possibly roll
another. For each 10 she rolls, she may reroll and try to get more.
This only applies if the character is attempting an action that
specifically involves the specialty, not just the Trait.

For example, a character with four dots in Intelligence is

very smart, but if your character has the specialty Creative, then
she has concentrated her intelligence in that area and is particu-

larly creative. If she is attempting to come up with a creative idea

for a gift, you can reroll any 10s. If, however, she is trying to solve
a crossword puzzle, you cannot because she is not attempting an
action that uses her creativity.
The specialities listed with each Trait are just a few suggestions. If you can think of something that fits your character
better (such as Charisma specialty Flirting), go for itonce your
Storyteller approves, of course.

Physical ArrRi6ures
These Traits describe how strong, nimble and sturdy a
character is; they are the primary focus of an action-oriented

Poor: butterfingered, clumsy, inflexible, accidentprone

Average: ordinary, unrefined, passable, fair
Good: natural grace, coordinated, flexible, agile
Exceptional: athletic, gymnastic, trained,
dexterous, professional

Outstanding: awe-inspiring grace, gold medalist,

surgeon's touch

Sramina
Stamina measures general health, pain tolerance and endurance. It determines your character's staying power, both
physical and mental. Two of its most important elements are the
will to live and downright stubbornness.

Specialties: Determined, Enduring, High Pain Threshold,

Tireless, Tough

Poor: sickly, frail, wimpy, vulnerable, fragile

Average: moderately healthy, confident, consistent

Good: resistant, sound, hearty, robust, sturdy

Exceptional: steadfast, resolute, committed,

determined

Outstanding: hell-bent, unyielding, relentless,

do-or-die

Social ArrRi&ures
Your Social Traits describe your character's looks, charm
and familiarity with personal interaction. They are vital in

character. Physical Traits represent the strengths and weaknesses of the body.

determining your character's appearance, persuasiveness and

StRengrh

ChaRisma

This Trait measures brute strength. It represents your

character's ability to lift, carry loads and cause physical harm. A
person with a high Strength rating is usually larger and bulkier
than someone with a lower rating. In brawling and melee

combat, your character's Strength Trait is added to her damage

Dice Pool.
Specialties: Lifting, Long Jumping, Strong Grip, Sustained
Carrying

adaptability in social situations.

This Trait measures your character's magnetism and natural charm. It represents her aptitude for enticing, bewitching
and captivating others without having to try. Charisma determines whether others like and trust your character.
Specialties: Amusing, Confidant, Diplomatic, Eloquent,

Persuasive, Trustworthy

Poor: wallflower, dull, boring, lackluster,

uninspiring

Poor: weakling, lift 50 Ibs., carry 20 Ibs.

Good: trusted, fun, gregarious, genial, pleasant

Exceptional: magnetic, alluring, persuasive, winsome
Outstanding: irresistible, commanding,

Average: normal, lift 100 Ibs., carry 50 Ibs.

Good: athlete, lift 250 Ibs., carry 125 Ibs.

Exceptional:weight-lifter,lift4001bs.,carry2001bs.

Outstanding: Olympian, lift 650 Ibs., carry 300 Ibs.

Average: friendly, agreeable, inoffensive, tolerable

compelling, captivating

GDanipularion
This Trait measures general physical prowess, speed, quickness and agility. It indicates your character's capacity for
moving precisely and with grace. Dexterity includes hand-eye
coordination, fine motor manipulation, reaction speed, reflexes and finesse.
Specialties: Catlike Reflexes, Fleet-Footed, Flexible, Light

Touch, Steady Hand, Sure-Footed, Swift

136

Changeling: The DReaming

This Trait measures your character's ability to get results

when attempting to force, cajole or trick another person into
doing something. Manipulation works on friends and foes alike,
though it may be more difficult on the latter. If your character

fails her attempt to manipulate someone, the target may well

realize what was happening and become angry. No one likes to
be manipulated.

Specialties: Cunning, Deceitful, Glib, Patient, Persuasive,

Subtle, Underhanded

Poor: reserved, innocent, taciturn, submissive

Average: bluffing, socially adept, evasive, swindling

Good: devious, slick, resourceful, eloquent, crafty

Exceptional: influential, scheming, calculating,

maneuvering
Outstanding: puppeteering, controlling,
Machiavellian, conspiratorial

AppeaRance
This Trait measures more than just physical beauty- Any
physical feature animation, expressiveness, cuteness, vulnerability, etc. that others find enticing could be considered part
of your Appearance. It can be vital in some situations, for like
it or not, we're all influenced by the way people look. The
Appearance Trait is used to determine first impressions.

Specialties: Bold Demeanor, Fragility, Glamourous, Sex

Appeal, Style

Poor: homely, undesirable, unsightly, repulsive

Average: plain, unnoticeable , inconspicuous, dull

Good: attractive, pretty, comely, appealing
Exceptional: alluring, delightful, beautiful, seductive

Outstanding: awe- inspiring, bewitching, gorgeous

OOenral ArrRi&ures
The Mental Attributes represent your character's total
mental capacity, including such things as memory, perception,

logic and the ability to learn.

PeRceprion
This Trait covers everything from searching for something
to picking up on the subtle details in the environment and
intuitively putting them together to come up with a reasonable
assumption. Perception determines your character's sensitivity

to the world around her. Often it includes her use of insight to

understand what she perceives.
Specialties: Detail-Oriented, Empathlc, Intuitive, KeenEyed, Paranoid, Sharp Hearing

Poor: oblivious, insensitive, self-absorbed

Average: awake, curious, alert
Good: keen, watchful, wary, observant, attentive
Exceptional: sensitive, discerning, perceptive,

intuitive
Outstanding: vigilant, instinctive, presentient,

clairvoyant

Inrelligence
This Trait measures raw mental processes: memory, retention, judgment, reasoning, understanding and critical thinking.
It represents your character's ability to learn and think, and it
caters to carefully reasoned judgments rather than snap decisions. Low Intelligence can indicate a character who lacks the

ChapreR FOUR: ChaRacreR CRearion

137

capacity to understand complicated issues and learns very slowly,

whereas a high Intelligence character is a sophisticated savant
capable of evaluating many different levels of an argument or
problem. A character with high Intelligence can often discern
truth from lies, or at least when she has time to think things over.
Specialties: Creative, Discerning, Logical, Pragmatic,

Scholar

Poor: IQ 80, slow, confused, simple

Average: IQ 100, unimaginative, studious,
thoughtful

Good: IQ 120, smart, quick, rational, cognitive
Exceptional: IQ 140, ingenious, logical, discerning
Outstanding: IQ 160+, genius, brilliant, erudite

UJirs
The Wits Attribute describes your character's ability to react
quickly and correctly in pressing or stressful situations. It indicates

her overall sharpness of mind and cleverness. A character with a

low Wits rating, like the veritable "deer in the headlights," may be
easily caught off-guard, tricked or surprised. Those with a high
Wits rating are seldom waylaid by sudden changes.
Specialties: Clear-Headed, Clever, Insults, One Step Ahead,
Survival

Poor: gullible, dull-witted, absent-minded, easily

distracted
Average: slow, lagging, sluggish, lackadaisical

Good: flexible, reactionary, impulsive, quick

Exceptional: shrewd, direct, extemporaneous,
sharp
Outstanding: instinctive, spontaneous,
immediate, pre-emptive

A6iliries
Specialries
If your character has four dots in an Ability, you may choose
a specialty. This represents that the character has developed an
expertise in a particular sub-category of that Ability. (See Attributes, above.) Certain fields of study are so broad that by the time
your character reaches the Expert plateau (4 dots) in the Ability,
he will have to specialize. The specialties listed with each Trait are
offered as suggestions. Feel free to come up with others for your
character, dependent on the approval of your Storyteller.

lalenrs
Talents are intuitive Abilities. They are almost never learned
through direct training (though a few, like Brawl, are exceptions).
It is assumed everyone has some small capacity for each one,
whether you have purchased dots in them or not. Thus, if your
character wants to make a stab at using a Talent that he has no dots
in, you can roll a Dice Pool equal to the number of dots your
character has in the appropriate Attribute; like most things in life,

there's no harm in trying to use your Talents thusly.

138

Changeling: The DReaming

Dodge

AleRtness
This Talent indicates your character's awareness of the
world around her. She is practiced in keeping one ear to the
wind and one eye to the sky, even when distracted with other
things. Alertness is a measure of how well your character picks
up on subtle details and changes in her environment.

Novice: You are more alert to changes than most.

Practiced: You are watchful and attentive.

Competent: You are highly vigilant.

Expert: You are truly cautious, rarely letting down

your guard.
Master: You are aware of all that goes on around you.

Possessed by: Detectives, Guards, Hunters, Reporters,

Thieves, Warriors

Specialties: Ambushes, Crowds, Danger Sense, Searching, Streets

Whether your character dives for cover, ducks a punch or

sidesteps an arrow, he knows the best way to avoid injury is not

getting hit. Dodge simply describes your character's ability to get

out of the way of any incoming attacks.

Novice: You know what to do if someone screams,

"Duck!"

Practiced: You know when to stay down and safe.

Competent: You are accomplished and experienced at duck and weave.
Expert: You are exceedingly difficult to hit.

Master: You can sidestep bullets.

Possessed by: Bouncers, Criminals, Ghetto Rats, Street

Fighters, Warriors
Specialties: Duck, Dive, Find Cover, Slippery, Sidestep

Athletics

Gmparhy

Climbing rocky cliffs, leaping chasms or playing brilliant

[juries of badminton are all Athletics-based feats. This Ability

Empathy is the ability to pinpoint what others are feeling.

Through an awareness of their facial expressions, body language

describes your character's general athletic prowess in both team

and individual sports. It assumes a familiarity with the rules and
play of the sport in question.

and tone, your character gains a sense of the other person's

general attitude, including her emotional state and her motives.
With high levels of this Trait, your character can sometimes tell
whether someone is lying or not. Successful use of this Talent

Novice: You are first pick for teams at neighborhood football games.
Practiced: You are a regular on school or community athletic teams.
Competent: You are a coach or serious competitor.
Expert: You are a vigorous trainer, a professional

prior to attempting to Persuade, Intimidate or use Subterfuge on

that same person reduces the difficulty number on the second
action by one; failure increases the difficulty number by one.

Novice: You are sensitive and understanding.

Practiced: You are aware of the feelings others are

trying to hide.
Competent: You are amazingly insightful into
others' motivations.

or just accomplished.
* Master: You are a world-class or Olympic athlete.
Possessed by: Aerobics Instructors, Dancers, Jocks,
Marathonists, Most Children, Sports Enthusiasts

Specialties: Acrobatics, Dancing, Mountain Climbing,

Swimming, Track & Field, Team Sports

Brawling is the ability to fight without a weapon, including

basic hand-to-hand maneuvers such as punching, kicking, grappling, throwing, scratching and biting. Brawling can get quite
ruthless, and sometimes inflict serious damage if done properly.
For purposes of roleplay, a character should gain a specialty
when she reaches the Expert Level in Brawl.

Novice: You took a course in basic self-defense.

Expert: You are especially sensitive to lies and

subtle emotions.
Master: You read people like they were open books.
Possessed by: Actors, Con Artists, Mediums, Parents,
Pick-up Artists, Psychologists, Teachers

Specialties: Desires, Emotions, Fears, Falsehoods, Legacies,

Love Connections, Motivations

Inrimidorion

The art of intimidation takes many forms from subtle threats

to outright physical harm. Choice of method depends on the time,
the place and those involved. Characters with this Talent know
how
to get what they want from others, when they want it,
Practiced: You could hurt someone.

Novice: You back wimps into corners.

Competent: You can take someone down quickly

without doing permanent harm.

Practiced: You win an occasional stare-down.

Competent: You have an unsettling gaze.
Expert: You are a black-belt or licensed to kill.
Expert: You are an above-average drill sergeant.
* Master: You are world-renowned; your hands are
Master: You intimidate redcaps.
registered as lethal weapons.
Possessed
by: Businesspeople, Bouncers, Cops, Detectives,
Possessed by: Bouncers, Cops, Martial Artists, Spies, Thugs,
Nobles,
Warriors
Warriors

Specialties: Any Martial Arts Style, Boxing, Dirty Fighting, Knights, Wrestling

Specialties: Political, Social, "The Look," Veiled Threats,

Violence

ChapreR FOUR: ChaRacceR CReacion

139

Kenning
Kenning is faerie sight, the ability to sense Glamour in
whatever form it takes, be it a chimera, a changeling or a
freehold. Among other things, this Talent allows a changeling to recognize a changeling who has slipped into the Mists
or who has yet to achieve Chrysalis, sense the relative power

outright begging, pleading and cajoling. People with high

Persuasion ratings tend to be natural leaders and advocates.

Novice: You can be convincing through a concentrated effort.

Practiced: You pinpoint the hole in another's

position.

Competent: A professional debater, you are al

ways on top of any argument.
Novice: Glamour tickles you, and you can see
powerful chimera.
Expert: You make others feel guilty for even
disagreeing with you.

Practiced: You can locate freeholds with ease.

Master: You say "Jump," and they say, "How high!"

Competent: You recognize "sleeping" changelings.

Possessed by: Businesspeople, Demagogue, Orators, Politi Expert: You can detect even the slightest traces of
cians, Protesters, Visionaries
Glamour.
Specialties: Emotional Appeal, Fast-Talk, Guilt, Logic,
Master: You are sensitive to Glamour even at
Sympathy,
Wordplay
great distances.

of a chimera, and locate freeholds and trods.

Possessed by: Certain Powerful Chimera, Psychics, Small

Children, Changelings, Some Kinain

Specialties: Cantrips, Chimera, Changelings, Enchant'

ment, Trods

PeRsuasion
This Trait represents your character's ability to win
others over to her way of thinking. The method used may
involve subtle mental and emotional seduction or even

140

Changeling: The DReaming

SuReeroiise
The streets can be a major source of information, aid and
money, but their culture and rules of conduct are as complex as
the noble courts. The Streetwise Talent indicates how versed
your character is with the local rumor mill, street slang and street
etiquette. It represents her savvy when among the less desirable
elements of society, and determines not only how well she can
survive but thrive and fit in among them.

Novice: You know who sells what, from drugs to

contraband.

Practiced: You are accepted as one of the gang.

Novice: You know the basics and can make

something that works.

Practiced: You can add a personal touch to your

creations.

Competent: You are a mover and shaker, active in

street politics.

Competent: You are respected among other artisans.

Expert: You are respected, protected, trusted or

Expert: You create items of lasting and increasing

feared on the street.

Master: You know what happened, who did it and
where they hid their stash.
Possessed by: Bartenders, Bookies, Criminals, Detectives,

value.

Master: You are a Michelangelo in your field.

Possessed by: Artists, Craftsmen, Designers, Inventors

Gang Members, Homeless People

Specialties: Carpentry, Leatherworking, Machinery, Pottery, Sculpture, Woodcarving, Sewing

Specialties: Fencing Merchandise, Illegal Acquisition, Information, Local Area Knowledge, Gangs

Drove
The Drive Skill represents your character's ability to operate
motor vehicles, though it does not mean that she is familiar with all

This Trait determines your character's ability to conceal his

land vehicles. The Storyteller may raise or lower difficulty numbers

motives and feelings. Moreover, it allows him to decipher the

based on your character's experience with a particular type of

motives of others and use their own plans against them. Subterfuge is the fine art of lying, deceit and underhanded manipulation. Characters skilled in this Talent know how to call upon

vehicle. It also implies that your character has earned a driver's

their best theatrics to influence situations and divert the blame

without others realizing they've been manipulated.

Novice: You rarely get caught in a lie.

Practiced: Diversionary tactics are second nature

know they're there), and it allows you to attempt some stunts.

license, although this need not necessarily be the case. At higher

levels, you can attempt to avoid someone who's tailing you (if you

Novice: You can drive an automatic automobile.

Practiced: You can operate a manual/shift transmission.

to you.
Competent: You can cleverly hide the truth

without resorting to lies.

Competent: You are a professional trucker or

chauffeur.
Expert: You are a race car driver.

Expert: You are capable of complicated plotting

Master: You are a professional stunt driver.

and manipulation.

Master: You deceive with impunity.

Possessed by: Casanovas, Compulsive Liars, Con Men,

Lawyers, Politicians, Spies

Specialties: Diversions, Intricate Fraud, Little White Lies,
Seduction
Other Talents: Artistic Expression, Carousing, Diplomacy, Fortune-Telling, Instruction, Interrogation, Intrigue,
Intuition, Mimicry, Scrounge, Seduction, Style, Ventriloquism

Skills
Skills are Abilities that your character has learned through direct
instruction. They require diat he have some formal training in die area.
If your character wants to attempt a feat involving a Skill he has no
rating in, roll a Dice Pool equal to the number of dots your character has

Possessed by: Bus Drivers, Chauffeurs, Cops, Drug Runners, Taxi Drivers, Truckers

Specialties: Curves, Evasion, Speed, Stunts, Sudden Stops,

Traffic

Griquerre
In social and courtly situations, Etiquette can go a long
toward keeping your character in the good graces of those
around her. It describes how mannered your character is and

how well she fits in at court, among her peers and at social
functions. It is used during such actions as properly addressing a
baron, approaching a redcap without insulting him, and eating

with the correct fork at the charity dinner.

Novice: You know when to shut up.

Practiced: You fit in well most of the time.

in the appropriate Attribute and increase the difficulty number by one.

Your lack of practice and expertise hinders your success.

Expert: The social graces come naturally to you.

Master: You could take tea with High King David
in the afternoon and barhop with the redcaps the

This Skill imparts knowledge of artisan techniques in such

fields as woodworking, leatherwork, glassblowing or gem cutting. With Crafts, your character can create lasting pieces of art
and functional objects from various materials. The quality of

these products depends on the number of Successes achieved on

the roll. A character should specialize when she reaches the

Competent: You rarely makes a faux-pas.

same evening without missing a beat.

Possessed by: Courtesans, Diplomats, Executives, Idle
Rich, Nobles, Dilettantes
Specialties: Business, High Society, Particular Kith (Eshu,
Sidhe, etc.), Seelie or Unseelie Court

Hxpert Level in this Skill, if she hasn't already chosen her field.

ChapreR FOUR: ChaRacrcR CRearion

141

FiReaRms
Skill in Firearms means that you have a broad knowledge of
all guns, from a simple .22 to an Ingram Mac-10 submachine
gun. It does not include the ability to operate heavy artillery.
Firearms includes the ability to care for and repair guns.

Novice: Relatively able, you have had a few

lessons.

Practiced: You are an amateur enthusiast who

practices regularly.

Competent: You win skeet-shooting and target

competitions.
Expert: You are a professional, cool and steady.
Master: You are an expert marksman.
Possessed by: Cops, Criminals, Detectives, Gang Members, Hunters
Specialties: Fast Reload, Machine Guns, Pistols, Quick
Draw, Rifles

LeadeRship
This Skill represents your character's ability to organize and
lead others. It describes to what extent she is a natural-born leader
as well as her knack for emitting an aura of authority. It expresses
a combination of natural ability and a command of those qualities

Possessed by: Cops, Fencers, Martial Artists, Knights,

Nobles, Thugs
Specialties: Axe, Club, Disarming, Knives, Rapiers, Swords,
Quarterstaff, Found Weapon (Frying Pan, Broken Bottle, etc.)

PeRpoRmance
The Performance Skill covers a broad range of artistic
expression, from acting to storytelling. It assumes that your
character has the basic knowledge necessary and a certain talent
in the field she has chosen. As well as defining your character's
expertise and creative talent, this Skill also represents her
ability to captivate an audience and her stage presence, two
relatively nebulous qualities. It assumes some knowledge about
the technical side and the society of your character's chosen
field. Characters who take this Skill should specialize when they
reach Expert Level.

Novice: An amateur, you still get a little nervous

in the spotlight.

Practiced: A natural crowd-pleaser, you can

retain an audience's attention.

Competent: You know how to work an audience.

Expert: You are a world-renowned artist.

Master: You could be the next Elvis, Mozart or

Clark Gable.
most often assigned to leaders: confident, assertive and decisive.
Possessed by: Actors, Comedians, Mimes, Musicians, Sto
Novice: You can lead small groups.
rytellers, Vocalists

Practiced: You are a dominant, take-charge kind

Specialties: Acting, Enchant Audience, Evoke Emotion,
of person.
Instrument (specify), Storytelling, Voice

Competent: You can lead a diverse group.

Expert: A born leader, you attract followers with SecuRiry
out trying.
With the Security Skill, your character has a proficiency
Master: You are a leader of nations with a broad with the tools and techniques required for lock-picking, hotlevel of influence.
wiring cars, designing and deactivating burglar alarms, and
Possessed by: Cops, Executives, Gang Leaders, Military opening safes. It can be used to conduct criminal activities or, on
the other side of the coin, to prevent and investigate breeches
Officers, Nobles, Coaches
Specialties: Commands, Dictatorial, Friendly, Military, of security. The more dots your character has in Security, the
more sophisticated the systems with which she is familiar.
Noble, Oration

Novice: You can handle simple locksmithing.

GOelee

The ability to fight with a weapon is valuable in the World

of Darkness. Proficiency in this Skill allows your character to use
hand-held weapons. Examples of such weapons include knives,

Competent: You can disable or design effective

house alarms.
Expert: A safe-cracker, you can outwit laser
sai, saps, tonfa and swords. While Melee seems archaic in mortal
security and cameras.
society due to the prevalence of firearms, wielding most chi Master: Fort Knox was unbreachable....
merical weaponry requires some expertise in it.
Possessed by: Cops, Criminals, Detectives, Locksmiths,

Novice: You know the basics, but your trainer can

Security Specialists
still put you down.
Specialties: Design, Electronics, Fast, Hot-wiring, Safe
Practiced: You have military or knight's training.
cracking

Competent: You can slash and parry with the best

of them.
Srealrti
Expert: You make a worthy opponent; trolls are
Stealth is the ability to sneak about or hide without being
grudgingly impressed.
noticed. Certain situational modifiers may be applied by the
Master: You are a deadly opponent; dragons Storyteller and it is often rolled versus a difficulty number equal to
live in fear.
the Perception rating of the person that isn't supposed to notice.

142

Changeling: The DReaming

Practiced: You know how to hot-wire cars.

Novice: You can hide in the dark.

Practiced: You can hide in shadows.
Competent: You can walk silently on carpet.
Expert: You can walk silently on dry leaves.

Master: You can camouflage yourself anywhere.

Possessed by: Assassins, Criminals, Hunters, Reporters,

Spies
Specialties: City, In Crowds, Follow, Hide, Wilderness

SuRvival

Possessed by: Explorers, Hunters, Park Rangers, Tribesmen, Warriors

Specialties: Arctic, City, Forest, Hunting, Jungle, Scavenging, Tracking
Other Skills: Animal Ken, Archery, Brewing, Climbing,
Cooking/Baking, Disguise, Electronics, Escapology, Falconry, First
Aid, Gambling, Hypnotism, Pickpocket, Piloting, Psychoanalysis, Repair, Ride, Sleight-of-Hand, Throwing, Torture, Traps

Knowledges

Academic in nature, the Knowledge Abilities all represent

This Skill describes your character's proficiency at surviving in unfamiliar or dangerous environments. Inherent in it are expertise that your character has acquired through study and
the abilities to find shelter, scavenge or hunt food, and protect training, often having spent years at it. Most of them are
oneself from native predators and threats. It also encompasses considered professional fields, and more than likely will detertracking and finding safe passage through the area. The charac- mine the mortal job held by your changeling. Knowledges are
Abilities that require rigorous application of the mind, not the
ter should specialize at four dots in this Trait.
body.
If you have no dots in a Knowledge, you cannot attempt a

Novice: A good Boy Scout, you can survive a fiveroll

involving
it. The only exception to this might be if the
mile hike.
Storyteller determines that the action pertains to trivial infor
Practiced: You can use odd materials from the
mation that anyone has a chance of knowing.
environment.

Competent: You acclimate quickly to the CoinpureR

surroundings.
Your character understands how to operate and possibly
Expert: You are at home in nearly all environments. even program a computer. At higher levels, this may also
Master: You never break a sweat or go hungry.
include knowledge of designing and building a system, as well as

ChapreR FOUR: ChaRacteR CRearion

143

complicated hacking. Any attempted use of a computer requires

that the character have this Knowledge.

Student: You can boot up a game.

College: You can use word processing programs

and link to the Internet.

Masters: You are a competent programmer or
software designer.

Doctorate: You are an experienced hacker who

knows the ins and outs of most systems.

Scholar: You could probably create artificial
intelligence.
Possessed by: Hackers, Office Personnel, Programmers,
Students

Specialties: Graphics, Hacking, Programming, Retrieving Data

Cnigmas
This Knowledge represents a knack for piecing together
and remembering information vital to many kinds of problemsolving. It assists your character in solving the mysteries created
by the Storyteller. It is essential for divining secret pathways,
understanding esoteric knowledge and answering the riddles of
mystical guardians.

Student: You can complete a jigsaw puzzle.

College: Youcanguesstheoutcomeofamysterynovel.

Masters: You can solve Rubik's Cube in an hour.

Doctorate: You find three correct answers to
every riddle.
Scholar: You understand the deepest mysteries of
life and the universe.
Possessed by: Crossword Devotees, Detectives, Game Players, Mystics, Zen Enthusiasts
Specialties: Crime Mysteries, Cryptography, Life, Riddles,

Verbal, Visual

This Knowledge represents the character's understanding

of faerie magic and lore. It can be used when creating oaths or

working enchantments, or even to create new Arts. Gremayre

gives a character essential comprehension into the in-depth
workings of all things relating to the Dreaming.

Student: You grasp only the most simple concepts

of faerie magic.
College: You can tell one cantrip from another.
Masters: You understand many of the inner
working of Glamour
Doctorate: You are well on the way to discovering
lost Arts.

Scholar: You know the deepest secrets of the

Dreaming.

Possessed by: Scholars, Sorcerers, Changeling Kings and

Queens
Specialties: Oaths, Cantrips, Enchantment, Glamour, The
Dreaming

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Channeling: The DReaming

Investigation
Whether your character is tracking down a lost relative or

investigating a crime scene, this Knowledge allows her to

recognize potential clues and know the procedure for procuring
information and records. It provides the ability to procure

Every supernatural group within the World of Darkness

hoards its secrets from the others. Lore provides for your
character's knowledge of a particular "hidden" subculture or
organization, such as Kindred, Garou or Mages.

evidence, perform forensic analysis and predict crime patterns.

When you purchase Lore for your character, you must name

Student: You are an amateur detective.

College: You are a police officer,

Masters: You are a private detective.

Doctorate: You put Mulder and Scully to shame.
Scholar: You would impress Sherlock Holmes.
Possessed by: Detectives, Insurance Investigators, Intelligence Agents, Reporters
Specialties: Criminal Psychology, Document Research,
Forensics, Serial Killers, Trailing

which subculture that Lore is in. You may purchase Lore as many
times as you can afford. For example, Mage Lore and Kindred
Lore are considered two separate Traits, and each type of Lore
is treated as its own Knowledge. Likewise, knowing about mages
does not necessarily entitle to know about vampires; each Lore
type must be bought separately.
Listed below is a sampling of variations from which you can
choose when detailing your Lore Trait. This is not a comprehensive list, and your Storyteller has the final approval on any Lores

law

specific information and details from changeling history. Dreaming Lore offers an understanding of the Dreaming, its properties
and landscape. General Occult Lore refers to knowledge related
directly to mortal cults, religious practices and mystical beliefs,

This Trait deals with knowledge of legal rights, jurisprudence and jargon. A high level in Law does not necessarily mean
that the character is certified to practice law. Many criminals
and lay people have learned about the judicial system through
self-study or personal experience.

Student: You have some practical knowledge, or

you watched "Court TV."

College: You studied pre-law, or used to sit in on

court.
Masters: You are an established lawyer, or have
made serious study.

Doctorate: You could sit on the bench.

Scholar: The next Supreme Court seat could be
yours.

Possessed by: Cops, Court Clerks, Criminals, Detectives,

Legislators
Specialties: Kithain Law and Custom, Court, Contract,
Criminal, Defense, Divorce, Litigation, Police Procedure, Prosecution

not mentioned. Changeling Lore provides your character with

such as voodoo, black magic and mysticism.

Student: You possess dubious and sketchy information.

College: You are confident in your knowledge...

you think.

Masters: You know some concrete details.

Doctorate: You learned some things that weren't
meant to be known.

Scholar: An expert, you may be considered a

liability by the subjects of the Lore.
Possessed by: Mentors, Mystics, Scholars, Spies

Variations: Changeling, Dauntain, Dreaming, Garou,

General Occult, Mages, Wraiths, Vampires

OOedicine
Medicine is the study of the human body and the various

techniques used to cure its ills. This Knowledge incorporates an

understanding of the structure and functions of the body, the
uses of medicine, and the diagnosis and treatment of diseases.
Linguistics
Many methods exist for treating patients, including acupuncLanguages supplemental to your character's native lanture, aromatherapy, homeopathy, chiropractics, medicinal
guage must be purchased through this Knowledge. Each level of
Linguistics allows your character to speak another language
fluently. It also gives the character an understanding of general

linguistics and the structure of language. With this Ability, your

character can attempt to identify accents or read lips.

Student: You speak one additional language.

College: You speak two additional languages.

Masters: You speak three additional languages.
Doctorate: You speak four additional languages.
Scholar: You speak five additional languages.
Possessed by: Diplomats, Interpreters, Scholars, World
Travelers

Specialties: Curse Words, Diplomatic, Perfect Accent,

Slang, Technical

herbalism and standard medical practices. A character may

specialize in any of these fields or assume an overall understanding of many healing methods. Medicine also implies a certain
understanding of pharmaceuticals.

Student: You can perform first aid and know

techniques for stress relief.

College: You could work as a paramedic.
Masters: A doctor, you can diagnose and treat.
Doctorate: You are a specialist, such as a surgeon.

Scholar: You have renowned healing abilities.

Possessed by: Doctors, Health Food Fanatics, Hypochondriacs, New Agers, Nurses, Paramedics, Pharmacists
Specialties: Bedside Manner, Diseases, Emergency, Homeopathy, Neurosurgery, Pharmaceuticals

ChapreR FOUR: ChaRacreR CRearion

145

Policies
An understanding of Kithain politics is essential for any

changeling involved in the machinations of court. This Knowledge represents a familiarity with the political structure of the
day, including an understanding of who is in charge and how
that person got there. It also relates to mortal politics, and can

be extremely useful when dealing with mortal authorities.

Student: You are on the peripheral or a casual

possess these particular things. This will help you to flesh out
your character and establish a more complete history and
background for her.
You can use your character's Backgrounds to obtain information, resources or favors. Some of them can be rolled in
combination with an Attribute to determine the success of
certain actions, such as bullying another changeling into following your orders (Manipulation + Title) or obtaining an

observer.

important bit of information (Charisma + Contacts).

College: You are a gossipmonger or a political

science major.

ChimeRa

Masters: You are an activist or serve in city

politics.

This Background is a catch-all for both chimerical items

and chimerical companions that a character can possess. When
purchasing this Background, the play must designate one ot
Doctorate: You serve as a baronial advisor or have both of these options on the character sheet. This can be done
a seat on the Senate.
by simply writing Chimerical Companion or Chimerical Item in

Scholar: You are a court historian; Machiavelli the appropriate space. Characters who choose to take this
would be impressed.

Possessed by: Courtesans, Lawyers, Lobbyists, Nobles,

Politicians, Protesters
Specialties: City, Congress, Heraldry, Neighborhood, Seelie
Court, Unseelie Court

The Knowledge of Science quantifies your character's

understanding of the basic sciences: physics, chemistry, botany,
biology, geology, astronomy and others. In particular, it defines

the useful application of science to make things. A general

expertise in all fields is considered applicable to levels one
through three. Once your character has four dots, she should
specialize in a particular field.

Student: You can make smoke bombs with a

chemistry set.

College: You understand the major theories and

applications of science.

clothing when she experiences her Chrysalis. Any chimerical

items she owns beyond that must be bought by sinking points

into the Chimera Background. The level of this Background

Science

Background for both may take up to five dots in both options.

Chimerical Items:
Every changeling instinctively creates a chimerical suit of

Masters: You could teach high school science

that the character possesses determines what chimerical items

the character may possess.

Basic: You own a chimerical conversation piece.

Minor: You own a chimerical item with some

benefits.

Useful: You own a useful chimerical item.

. Significant: You own a powerful chimerical item.
Incredible: You own a chimerical item of
legendary power.
Chimerical Companions:

Companions are the living chimera either bom of a

changeling's unconscious nature or purposely created through
the sculpting of Glamour. Players should consult their Storytell-

classes.
ers as to the type of Companion they have. Players should also
Doctorate: You might win a Nobel Prize one day.
be aware that higher level Companions have minds and person Scholar: You rival Albert Einstein.
alities of their own, which may come into conflict with the
Possessed by: Engineers, Inventors, Pilots, Researchers, character's goals. The number of dots a character has in Chi-

Technicians

Specialties: Astronomy, Biology, Chemistry, Engineering,

Nuclear Physics, Relativity
Other Knowledges: Alchemy, Area Knowledge, Art, Astrology, Bureaucracy, Cosmetology, Demolitions, Finance,
Genealogy, Geography, History, Journalism, Literature, Military Science, Philosophy, Poisons, Psychology, Sign Language,

Taxidermy, Theater, Theology

BachgRounds
Background Traits describe the special advantages your

character derives from her environment, including possessions,

contacts and influences. Before randomly dumping points into
whatever looks good, think about how your character came to

146

Changeling: The DReaming

merical Companion determines how many points he has to

create a companion based on the rules for chimera creation in
Chapter Seven: Glamour Systems.

Basic: You have a simple chimerical creature as a

companion. (10 Points)

Examples: A small patch of mold that bubbles obscenely on
your shoulder, a speck of light that flitters around your head, or

a sock puppet named Bob that curls up to sleep in your pocket.

Minor: You have a semi-intelligent chimerical

companion with language capabilities and its own
personality. (15 Points)
Examples: A small jeweled dragon with a smoking problem,
a giant teddy bear with a Brooklyn accent, or a talking moon cat.

Useful: You have a chimerical companion that

can speak and communicate quite well, and that
has a mind of its own, often being more of a

nuisance than a help. (20 Points)

Examples: A speed demon that looks like a chimerical

sports car, a talking chimerical ferret that hoards shiny objects,
or a small green alien that sniffs at everything it sees.
Significant: You have a highly intelligent
chimerical companion that can be of great help to
you. (30 Points)

Examples: A griffin that can fly, a unicorn that can appear

to mortals, or an owl that quotes Shakespeare and knows the
trods well enough to serve as a guide

Incredible: You have a chimerical companion

with a sharp and quick mind and extensive magical abilities. (50 Points)
Examples: An ancient djinn that can affect both the
Dreaming and the real world, or a dragon with a broad variety
of Redes at its disposal.

Conracrs
Your character knows certain people in useful places to
whom she can turn for information and assistance. The Contacts Background defines how influential these people are and

how helpful. Major contacts are friends on whom your character

can rely to provide her with accurate information in their fields.

When creating your character, you should describe her contacts

as completely as possible, with profession and area of influence.
This Trait also gives your character a number of minor
contacts. When your character wants to get in touch with a minor
contact, roll a Dice Pool equal to the number of dots you have in
Contacts (base difficulty 7). For each success, she can touch base
with one of her minor contacts. At that point, she can attempt to
bribe or charm the contact into giving her what she needs.

Basic: You have one major contact.

Minor: You have two major contacts.

Useful: You have three major contacts.

Significant: You have four major contacts.

Incredible: You have five major contacts.

DmiineRS
Changelings gather Glamour from the Dreamers they inspire or find along the way. This Background represents the
number of Dreamers your character knows and from whom he
draws Glamour. These Dreamers can be used to perform a
number of services, although they are not nearly as loyal or

efficient as a Retinue (see the Retinue Background below).

Basic: You benefit from one Dreamer.

Minor: You benefit from two Dreamers.

Useful: You benefit from four Dreamers.

Significant: You benefit from six Dreamers.

Incredible: You benefit from eight Dreamers.

ChapreR FOUR: ChaRacccR CRcarion

147

Holdings
Your character has inherited a faerie freehold. Such freeholds are greatly coveted by other Kithain, and you may be
required to spend much of your time protecting it from squatters
and other greedy changelings. Most freeholds are held by nobles,
but some freeholds belong exclusively to commoners. In rare

instances, a freehold may be secreted away and held by an

individual, but if the nobility discover it, they will more than
likely come to take it away.
The Trait rating not only reflects the size of the freehold,
but the amount of Glamour that may be gained from it each day.

Basic: You are in charge of an insignificant freehold that produces one point of Glamour.

Minor: You are in charge of a small freehold that

produces two points of Glamour.

Useful: You are in charge of a medium-sized

freehold that produces three points of Glamour.
Significant: You are in charge of a large freehold
that produces four points of Glamour.

Incredible: You are in charge of a huge freehold

that produces five points of Glamour.

OOenroR
Changelings tend to look after one another, educating and
protecting those who bave recently experienced their Chrysalises. The relationship between a changeling and his mentor is

often very close. A mentor can serve as an invaluable guide to

changeling society.
Mentors may also protect a changeling from danger and
inform him of social opportunities. However, a mentor may
expect some favors in return for the information or assistance
she provides. This could be as simple as cleaning her manor or
as perilous as protecting a faerie glen from Unseelie redcaps.

Basic: Your mentor knows little of import.

Minor: Your mentor has some noteworthy pieces

of information to share.

Useful: Your mentor has significant secrets to

share.
Significant: Your mentor has extraordinary
knowledge to pass along.
Incredible: If your mentor doesn't know it, no one
probably does.

RonemdRance
Remembrance defines your character's connection to the
Dreaming and her unconscious knowledge of the fae. Most
Kithain have very little memory of their faerie selves or of the

past lives they have lived. Those with high levels of Remembrance still retain some memories or have periodic flashbacks of
previous lives.

Anytime the character is interacting with changelings or

other creatures of the Dreaming, roll a Dice Pool equal to his
Remembrance rating. The number of successes can be added to the
character's Etiquette Dice Pool when interacting with the person

148

Changeling: The DReaming

or creature. This number of successes can also determine how well

a character understands the unwritten laws of faerie society and the
Dreaming. In the latter case, the Storyteller may offer hints as to
how the character should behave in a given situation.

Basic: You may remember hazy bits of information

when triggered by an event or other reminder.

Minor: You can glean reasonably accurate information with a reminder.

Useful: You have access to worthwhile lore; you
experience flashbacks that deliver information without a reminder.
Significant: You are able to remember remarkable
information, including memories of important
events from your past lives.
Incredible: You have an astounding wealth of information available to you, including large portions of

your past lives or even entire lifetimes.

ResouRces
The Resources Background quantifies your character's financial resources or access to such funds. The resources are not
always completely liquid, but your character can sell them to
gain money. It may take weeks or even months to do so,
depending on how much needs to be sold.
This Background also determines your character's monthly
income. Your Storyteller may ask you to define the source of
your character's income, because the well might "dry up" depending on the circumstances of the chronicle.

Basic: You might have a small savings, an apartment and a motorcycle. (Assets: $ 1,000Income:
$500/month)

Minor: You might have an apartment or condominium and a reliable rustbucket. (Assets: $8,000

Income: $l,200/month)

Useful: You might have a large savings and own a

house and a nice car. (Assets: $50,000 Income:

$3,000/month)
Significant: You are well-off and might own a large
house or rundown mansion and a new car. (Assets:
$500,000 Income: $9,000/month)

Incredible: You are a millionaire. (Assets:

$5,000,000 Income: $30,000/month)

Rerinue
Your character has one or more enchanted humans or
retainers under his sway. This Retinue answers to your character
and is under his control, either through enchantment or by some

more mundane method of control. They will tend to be loyal to

him, although some may betray him if they are ill-treated.
Members of a changeling's retinue are not infallible. You
should define them clearly and assign each a weakness. For instance, one might be very loyal, but not very skilled. Another might
be powerful, but have a very independent mind. Retinue are meant

to be characters in and of themselves. They should not be abused.

Basic: You have one member in your retinue.

Minor: You have two members in your retinue.
Treasures are mortal items that have been imbued with
Useful: You have four members in your retinue. Glamour, thus giving them the power to perform specific
Significant: You have six members in your retinue. Glamour-based effects. The Treasures Background allows your
Incredible: You have lOmembersinyourretinue. character to begin the game with a treasure already in her
possession. Many high-level treasures are unique, meaning that
Uric
there should never be more than one of their kind in a chronicle.
This Trait denotes your character's rank in changeling It might have been a gift from a mentor, an incredibly lucky find
society. Not all Kithain have a title; in fact, few rise above the at an antique shop, or a family heirloom. A treasure has both a
rank of squire, if they attain any title at all. The Title Back- mortal and a faerie appearance. For example, Behn'ir's Sword of
ground bestows little in the way of actual power, but is the most Fire appears as a normal sword to mortals whereas it has a
important source of social influence. The holding, land that is flaming blade when viewed by changelings. Since treasures are
bequeathed to a noble, is covered separately under the Holdings invested with Glamour, they have the effect of enchanting
Background, and it is quite possible to have a landless baron or mortals who touch them.
even duke.
The rating of this Trait determines the power of the
Usually only sidhe are granted titles, though it is possible for treasure. Although a treasure usually does only one thing in
commoners to gain titles, especially those of squire and knight. specific, the ratings below are listed in number of dots in an Art.
A few commoners hold higher titles, most of these granted This is to give you an idea of the types of things a treasure at that
rating can do. A treasure will only do one effect. It does not have
under the Treaty of Concord.
access to the Arts in the same way a changeling does. When

Basic: You are a squire.

determining
your character's treasure, choose one effect based

Minor: You are a knight or a lady.

Useful: You are a baron or a baroness.

Significant: You are a count or a countess.
* Incredible: You are a duke or a duchess.

on the Art you assign to it and the level that you purchase. For

example, Behn'ir's Sword of Fire is a 4-dot treasure that shatters

solid objects on contact (Holly Strike). It doesn't get all the

benefits of the Art. It still does normal damage to mortals and
ChaprcR FOUR: ChaRacreR CRearion

149

changelings. It is given one specific effect inspired by Holly

Strike. Your Storyteller has the final say in approving all

treasures and may wish to impose time constraints on both their
activation and the duration of the effect.

Basic: Common, one dot in an Art

Examples: A lucky coin (Soothsay I/Fair Fortune), rosecolored glasses (Chicanery I/Fuddle), a large horseshoe magnet
(Legerdemain 1/Gimmix)

Minor: Uncommon, two dots in an Art

Examples: A dunce cap that induces temporary amnesia
(Chicanery 2/Fugue), a thermometer that heals as it reads the
target's temperature (Primal 2/Heather Balm), a kingly scepter
that allows its carrier to command others (Sovereign 2/Dictum)

Useful: Rare, three dots in an Art
Examples: A piece of chalk that when used to draw on a flat
surface opens a portal (Wayfare 3/Portal Passage), a lump of clay
that forms itself into whatever the holder is looking at (Legerdemain 3/Effigy), a flashlight that when turned on becomes a
saber of light and causes fear in its wielder's opponent (Chicanery 3/Haunted Heart)
Significant: Unique, four dots in an Art
Examples: A shimmery veil that when worn makes the
changeling invisible (Chicanery 4/Veiled Eyes), a hammer that

will shatter any solid object (Primal 4/Holly Strike), a crystal

ball that give glimpses of the future (Soothsay 4/Augury)
Incredible: Unique, five dots in an Art
Examples: A cigarette lighter that when nicked blinks the
holder directly to whatever location he is holding in his mind

(Wayfare 5/Flicker Flash), a golden picture frame that can hold

any normal photo and which allows the carrier to look exactly
like whatever is in the current picture (Primal 5/Elder-Form)

TonpeRS
Temper Traits (Willpower, Glamour and Banality) define
three fundamental aspects of your character's make-up. A

character's Willpower rating determines how strong-willed she

is. Her Glamour rating expresses the strength of her connection
to the Dreaming and all things fae. Finally, the Banality rating
represents the extent to which she has been tainted by the banal
in the mundane world.
These Traits are used differently from other types. The
Temper Traits use a split scoring system, with each having both

a permanent and a temporary rating. A character's permanent

rating describes her total potential, whereas her temporary
rating expresses her current state of being. At character genesis,
you assign the character's permanent Temper rating based on

her seeming and any freebie points you spend in the Trait. A
character is then assumed to have a number of temporary
Temper points equal to the number of permanent Temper
points. Throughout the course of a chronicle, both a character's

permanent and temporary Temper ratings may fluctuate.

Although at times, your Storyteller will ask you to make a

roll by adding the rating of one of your Tempers to your Dice
Pool, more often than not, you will merely be spending the

150

Changeling: The DReaming

points from either your permanent or temporary score. Once

spent, these points are lost to your character, and she must

employ one of the means described in the sections below to

rebuild her score.

ConveRring Poinrs
Your character can never have more temporary Glamour
or Willpower than her permanent rating in them. This does not
apply to Banality, however, which has no cap on how much a
character can acquire.
If you have no temporary points left in one of your
character's Tempers (except Banality), then you may converta
permanent point into a number of temporary points equal to
your character's new permanent total. You cannot convert
permanent Banality in this fashion.
If your character exceeds 10 temporary Banality points,
the 10 temporary points are immediately removed and the
character gains an additional point of permanent Banality. This
represents a changeling's gradual, but inevitable slide into
mundanity.

CJJillpoujeR
Your character's temporary and permanent Willpower ratings measure her ability to control the urges and desires that
threaten to overtake her. They represent her strength of will in
the face of opposition, her ability to steel herself against manipulating forces, and her determination in the face of temptation.
Like the other Temper Traits, a character has both a temporary
and a permanent Willpower rating.
When you use a point of Willpower, you spend it from your
temporary pool, not from your permanent pool. The permanent
pool merely serves as a ceiling on the amount of spendable,
temporary Willpower that a character can have and defines her
maximum potential. Any time your character is required to make
a Willpower roll, you should use the permanent pool unless the
rule specifically says otherwise. Temporary Willpower fluctuates a
great deal during play. If a character has no Willpower left, he can
no longer exert himself the way he once did. He is mentally
exhausted and can't rouse himself enough to give a damn.
Willpower Ratings
Weak

Timid

Unassertive
Diffident
Certain
Confident
Strong-willed
Controlled
Iron-willed
Unshakable

Using CJJillpoujeR
A temporary Willpower point can purchase one automatic success on a dice roll. You may only spend one point per

turn, but it gives you a single guaranteed success. Thus it is

possible for your character to succeed automatically at any
simple action by asserting his will. The Storyteller may prohibit
such a use of Willpower in certain situations.

changelings as multi-colored flickers and tentacles of ever-chang-

does not cure the Bedlam, but only serves as a temporary fix.

uses of Glamour, see Chapter Seven: Glamour Systems.

You must spend a temporary point of Glamour each time

ing energy. Unlike an aura, raw Glamour does not radiate, but

seems to caress over and wind through things and beings, never
still, ever evolving. When imbued in a cantrip, Glamour sparks
You can spend a point of temporary Willpower to have and flickers around both the caster and the target of the cantrip.
your character avoid some instinctual or primal reaction. This For this reason, it becomes very difficult for a changeling to cast a
includes overcoming phobias, countering a supernaturally im- cantrip without all other changelings present realizing exactly who
posed urge, or controlling overwhelming emotions. You spend did it. A changeling has to be extremely subtle to hide his use of
a point of temporary Willpower so that your character can avoid Glamour from other creatures of the Dreaming.
Once infused into an item or being, Glamour becomes
the undesirable reaction and do as he pleases. However, the
Storyteller may decide that, over time, the feeling returns and more rigid, but nevertheless maintains a certain ethereal quality. For example, a chimerical sword swung through the air will
the expenditure of more points may be required.
Temporary Willpower has the ability to contain and leave a trail of shimmering Glamour behind in a wake.
control the effects of Bedlam. A special kind of insanity to which
many changelings succumb, Bedlam impedes a changeling's abil- Uses FOR QojnouR
In Changeling, a character uses Glamour to exert control
ity to think rationally and affects his perceptions. By spending a
temporary Willpower point, the character can regain some of his over the different aspects of the Dreaming, including forming
mental faculties and for a short time, his perceptions clear. This chimera and casting cantrips. For more information on the

Recovering (JJillpouieR
Permanent Willpower points may only be purchased with
experience points. A character can recover temporary Willpower, on the other hand, through a number of methods
described below.
At the end of a story (not just a game session), as
determined by the Storyteller, all characters completely regain
all their temporary Willpower up to a ceiling equal to their
permanent rating. The Storyteller may wish to restrict this if the
characters did not come away from the story with a feeling of
accomplishment and pride.

your character casts a cantrip.

Sometimes you can spend temporary Glamour in order to
extend the duration of a cantrip.
You can use Glamour to create a token in order to
enchant a mortal. To do so, the changeling invests a number of
temporary points of Glamour into a small item, such as a ribbon
or coin, equal to the number of days the changeling wishes the
enchantment to last.

Chaining QatnouR
Several methods exist which allow a changeling to regain

After a solid night's sleep, a character recovers a point of

temporary Glamour. Under only the rarest of conditions can a

temporary Willpower. She must dream, however, and the sleep

must be peaceful and uninterrupted. The character must awaken
refreshed and invigorated. If the character's sleep is troubled or
interrupted, the Storyteller has the option not to award the
temporary Willpower point.
At the Storyteller's discretion, a character may regain
temporary Willpower through the accomplishment of a goal
related to her Quest, as dictated by her primary Legacy. The
Storyteller may award from one to five temporary Willpower

changeling regain lost permanent Glamour.

Epiphany: A changeling may take Glamour from mortals
or other changelings. Epiphanies are achieved through Ravaging, Rapture or Reverie. For more on this, see Chapter Seven:
Glamour Systems.
Sanctuary: Getting a full eight hours of uninterrupted

points depending on the grandeur of the accomplishment.

must dream; if her sleep is troubled or disturbed, the Storyteller

may choose to withhold the point.

QamouR
The stuff of dreams, the magical clay, the energy of awe, the
workings of wonder, the breeze that blows the cobwebs of
disbelief from our eyes Glamour is all these things and more.
The ability to live your dreams, to perceive the true and fantastic
essence of the world, abides in Glamour. Everyone can create it,
even normal humans. Only the fae, however, have the ability to
i;ive it form, to use it, and to wield its progeny as a weapon. Only
the fae have a connection to and a command of Glamour that

no other creature shares.

Raw Glamour can take physical form, and changelings can
not only perceive it, but also see its presence. It appears to

sleep within a freehold provides a character with one point of

temporary Glamour. A freehold may only support a number of
changelings equal to twice its level. Furthermore, the character

Dross: Dross does not allow you to restore Glamour to

either your temporary or your permanent pool, however dross

can be spent in place of Glamour from your pool. See Chapter

Seven for a more in-depth explanation of dross.

Losing QlamouR
Temporary Glamour is lost by spending it to fuel the special
effects your character achieves. Permanent Glamour is lost as
your character ages. A childling who becomes a wilder loses one
permanent Glamour, as does a wilder who becomes a grump.

This marks a changeling's gradual slide toward mundanity as he

grows older.

ChapceR FOUR: ChaRacceR CReacion

151

banaliry
Television, doctors, lines at the bank, money machines,
traffic, malls all of these things carry the taint of Banality and
negatively affect changelings. Anything that removes the wonder from the eyes of a child, anything that teaches us not to
belie vc in magic or faeries is a source of Banality in the world and

is a bane to changelings. The effect of Banality upon a character

is measured by her temporary Banality rating. It describes to
what extent the mundane world has tainted the character's
ability to dream and to find wonder in the things around him.

CFFecrs oF Banaliry
If your character's temporary Banality score ever exceeds
his permanent Glamour score, he begins to slip into the Mists,
reverting to his mortal seeming and forgetting that he is Kithain.
This generally only occurs between stories, when the character
is not actively involved with other changelings.
Banality hangs over mortals and supernatural beings like
a shield of disbelief. In order to use Glamour on someone or
something, the character must fight against the target's Banality. Most humans have Banality ratings of 7 or higher.

In order to enchant someone, a changeling must first

overcome the target's Banality. The difficulty number for the
enchantment must be equal to or greater than the target's

Banality rating, at the Storyteller's discretion.

When a character attempts to affect a target with a
cantrip, the target's Banality will affect the chance of success.
The difficulty number for cantrips should reflect the target's

Banality; it should be either the normal difficulty as determined

by the Storyteller or equal to the target's Banality rating,
whichever is higher.
Beings that have a Banality rating of 8 or higher actually
physically affect changelings. Changelings may become nauseous, experience headaches or just get very edgy and belligerent. This occurs especially if a changeling spends any time in the
company of high Banality people, and gets progressively worse
the longer the changeling stays. As a general rule, normal
mortals and others with ratings of 7 or lower, do not have this
effect.

Chaining Banaliry
Gain a temporary point of Banality whenever your
character uses her own Banality to resist a cantrip.
If your character attempts to overcome a being's Banality
and fails, she gains a temporary point of Banality.

Destroying treasures and some chimera can cause your

character to gain temporary Banality.
Killing a changeling's chimerical form causes your character to gain one temporary Banality; ending the changeling's
mortal life as well adds another point of Banality.
Spending time in the company of high Banality will rub
off on your character and give her temporary Banality. At the
Storyteller's discretion, a character may gain temporary Banality based on the Banality rating of the being, item or place

JP
hma

152

Ghanryclinr/: The DRcaming

around which the changeling is spending time. As a guideline,

a character may earn a point of temporary Banality for each
point the other has above 7, per scene spent there.

The Storyteller may arbitrarily assign you temporary

Banality if she thinks your character is being too mundane.
If your temporary Banality ever exceeds 10, you gain a

permanent point of Banality.

Qetring Rid of ftonaliry

Any time a character is supposed to gain a temporary point

of Banality, he can choose to add a Nightmare die to his cantrip
pool instead. This is further described in Chapter Seven.
When you gain a temporary Glamour point, you can

choose to remove a temporary Banality point instead. The

moment when you acquire the temporary Glamour point is the

only time you can make this exchange.
With the Storyteller's approval, your character may

decide to undertake a quest that will effectively reduce his

permanent Banality. These quests usually involve an oath,
which will bind the changeling to the task and punish him for
an unsuccessful completion. Once decided upon, the quest must

character who is Hurt loses one die from his Dice Pool; a character
who is Crippled has five fewer dice to roll. If the Health penalties
leave the character with no dice left to roll, then he cannot take
that action. More information on healing and damaged can be

found in Chapter Eight: Dramatic Systems.

Bruised: (0) The character is only bruised and has no

action penalties.
Hurt: (-1) The character is mildly hurt; movement isn't

hindered.
Injured: (-1) The character has sustained a minor injury;
there is little hindrance to movement.
Wounded: (-2) The character has been seriously wounded;
he cannot run, but can still walk.

Mauled: (-2) The character has taken substantial damage;

he can barely hobble.
Crippled: (-5) The character is seriously injured and can
only drag himself, unable to stand.

Incapacitated: The character has been rendered unconscious or is so severely wounded that he is completely incapable
of action or movement.

be completed successfully, or the character gains a point of

permanent Banality rather than losing one. Any one of three
types of quests will serve this purpose, but the details of the quest

CDeRirs and ROUJS

must be approved by the Storyteller:

your Changeling chronicle. Merits provide characters with

some benefit, while Flaws act to their detriment. Some of these

The Quest of Deed: The Kithaiii must swear to undertake

some task, such as recovering a lost item or rescuing someone.
The Quest of Inspiration: An individual is chosen and the

changeling must spend the next several months or years (however long it takes) to bring that person to greatness. The Kithain
may not interfere directly in any way; she may only inspire.

The Quest of Dreaming: A changeling may attempt to

bring the Dreaming into a mortal's life. An individual is chosen,
generally one firmly entrenched in his own Banality. The
Kithain must then bring the mortal back to living with a sense
of joy, awe and wonder about the world around him, much like
the angel did in "It's a Wonderful Life." This process could take

years or a single night, as in "A Christmas Carol," depending on

the cleverness of the changeling. However, once a changeling
has brought a mortal around, that mortal becomes his responsibility, and if ever the mortal should fall back into the clutches
of Banality, the changeling has a duty to re-establish the
miracle.

Healch
Changelings pass their lifetimes in normal human bodies.
This means that damage and healing times most often affect
them the way they would any mortal. Although changelings
have access to some healing magic, they are largely dependent
on their human bodies as their only shield against damage.
A character's Health Trait measures how injured that character is. There are various levels of wounds, each applying a
different penalty to the injured character. As the character becomes more injured, his ability to perform is hindered. Thus, a

Merits and Flaws are new character Traits that add spice to

Traits will have little effect on a game beyond a dash of style;

others could unbalance a chronicle or completely change its
direction. Powerful Merits or Flaws will shape a character's

destiny and any relationships she has.

When you create a character in Changeling, you are given
15 freebie points to assign to whatever Traits you like in order
to give your character the finishing touches that make her
unique. The optional system of Merits and Flaws expands on this
idea and further allows you to personalize your character.
Merits may be purchased only with freebie points and only
during character conception. Flaws provide additional freebies

to spend, again, only during initial conception. A maximum of

seven points of Flaws may be taken, limiting potential freebie
points to a total of 22. Some Merits and Flaws have variable
point costs; these Traits offer more options for character creation.
Merits and Flaws are provided to flesh out a character and add
new story hooks and details, not to allow power-gamers to mini-

max their characters into war-machines. Players should make sure

that the Storyteller allows these options in the chronicle before
creating characters based around these options. Each chronicle is
individual and unique, so there is no telling what restrictions or

changes the Storyteller has in mind. There is no right or wrong

way, only ways that work for everyone concerned.

These Merits and Flaws deal with the psychological makeup

of your character, and may describe ideals, motivations or

ChapreR FOUR: ChaRacreR CRearion

153

pathologies. Some psychological Flaws can be temporarily ignored by spending a Willpower point, and are so noted. If you

exaggeration or just talking. A compulsion can be temporarily

avoided at the cost of a Willpower point, but it is in effect at all

possess such a Flaw and do not roleplay it when the Storyteller

other times.

thinks you should, then she may tell you that you have spent a
point of Willpower for the effort. Flaws cannot be conveniently
ignored.

DaRrs SecRer: (l poinr Flauj)

Code oF HonoR: (l poinr GDeRir)

You have some sort of secret that, if uncovered, would be of

immense embarrassment to you and would make you a pariah
among your peers. This can be anything from having murdered

You have a personal code of ethics to which you strictly

adhere. You can automatically resist most temptations that
would bring you in conflict with your code. When battling
supernatural persuasion (Mind magick, vampiric Dominate or
Chicanery) that would make you violate your code, you either
gain three extra dice to resist or your opponent's difficulties are
increased by two (Storyteller's choice). You must construct your
own personal code of honor in as much detail as you can,

a noble to secretly being a member of the Shadow Court. While

this secret weighs on your mind at all times, it will only surface
in occasional stories. Otherwise, it will begin to lose its impact.

outlining the general rules of conduct by which you abide.

the subject are increased by two. Note that some dislikes may be

HigheR PuRpose: (l poinr CDeRir)

All changelings have some vision of their path, but you
have a special commitment to it. Your chosen goal drives and
directs you in everything. You do not concern yourself with

petty matters and casual concerns, because your higher purpose

is everything. Though you may sometimes be driven by this

purpose and find yourself forced to behave in ways contrary to

the needs of personal survival, it can also grant you great

personal strength. You gain two extra dice on any roll that has

InroleRance: (l poinr Flaiu)

You have an unreasoning dislike of a certain thing. This
may be an animal, a class of person, a color, a situation or just
about anything else. The difficulties of all dice rolls involving
too trivial to be reflected here a dislike of left-handed
Lithuanian plumbers or tissue paper, for instance, will have little
effect on play in most chronicles. The Storyteller is the final
arbiter on what you can pick to dislike.

NighrmaRes: (l poinr Flacu)

You experience horrendous nightmares every time you
sleep, and memories of them haunt you during your waking
hours. Sometimes the nightmares are so bad they cause you to

lose one die on all your actions for the next night (Storyteller's

something to do with this higher purpose. Decide what your

higher purpose is, and make sure you discuss it with the Story-

discretion). Some of the nightmares may be so intense that you

mistake them for reality. A crafty Storyteller will be quick to

teller. You may not take this Merit if you have the Flaw Driving
Goal.

take advantage of this.

Addiction: (l-3 poinr Flaw)

OveRconfidenr: (l poinr Flaw)

You have an exaggerated and unshakable opinion of your

You are addicted to any one of a variety of things. A one- own worth and capabilities. You never hesitate to trust your
point Flaw would be a mild addiction to an easily obtained abilities, even in situations where you risk defeat. Because your
substance, such as caffeine, nicotine or alcohol. A two-point abilities may not be enough, such overconfidence can be very
Flaw would be either a severe addiction to any easily obtained dangerous. When you do fail, you quickly find someone or
substance, or any "mild" drug, such as painkillers, sleeping pills something else to blame. If you are convincing enough, you can
or marijuana. A three-point Addiction involves the heavy infect others with your overconfidence.
street drugs or hard-to-find drugs. The need for these drugs
varies from once a day for some to two to three times a day for Pho&ia (OOild): (l poinr Flaw)

others, depending on the strength of the drug and the addiction.

If, for whatever reason, you are denied access to the drug, you
lose the number of dice equal to the level of your addiction (one,
two or three) until you receive your "fix." If you are deprived of

the drugs for an extended length of time, you will be forced to

make a Willpower check (difficulty of 4 for the first day, + 1 for
each additional day). If you fail, you will forgo everything and
forcibly go seeking the drug. This would be an easy way for you

to be either controlled or forced to do favors for your supplier,

especially if the drug is hard to obtain due to its rarity or price.

Compulsion: (l poinr Flaiu)

You have a psychological compulsion of some sort, which
can cause you a number of different problems. Your compulsion
may be for cleanliness, perfection, bragging, stealing, gaming,

154

Changeling: The DRcaming

You have an overpowering fear of something. You instinctively and illogically retreat from and avoid the object of your
fear. Common objects of phobias include certain animals,
insects, crowds, open spaces, confined spaces and heights. You

must make a Willpower roll whenever you encounter the object

of your fear. The difficulty of this roll is determined by the
Storyteller. If you fail the roll, you must retreat from the object.

Shy: (l poinr Flaw)

You are distinctly ill at ease when dealing with people and
try to avoid social situations whenever possible. The difficulties
of all rolls concerned with social interactions are increased by

one; the difficulties of any rolls made while you are the center of
attention are increased by two. Don't expect your character to

make a public speech.

Speech Impediment (l poinr Flaoi)

You have a stammer or some other speech impediment that

hampers verbal communication. The difficulties of all relevant

rolls are increased by two. Do not feel obliged to roleplay this
impediment all the time, but in times of stress, or when dealing
with outsiders, you should attempt to simulate it. Sluagh may
not purchase this Flaw in respect to their Frailty.

CuRiosiry: (2 poinr Flaiu)

You are a naturally curious person, and find mysteries of any

sort irresistible. In most circumstances, you find that your

curiosity easily overrides your common sense. To resist the
temptation, make a Wits roll (difficulty 5) for simple things like,
"I wonder what is in that cabinet." Increase the difficulty up to

9 for things like, "I wonder what those strange sounds coming
from the Unseelie duke's freehold are. I'll just slip in and check
it out no one will ever know. What could possibly go wrong?"

Obsession: (2 poinr Flcuu)

There is something you like, love or are fascinated by to the
point where you often disregard common sense to cater to this
drive. You react positively to anything related to your obsession,
even if it's not in your best interests. For example, if you are

obsessed with supernatural creatures, you will go out of your way

to talk to and befriend vampires, werewolves and stranger
things, and find out as much as you can about them, disregarding

all warnings. If you are obsessed with Elvis, you have your house
decorated with black velvet paintings and annoy your friends
with your constant talk about the King. You don't necessarily
believe that Elvis is still alive, but you buy every supermarket
tabloid that carries an article about him anyway. There are many
other obsessions, including British royalty, guns, football,
roleplaying games...you know the type.

Sadism/GDosochism: (2 poinr Flaui)

You are excited either by causing pain or receiving it. In

many situations, you will seek either to be hurt or hurt someone

for your pleasure. For a masochist (someone who enjoys pain),
your soak roll for actual physical damage is increased by one
because you really want to feel the pain. A sadist (someone who
likes to hurt others) must make a Willpower roll (difficulty 5) to
stop combat (modified depending on how much you are into the
attack and how much you are enjoying hurting the other
person). If you fail, you are so caught up in the event that you are

unaware of anything else happening around you.

Vengeance: (2 poinr Flaai)

You have a score to settle a freehold was wiped out, a
friend was corrupted, a parent was slain.... You are obsessed with
wreaking vengeance on the guilty party. Revenge is your first
priority in all situations. The need for vengeance can only be

overcome by spending Willpower points, and even then, it only

temporarily subsides. Someday you may have your revenge, but
the Storyteller won't make it easy.

ChapceR FOUR: ChaRacrcR CRearion

155

yld CDind: (2 poinr Flaoi)

Your mind is extremely chaotic and unpredictable. As a
result you have difficulty concentrating on any one task. You
must make a Willpower roll (difficulty 4) for every extended
action roll after the second.

Flashbacks: (3 poinr Flauj)

You are prone to flashbacks if you are in either highpressure situations or circumstances that are similar to the event
that caused the flashback itself. Flashbacks can be caused by
almost any traumatorture, extended combat or repeated drug
experimentation. Either positive or negative stimulation could
result in an episode. Emotional anxiety and stress are the usual
catalysts for the flashbacks to begin. Returning to a good and
happy vision can be just as dangerous or distracting as suddenly
being surrounded by demonic hallucinations. During the flashback, you are not aware of what is really around you. Even people
speaking to you will be viewed as people or objects from the
vision. You can mistake men for women, people for animals and
even inanimate objects for people. To you, reality has shifted,
and you are back there again.

Driving Qoal: (3 poinr Flauj)

You have a personal goal, which sometimes compels and
directs you in startling ways. The goal is always limitless in

156

Changeling: The DReaming

depth, and you can never truly achieve it. It could be to restore
equality for commoners or return to Arcadia. Because you must
work toward your goal throughout the chronicle (though you
can avoid it for short periods by spending Willpower), it will get
you into trouble and may jeopardize other actions. Choose your
driving goal carefully, as it will direct and focus everything your
character does.

HorRed: (3 poinr Flauj)

You have an unreasoning hatred of a certain thing. This

hate is total and largely uncontrollable. You may hate a species

of animal, a class of person, a color, a situation or just about
anything else, and you constantly pursue opportunities to harm

the hated object or to gain power over it.

LiFesaveR: (3 poinr Flauj)

You believe that human life is a sacred gift, and will not take

a person's life except in the most extreme of circumstances. You

may not ever willingly endanger the lives of innocents or in any
way participate in a killing. You have no problems with killing
animals (for the right reasons), and will kill evil and inhuman
creatures to protect others if necessary. (Be very careful, however, with your definition of "evil"....) Senseless death in all
forms repulses you, and you feel that those who commit murder
should be punished.

Pho&ia (SeveRe): (3 poinr Flauj)

You have an overpowering fear of something. Common
objects of fear include certain animals, insects, crowds, open
spaces, confined spaces, heights and so on. You must make a
Willpower roll not to freak out when faced with the object of your
fear. The difficulty depends on the circumstances. If you fail the

roll, you must retreat in terror from the object of fear. If you score
less than three successes, you will not approach it. The Storyteller
has final say over which phobias are allowed in a chronicle.

CDenral
These Merits and Flaws deal with the mind, its strengths,
weaknesses and special capacities. These Merits and Flaws should
be carefully considered before taken because of the degree of effect
they may have both on the character and on the story.

Common Sense: (l poinr GDeRir)

You have a significant amount of practical, everyday wisdom.
Whenever you are about to do something contrary to common
sense, the Storyteller should alert you to how your potential action
might violate practicality. This is an ideal Merit if you are a novice
player because it allows you to receive advice from the Storyteller
concerning what you can and cannot do, and (even more importantly) what you should and should not do.

ConcenrRorion: (l poinr CDeRir)

You have the ability to focus your mind and shut out any
distractions or annoyances, above and beyond the norm. Any
penalty to a difficulty or Dice Pool arising from a distraction or
other inauspicious circumstance is limited to two dice, though

no extra benefits are gained if only one penalty die is imposed.

lightning CalculoroR: (l poinr GDeRir)

You have a natural affinity with numbers and a talent for
mental arithmetic, making you a natural when working with
computers or betting at the racetracks. The difficulties of all
televant rolls are decreased by two. Another possible use for this
ability, assuming you have numbers on which to base your
conclusions, is the ability to calculate the difficulty of certain
tasks. In appropriate situations, you may ask the Storyteller to
estimate the difficulty rating of a task you are about to perform.

Gdetic CDemoRy: (2 poinr GDeRir)

You can remember things seen and heard with perfect
detail. By gaining at least one success on an Intelligence +
Alertness roll, you can recall any sight or sound accurately, even
if you heard it or glanced at it only once (although the difficulty
of such a feat would be high). Five successes enable you to recall
an event perfectly: The Storyteller relates to you exactly what
was seen or heard.

kon (JJill: (3 poinr GDeRir)

When you are determined and your mind is set, nothing can
divert you from your goals. You cannot be Dominated, and

wraiths, mages and other changelings using mental attacks

against you gain an additional + 3 to their difficulties if you are

aware of them and resisting. However, the additional mental
defense costs you one Willpower per turn. Even if you are
unaware of the attempt, anyone attempting to magically influence you must add + 1 to their difficulty.

SelF-ConFidenr: (5 poinr CDeRir)

When you spend a point of Willpower to gain an automatic
success, your self-confidence may allow you to gain the benefit of
that expenditure without actually losing the Willpower point.
When you declare that you are using a point of Willpower and roll
for successes, you do not lose the point of Willpower unless you fail.
This will also prevent you from botching, but only if you declare
that you are spending the Willpower point before you roll. This
Merit may only be used when you need confidence in your abilities
in order to succeed. You can use it only when the difficulty of your
roll is 6 or higher. You may spend Willpower at other times;

however, if the difficulty is 5 or less, the Merit will not help you.

Amnesia: (2 poinr Flauj)

You are unable to remember anything about your past,
yourself or your family. Your life is a blank slate. However, your
past may some day come back to haunt you, and the Storyteller
is under no obligation to be merciful. (You can, if you wish, take
up to five points of other Flaws without specifying what they are.
The Storyteller can supply the details. Over the course of the

chronicle, you and your character will slowly discover them.)

Confused: (2 poinr Flauj)

You are often confused, and the world seems to be a very
distorted and twisted place. Sometimes you are simply unable to
make sense of things. You need to roleplay this behavior all the
time to a small degree, but your confusion becomes especially
strong whenever stimuli surround you (such as when a number
of different people talk all at once, or you enter a nightclub with
loud, pounding music). You may spend Willpower to override
the effects of your confusion, but only temporarily.

A&senr-CDinded: (3 poinr Flacu)

Though you do not forget such things as Knowledges or
Skills, you do forget such things as names, addresses and the last
time you gained Glamour. In order to remember anything more

than your own name and the location of your freehold, you need
to make a Wits roll or, as a last resort, spend a Willpower point.
This Flaw may not be taken with the Merit Concentration.

These Merits and Flaws involve perception (or the lack

thereof).

Aeure Senses: (l poinr CDeRir)

You have exceptionally sharp hearing, smell, vision or
taste. The difficulties of all dice rolls that relate to the sense in
question (e.g., Perception + Awareness to hear a faint noise,
taste poison in food or see an oncoming attacker) are decreased
by two.

ChapreR FOUR: ChaRacteR CReaclon

157

ColoR blindness: (l pr Flaui)

CDechanical Aprirude: (l poinr CDeRir)

You can only see in black and white. Color means nothing
to you, although you are sensitive to color density, which you
perceive as shades of gray. Note: color blindness actually indicates an inability to distinguish between two colors, but we
fudged a bit for the sake of playability.

You are naturally adept with all kinds of mechanical devices (note that this aptitude does not extend to electronic
devices, such as computers). The difficulties of all dice rolls to
understand, repair or operate any kind of mechanical device are
reduced by two. However, this Merit doesn't help you drive any
sort of vehicle. This Merit affects a characters aptitude with
chimerical mechanical objects just as well as the mundane.

oF HeaRing: (1 poinr Flaiu)

Your hearing is defective. The difficulties of all dice rolls
related to hearing are increased by two. You may not take the
Merit Acute Hearing if you take this Flaw.

Bad Sighr: (2 poinr Flaw)

Your sight is defective. The difficulties of all dice rolls
related to vision are increased by two. This Flaw is neither nearsightedness nor farsightedness it is a minor form of blindness.
The impairment is not correctable.

DeaF: (4 poinr Flauj)

You cannot hear sound, and automatically fail any rolls that
require hearing.

Blind: (6 poinr Flacu)

You automatically fail all dice rolls involving vision. You
cannot see the world of color and light is lost to you.

Aprirudes
These Merits and Flaws establish special capacities and
abilities for your character, or modify the effects and powers of
your character's other Traits.

Animal CDagnerism: (l poinr CDeRir)

You are especially attractive to others. You receive a - 2 to
your difficulty on Seduction or Subterfuge rolls. However, this
will aggravate others of your gender.

Ann&ide;crRous: (l poinr CDeRir)

You have a high degree of off-hand dexterity and can
perform tasks with the "wrong" hand at no penalty. The normal
penalty for using both hands at once to perform different tasks
(e.g., fighting with a weapon in each hand) is at a + 1 difficulty
for the "right" hand and a + 3 difficulty for the other hand.

CompureR Aprirude: (l poinr CDeRir)

You have a natural affinity with computers, so the difficulties of all rolls to repair, construct or operate them are reduced
by two.

CRack DRIVCR: (l poinr CDeRir)

You have a natural affinity with driving motorized wheeled
vehicles, such as cars, 18-wheelers and even tractors. The
difficulties of all rolls requiring risky or especially difficult
driving maneuvers are reduced by two.

Changeling: The DReaming

Poison Resisrance (l poinr CDeRir)

You have, for some reason or another, become resistant to
poisons. It could be that you are somehow naturally resistant, or
that you have spent years building up your resistance against all
known types of poisons. Any time you need to make a soak roll
against the effects of a poison or toxin, reduce your difficulty by
three.

NaruRal Linguisr: (2 poinr CDeRir)

You have a flair for languages. This Merit does not allow
you to learn more languages than the number permitted by your
Linguistics score, but you may add three dice to any Dice Pool
involving languages (both written and spoken).

DaRedevil: (3 poinr CDeRir)

You are good at taking risks, and are even better at surviving
them. All difficulties are - 1 whenever you try something
particularly dangerous, and you can ignore one botch result
when you roll "ones" on such actions (you can cancel a single

"one" that is rolled, as if you have an extra success).

Fosr LeaRneR: (3 poinr CDeRir)

You learn very quickly, and pick up on new things faster
than most do. You gain one extra experience point at the
conclusion of each story (not each game session).

PeRFecr Balance: (3 poinr CDeRir)

Your sense of balance has achieved great heights by constant training or inherited traits. It is very unlikely that you will
ever fall during your life. You may trip, but you will always catch
yourself before you fully lose your footing or handhold.

This Merit functions for such actions as tightrope walking,

crossing ice and climbing mountains. All difficulties involving
such feats are reduced by three. It would take a lot to push or
shove a character off his feet if he has this Merit.

]ach>-OF-Al1-TRades: (5 poinr CDeRir)

You have a large pool of miscellaneous skills and knowledge
obtained through your extensive travels, the jobs you've held, or

just all-around know-how. You automatically have one dot in

all Skill and Knowledge Dice Pools. This is an illusory level, used
only to simulate a wide range of abilities. If you train or spend

experience in the Skill or Knowledge, you must pay the point

cost for the first level a "second time" before raising the Skill or
Knowledge to two dots.

SupeRnoruRal

These Merits and Flaws are different kinds of supernatural

benefits or detriments. Because of the potential of these particular Traits, the Storyteller may not allow you to choose from this
category ask before you pick one. Furthermore, you should

not select such Traits unless they firmly fit your character
concept, and you can explain why your character possesses
them. In general, we do not recommend that anyone have more
than one or two supernatural Merits or Flaws they should be
strictly controlled by the Storyteller.

Qeos: (1-5 poinr Plain)

You are under some kind of geas at the beginning of play,
most likely a Ban, but possibly a long-term quest. This geas may
be a family curse or duty that you have inherited, or it may have
been imposed on you by a changeling using the Sovereign Art.

The difficulty of the geas determines how great a Flaw it is.

Something minor, such as a Ban against harming animals or a
requirement to give occasionally to charity, would only be
worth one point. More difficult geasa are worth more points. A
five-point geas is something that rules your entire life, like a Ban

against sleeping in the same place more than one night or a quest
that requires you to render aid to anyone in need you encounter.

The Storyteller decides the exact value of whatever geas you

choose.

SuRReal Qualiry: (2 poinr Flaiu)

Though the Mists still protect you from mortal detection,
there is something about you that mortals find fascinating. At

inappropriate times, they will stare at you and strike up conversations in the hopes of getting to know you better. Worse still,
those mortals who are of less savory nature will choose you over
other potential targets for their illicit acts.

Cchoes: (2-5 poinr Flaui)

Your connection to the Dreaming is stronger than in most
of the Kithain. As a result of this powerful connection, you are
more susceptible to the ancient wives' tales of things which
traditionally affect faeries. While Echoes is purchased as a Flaw,
it often has some beneficial side effects. The points received
with this Flaw reflect the level of your connection to the

Dreaming and even to Arcadia. You must have Storyteller

approval in order to take this Flaw. The effects of this Flaw are
cumulative. A character with a five-point Flaw also suffers the
setbacks of the two through four-point Flaws.
Minor: Salt thrown over the shoulder for good luck offers
a mortal from faerie powers. The same is true of bread. Any
mortal who does so cannot be affected by your cantrips in any
way for the duration of the scene. You may physically hurt the
person, but cantrips simply do not work, or worse, they may well
backfire. Additionally any mortal knowing your full name can
command three tasks from you, which you must accomplish
before you can be freed of that mortal's influence. However, you
need only follow the exact wording of the mortal's request, not
the desire behind the request. (Two points)

ChapreR FOUR: ChaRacreR CReacion

159

 Moderate: You may not enter a home without invitation,

unless you perform some small favor for the owners of the
dwelling. However, the invitation to enter a home may come
from anyone at all, it need not be the owner. Cold iron in a
residence will bar you from entering the place whether you are
invited or not; religious symbols have the same effect. Religious
symbols of any sort will prevent you from physically or magically
affecting mortals. The sound of ringing church bells causes you
pain, just as cold iron does (at this level there is only pain, but
as a four-point Flaw, the changeling gains one point of Banality

ii

kon Resisrance: (4 poinr CDeRir)

Cold iron has no physical effect on you. You may touch cold
iron and feel no excruciating pain, not even a tingle. However,
constant exposure to the metal will still cause you to suffer
Banality. This is a double-edged sword, as you may not realize
when you are sitting on a cold iron bench or leaning against a
fence made of the foul metal. A Perception + Intelligence roll
(difficulty 7) is required to avoid exposing yourself to the
dangerous element in any new setting where it is present.

for every turn he is forced to endure the sound). (Three points)

Serious: Four-leaf clovers in the possession of a mortal
prevent you from using your Arts against that mortal for good or
for bad. However, four-leaf clovers picked by you are sure to
bring good luck (you cannot botch, or perhaps you temporarily
gain the favor of a powerful individual) for as long as the petals
of the clover remain intact. The clover must be worn or carried
in order for this luck to remain. Any mortal wearing their coat
inside out is invisible to you. You may not cross running water,
save by means of a bridge. Religious symbols are now repellent

RegeneRorion: (7 poinr CDeRir)

to you, forcing you away from those who wear them, The shadow
of a cross falling upon your person causes one Health Level of
chimerical damage for each turn the shadow touches you. You
may no longer enter holy ground without suffering chimerical
injuries (one Health Level per turn), though this damage may be

In some cases this is of benefit, but more often than not this Flaw
causes problems. Chimerical beasts on a rampage will tend to

soaked. (Four points)

Extreme: Wherever you dwell, mushrooms tend to
bloom in a faerie ring even on your plush carpet. The Mists

Your faerie nature is very strong, and as a result you heal

much faster than other Kithain. For every turn spent resting, you
recover one Health Level of chimerical damage. Physical wounds

can be regenerated at a rate of one Health Level per hour. While

in a freehold, your wounds heal at twice this speed. Wounds
inflicted by cold iron are not affected by this Merit.

ChimeRical CDagner: (5 poinr Flam)

For some reason, chimera notice you more often than usual.

turn on you before attacking others. Nervosa find you irresistible, and sprites of all types surround you constantly, often
making you the butt of their harmless but annoying pranks.

Posr Life: (1-5 poinr CDeRir)

chimerical weapons can cause damage to anyone, even mortals.

People will likely follow you if you request it, often gaining a
dazed look and following you even into dangerous situations.

You can remember one or more of your previous incarnations. This can be as simple as constant deja vu in places known
to your past lives, or as complex as conscious, waking memories
of being another person. In practical terms, this means that your
character (and therefore you the player) knows slightly more
about whatever situations the dead memories contain. You
might know your way around the past life's hometown, or back
away from your murderer without knowing why. This is a good

Your difficulties in casting cantrips might be reduced by a

Background for beginning players; the Storyteller can tell them

no longer hide your powers. Many people will remember you if

you use your Glamour while around them. Chimerical creatures
tend to become more real for you than for others, and their

attacks cause real and permanent injury. By the reverse, your

substantial amount (Storyteller's discretion), but those wearing

cold iron or religious symbols are immune to any Arts you might

that something they are about to do is stupid, dangerous or both,

because even if the character wouldn't logically know that, one
use. You must make a Willpower roll (difficulty 7) in order to of her past lives might. However, this Background cannot be
enter holy ground. Even if you succeed in your Willpower roll, used to "remember" Abilities.
actual physical damage (one Health Level per turn) occurs
The Storyteller can, and likely should, take the opportunity
whenever you enter holy ground. (Five points)
to flesh out one or more of these past selves with you. Unless the
memory is very detailed, your character isn't likely to know
kon AtteRgy: (3-5 poinr Flauj)
everything about that past.
Most of the Kithain only suffer pain and Banality when in
One point Deja vu memories of one life
contact with cold iron. You suffer from actual wounds. Cold
Two points Dreamy, vague memories of one life, with
iron reacts like superheated steel when touching your skin. The
deja vu from several lives
very least you will endure is severe blistering. For each turn in
Three points Vague memories of several lives and one
contact with iron, you suffer one Health Level of chimerical
or two well-remembered impressions from one life
damage. As a four-point Flaw, you take one Health Level of real
Four points Several well-remembered impressions
damage every three turns in contact with cold iron. As a fivefrom
many lives
point Flaw, you suffer this damage if you stand within a foot of
Five points A clear but broken thread of memories
the iron and you will take one Health Level of aggravated

damage for every turn spent in contact with cold iron.

160

Chantjelinty: The DReaming

back to the Mythic Age and beyond...

IRUC Love: (l poinr CDeRir)

CDedium: (2 poinr CDeRir)

You have discovered, and possibly lost (at least temporarily) a true love. Nonetheless, this love provides joy in an arid
existence usually devoid of such enlightened emotions. Whenever you are suffering, in danger or dej ected, the thought of your
true love is enough to give you the strength to persevere. In game
terms, this love allows you to succeed automatically on any

You possess the natural affinity to sense and hear spirits,

ghosts and shades. Though you cannot see them, you feel their
presence and are able to speak with them when they are in the
vicinity. It is even possible for you to summon them (through
pleading and cajoling) to your presence. Spirits will not simply
aid you or give you advice for free they will always want
something in return.

Willpower roll, but only when you are actively striving to

protect or come closer to your true love. Also, the power of your
love may be powerful enough to protect you from other supernatural forces (Storyteller's discretion). However, your true

love may also be a hindrance and require aid (or even rescue)
from time to time. Be forewarned: this is a most exacting Merit
to play over the course of a chronicle.

DangeR Sense: (2 poinr CDeRir)

You have a sixth sense that warns you of danger. When
you are in danger, the Storyteller should make a secret roll
against your Perception + Alertness; the difficulty depends on
the remoteness of the danger. If the roll succeeds, the Storyidler tells you that you have a sense of foreboding. Multiple
Miaosses may refine the feeling and give an indication of
direction, distance or nature.

SpiRir CDenroR: (3 poinr CDeRir)

You have a ghostly companion and guide. This spirit is able
to employ a number of minor powers when it really struggles to
exert itself (see Haunted, below), but for the most part, its benefit
to you is through the advice it can give. This ghost is the

incorporeal spirit of someone who was once living, perhaps even

someone particularly famous or wise. The Storyteller will create
the ghost character, but will not reveal to you its full powers and

potencies. Mentors of this sort are not true Mentors of the Arts,
but might give special insights into aspects of mortal life that
changelings have missed or forgotten. (Further ideas for this
Merit can be obtained from Wraith: The Oblivion.)

ChapreR FOUR: ChaRacreR CRearion

161

(JJeRecuolF/VimpiRe Companion:
(3 poinr CDeRir)

ThRotu&ack (1-5 poinr Flacu)

You have a friend and ally who just happens to be a

werewolf or vampire. Though you may call upon this being in

fears come back to haunt you in your dreams, and you have

One or more of your past lives still affects you... badly. Their

flashbacks of their worst memories (such as their death, or, even

time of need, she also has the right to call upon you (after all, you worse, a personality that encroaches on your own). For bad
are friends). Neither your kind nor hers appreciate such a dreams or flashbacks, take one to two points depending on the
relationship; while changelings deal with the Prodigals often, all severity of the condition and how much it will affect your studies
sides share a healthy distrust of each other. Your friend will not or performance in dangerous situations. For a "roommate in your
become a walking Glamour battery for greedy changelings. head," take three points (whether you know he exists or not).
Such relationships often end badly.... The Storyteller will For the package deal and a truly miserable existence, take five
create the character in question, and will not reveal its full points, but expect the Storyteller to take every opportunity to
use these against you. This Flaw can be "worked off during the
powers and potencies.
course of play, but only with difficulty.

Luck (3 poinr CDeRir)

CuRsed: (1-5 poinr Flauj)

You were born lucky; either you have a guardian angel, or

You have been cursed by someone or something with
maybe the Devil looks after his own. Either way, you can repeat
supernatural
or magical powers. This curse is specific and
three failed non-magical rolls per story. Only one repeat attempt
detailed.
It
cannot
be dispelled without extreme effort, and it
may be made on any single roll.
can be life-threatening. Some examples follow:
(Jn6onda61e: (4 poinr GDeRir)
If you pass on a secret that was told to you, your betrayal
You are immune to being Blood Bound. No matter how
much vampire blood you drink, you will never be Bound to one.
This is exceedingly rare, and the Merit should be carefully

considered by Storytellers before it is allowed into the game.

ARr AFFiniry: (5 poinr CDeRir)

You are able to utilize one of the Arts with a greater degree
of ease than other changelings. In a previous incarnation, you
were extremely proficient in one of the Arts so much so that
you have managed to draw a small portion of that knowledge
through into this lifetime.

Select an Art; when spending experience points to gain

levels in that Art, you pay three-quarters the normal cost. This
Art must be declared during character conception. Of course,
this Merit may only be purchased once.

FaeRie CreRniry: (5 poinr CDeRir)

After you went through your Chrysalis, you had a birthday,
and then another, and then another. Something was strange,
however you didn't seem to be growing or getting older. You
are touched with a vestige of the immortality that used to be the
birthright of all fae. As long as your fae seeming is active, you will
age at one-tenth that of a normal human or changeling. Should

your fae seeming be permanently destroyed, or should you

retreat into Banality, you will begin to age normally.

CjuaRdion Angel: 16 poinr CDeRir)

Someone or something watches over you and protects you
from harm. You have no idea who or what it is, but you have an
idea that someone is looking out for you. In times of great need,

will later harm you in some way. (One point)

You stutter uncontrollably when you try to describe what
you have seen or heard. (Two points)

Tools often break or malfunction when you attempt to

use them. (Three points)
You are doomed to make enemies of those to whom you

become most attached (so whatever you do, don't get too close
to the other characters!). (Four points)

Every one of your accomplishments or achievements will

eventually, inevitably, become soiled and fail in some way. (Five
points)

CDysrical PRohi&irion OR ImpeRorive:

(1-5 poinr Flaiu)
There is something you must or must not do, and your life,
your luck, your magic and perhaps your very soul depends on it.

It may be something that has always been upon you, a geos

prophesied by Druids at your birth, a sacred oath or vow you
swore, or a promise or bargain you made. Someone (with a capital
S) witnessed it and is going to hold you to it. If you disobey, the
consequences will be dire, if not deadly.
Characters may have several magical prohibitions or imperatives, and these may come into conflict. In Celtic myth,

Cuchulainn had the geas to "Never refuse hospitality" and

"Never eat dog meat." Three hags once offered him roast dog for
dinner, and Cuchulainn died soon after. Consequently, most
changelings keep their magical prohibitions and imperatives
secret, lest they be used against them by enemies.

Storytellers should examine each prohibition or impera-

you may be supernaturally protected. However, one can never

tive and assign a point value to it, as well as to the punishment

count upon a guardian angel. The Storyteller must decide why

you are being watched and what is watching you (not necessarily
an angel, despite the name).

for violating it. Easily avoided circumstances, such as "Never

break bread with a red-haired man," are worth one point, while
more common, or difficult, things, such as "Stop and pet every
cat you see," are worth two points, and particularly drastic or

162

Changeling: The DReaming

dangerous circumstances, such as "Never back down from a

fight," are worth three (or more) points. Consequences are
worth points as well. Automatically botching the next major

cantrip you do is worth one point, having bad luck for the rest
of your life is worth two, losing all your friends and worldly
possessions is worth three, dying is worth four, and being
deserted by your faerie soul five. Characters and Storytellers may
come up with variants of these.
Traditionally, there is very little that may be done about

The BaRds Tongue: (l poinr Flauj)

You speak the truth, uncannily so. Things you say tend to
come true. This is not a facility for blessing or cursing, or an
Effect that can be ruled by any conscious control. However, at
least once per story, an uncomfortable truth regarding any
current situation will appear in your head and through your lips.

To avoid speaking prophecy, you must expend a Willpower

point and take a Health Level from the strain of resisting
(especially if you bite a hole in your tongue).

j>eas, which are simply facets of one's destiny, and curses are

devilishly hard to lift (and the Flaw must be bought off if they
are). Characters who accidentally violate them may attempt
to atone for their crime, fixing whatever they did wrong. A
witch who has vowed to never eat any red meat, and then
suddenly finds beef in her soup, might be able to atone for the
trespass by fasting and sending checks to PETA. However, if a
changeling violates an oath willingly and with full knowledge
and survives he becomes an oathbreaker, one of the
foulest epithets among changelings. Oathbreakers are psychically marked. It is virtually impossible for them to find a tutor
or any sort of aid.
Characters who wish to begin as oath-breakers should take

the Flaw Dark Fate or some curse, as well as Oathbreaker, worth

four points.

Haunred: (3 poinr Flacu)

You are haunted by a ghost that only you (and mediums) can
see and hear. It actively dislikes you and enjoys making your life
miserable by insulting, berating and distracting you, especially

when you need to keep your cool. It also has a number of minor
powers it can use against you (once per story for each power):

hiding small objects; bringing a "chill" over others, making them

very ill at ease with you; causing a loud buzzing in your ear or the
ears of others; moving a small object such as a knife or pen;
breaking a fragile item such as a bottle or mirror; tripping you or
making eerie noises, such as chains rattling. Yelling at the ghost
can sometimes drive it away, but it will confuse those who are
around you. The Storyteller will likely personify the ghost in order

to make things all the more frustrating for you. (More ideas for this
Flaw can be obtained from Wraith: The Oblivion.)

ChapreR FOUR: ChaRacreR CRearion

163

Poeric HeaRr: (3 poinr CDeRir)

Changelings Cyes: (l poinr Flaiu)

You have a truly inspired soul within you. You are destined
to be a great hero or artist, and therefore Glamour shields you
from the ravages of Banality. At times you may even be able to
stave off the tide of Banality. You may make a Willpower roll

Your eyes are a startling color, maybe emerald green, violet

or yellow. This is a sign you are a changeling, recognizable to
those who know the ancient lore.

(difficulty equal to the character's permanent Banality to avoid

gaining a point of temporary Banality once per story.)

QeaRed CDisrs: (3 poinr Flaiu)

The Mists are the effect of the Shattering on the human
world. It cloaks the powers and enchantments of the Kithain,
hiding their presence in its tendrils. Unfortunately, the Mists do
not hide your magic or abilities. Should a mortal witness your
actions, he will not forget the effects of your Arts or other fae
abilities. As a result, you may reveal your nature to the mortal
world, triggering dire consequences for the rest of the Kithain.

ChitneRical Disa&iliry: (1-3 poinr Flauj)

Part of your fae mien is damaged and no longer exists due

(JJinged: (2 poinr Flauj/^r poinr OOeRir)

You have beautiful wings, be they feathered bird's wings
or batwings or colored butterfly wings. They are chimerical,
but they need to be free, or they will subtract one die from
Dexterity rolls. You may have to explain why you have cut
slits in all of your coats. If you have taken this as a Flaw, you
are not able to fly, but you do get an extra die if you are the
recipient of the cantrip Wind Runner (Wayfare 3). If you
have taken this as a Merit, you may indeed fly for short
periods of time. This power works as any other use of
Glamour when only Kithain are present, but will not work
in the presence of mortals.

Seeming 8 Blessing: (5 poinr OOeRir)

to a past altercation. This disability is permanent. Examples of

All of your Birthrights affect your mortal seeming as well as

this Flaw would be a chimerical hand missing, therefore you

cannot pick up chimera with that hand (two points). Your fae

your fae mien. They even function normally in the presence of

mortals. A sidhe would have her extra dots in Appearance, a

mien is missing one eye, therefore your view of chimera lacks

satyr would get his extra stamina and speed, trolls would get their

depth perception (three points). One of your chimerical legs is

missing; you can still walk, but it becomes extremely difficult to
ride a chimerical creature (one point).

extra strength, etc.

164

Changeling: The DReaming

Slipped Seeming: (1-5 poinr Flaui)

Your fae seeming bleeds into your mortal seeming and
makes you obvious to those mundanes who know what to look

for. A one-point would be a slight bluish cast to the skin of a

troll, and a five-point would be a pair of satyr's horns. This may
make it difficult to explain yourself to mortals: "Ah, my
friend... obviously got his head caught in a mechanical ricepicker, and fortunately there was a skilled plastic surgeon

nearby...." This Flaw does not give you the benefits of certain
portions of your fae mien (Goats legs will not allow you to run
at advanced speeds, etc.).

DakH Fare: (5 poinr Flacu)

You are doomed to experience a most horrible demise or,
worse, suffer eternal agony. No matter what you do, someday you
will be out of the picture. In the end, all your efforts, your
struggles and your dreams will come to naught. Your fate is
certain, and there is nothing you can do about it. Even more
ghastly, you have partial knowledge of this, for you occasionally
have visions of your fate and they are most disturbing. The
malaise these visions inspire in you can only be overcome
through the use of Willpower, and the malaise will return after
each vision. At some point in the chronicle, you will indeed face
your fate, but when and how is completely up to the Storyteller.
Though you can't do anything about your fate, you can still

attempt to reach some goal before it occurs, or at least try to

make sure that your friends are not destroyed as well. This is a
difficult Flaw to roleplay; though it may seem as if it takes away

all free will, we have found that, ironically, it grants freedom.

Combining this Flaw with the Destiny Background is very
appropriate Elric and Vanyel are classic literary examples.

Psychic VampiRe: (5 poinr Flacu)

The spark of life is dying within you and must be continually fed from outside forces. You are a psychic vampire. Plants
and insect life wither or die in your presence as you feed on their
energies, and any person you touch for more than an hour will

Changeling lies
These Merits and Flaws deal with the place, position and
status of a character within changeling society.

boon: (1-3 poinr OOeRir)

A noble owes you a favor because of something either you

or your mentor once did for him. The extent of the boon owed
to you depends on how many points you spend. One point would
indicate a relatively minor boon, while three points would
indicate that the noble probably owes you his life.

PResrigious CDenroR: (l poinr CDeRir)

Your mentor had or has great Status among the Kithain,
and this has accorded you a peculiar honor. Most treat you

respectfully as a result, while some have only contempt for you,

believing you to be merely riding your mentor's coattails. This
prestige could greatly aid you when dealing with elders acquainted with your mentor. Indeed, your mentor's contacts may
actually approach you at some point offering aid. Although your
mentor might no longer have contact with you, the simple fact
of your apprenticeship has marked you forever.

Repurarion: (2 poinr CDeRir)

You have a good reputation among the changelings of your
Court. This may be your own reputation, or it may be derived

from your mentor. Add three dice to any Dice Pools involving
social dealings with others of your Court. A character with this
Merit may not take the Flaw Notoriety.

Cnemy: (1-5 poinr Flaiu)

You have an enemy, or perhaps a group of enemies. Someone wants to harm you. The value of the Flaw determines how
powerful these enemies are. The most powerful enemies (kings
or elder vampires) would be five-point Flaws, while someone
nearer to your own power would be worth only one point. You
must decide who your enemy is and how you earned such enmity

in the first place.

suffer one non-aggravated Health Level as you siphon away his

life. Those already injured (including those whose Bruised

Infamous CDenroR: (l poinr Flacu)

Health Level has been sucked away) will not heal while in your
presence. You can still be in the same building without harming
someone, but sharing a bed is not possible unless you want the

Your mentor was, and perhaps still is, distrusted and disliked by many of your fellow changelings. As a result, you are
distrusted and disliked as well. This is a heavy load, and one not

other person to slowly die. If you do not feed the emptiness

easily shed.

within yourself at least once a day, you will begin to die. The rate
at which you take wounds follows the progression for natural
healing in reverse: you take a Health Level after one day, a
second in three days, a third in a week, a fourth in a month, and,
finally, one wound every three months.

Sidhes CURSC: (5 poinr Flacu)

The sidhe live in mortal terror of Banality, due to the fact it
can take root in their souls much more easily than any other of the

kith. Unfortunately although you are not sidhe, you are subject to
this frailty as well. You gain two points of Banality for every one
given by the Storyteller. Sidhe characters may not take this Flaw.

Insane CDenroR: (l poinr Flacu)

Your mentor has completely lost his grip on reality, and bas
become lost to Bedlam or dangerously insane. Any wrong committed by your mentor may affect your reputation, and some of your

mentor's dangerous schemes may somehow involve you.

OOenroRS Resenrmenr: (l poinr Flacu)

Your mentor dislikes you and wishes you ill. Given the
smallest opportunity, your mentor will seek to do you harm, and
may even attack you if provoked. Your mentor's friends will also
work against you. Good luck!

ChapccR FOUR: ChaRacceR CRearion

165

Huisred AppRenriceship: (l poinr Flaui)

Judicial lies: 12 poinr CDcRir)

Your mentor was quite malevolent and taught you all the

You have both influence over and contacts in the justice

wrong things about Kithain society. Your concepts of changeling politics are all wrong, and your faulty beliefs are likely to get
im you into a great deal of trouble. Over time, after many hard
lessons, you can overcome this bad start (the Storyteller will tell
you when). But until then, you will continue to believe what you

system. You know most of the judges as well as the attorneys in

were first told, no matter how others try to "trick" you into
thinking otherwise.

Diabolical GDenroR: (2 poinr Flaiu)

Your mentor is engaged in acts that could cause a tremendous uproar. She could be ignoring unabashed Unseelie activity

or worse. Plenty of folks are after your mentor's hide, and you
may be tarred with the same brush.

NoroRiery: (3 poinr Flacu)

the prosecutor's department, and can affect the progress of

various cases and trials with limited difficulty. Though it is

difficult to intervene in a case, you can influence it in one
direction or another. These ties can also make it easy to acquire

search warrants.

CDansion: (3 poinr GDeRir)

You own a large mansion a home with 25 or more rooms
as well as the surrounding estate. The servants, if you have

any, are provided for if you choose this Merit, although they
cannot be used as Dreamers or Retainers unless you purchase the
appropriate Background. The mansion is assumed to have the
most current electronic security available and a fence around

You have a bad reputation among your peers; perhaps you

violated the protocols once too often, or belong to an unpopular
freehold. There is a two dice penalty to all dice rolls for social

the perimeter, but does not have access to a trod (see the
Freehold Background for such a place). While the mansion can
be in as poor or as good a shape as you wish, the more inhabited
it appears to be, the more attention it will garner. A ghost house

dealings with associated changelings. A character with this

won't attract IRS audits, but it may attract police scrutiny if

Flaw may not take the Merit Reputation.

bands of strange kids hang out there.

CDoRra! Sociery

CDedia Ties: (2 poinr OOeRir)

These Merits and Flaws deal with the influence, power and
station of a character among mortals. Some of them correspond

You have both influence over and contacts in the local

media. You can suppress and create news stories (though not
always with 100 percent efficiency; journalists are an unruly
bunch), and you have access to the files and gossip of the staffs
of newspapers and TV stations.

very closely to certain Background Traits (such as Influence and

Resources), while others simply elaborate and expand upon

them. The Backgrounds give you more creative freedom, while

the Merits provide you with exact details of what you possess.

Black CDaRrser Ties: (1-5 poinr ODcRir)

You have special ties to the underground shopping network, ties that help you acquire hard-to-find equipment. This
Merit adds one die per point to your Streetwise roll when trying,
for instance, ro obtain black market weaponry. Difficulties for
such rolls are left up to the Storyteller (typically 7 or higher).

The point cost reflects how "connected" you may be. The
Storyteller may allow you to use your black market connections

during the game to provide you with needed or useful equipment. Such connections will not simply hand you whatever you
want these things don't come cheap! It is up to the Storyteller
to determine the quantity, quality and availability of the equipment. He may feel free to disallow it entirely if such connections

would unbalance the game.

One point Small items: ammo, low-clearance ID
badges, good software

Two points Average items: guns, hi-tech software,

special ammo

Three points Fancy items: antique cars, explosives,

automatic weapons
Four pointsHefty items: heavy weapons, high-security
IDs or access codes
Five points "Yeah, right. Maybe next game.": hi-tech
military weapons, high explosives, military vehicles

166

Changeling: The DReaming

Nighrc1u6: (2 poinr CDeRir)

You own a moderate-sized nightclub, perhaps one of the
hottest nightspots in the city. This club brings in enough money
to support you in moderate luxury ($1000 a month, but it can

grow), but more important than the money is the prestige. You
may use the nightclub as your freehold (though you must
purchase the Background Trait to do so), or you may simply
hang out there. The name of the nightclub, its style, design and

its regular patrons are all up to you. Variations on this theme

could include a restaurant, theater, comedy club, sports arena or
retail store.

ChuRch lies: (3 poinr OOeRir)

You have influence and contacts in some local churches,
and have the means to create protest rallies, help the needy or
raise money. The more you use your ties, of course, the greater

your risk of being discovered.

CoRpORare Ties: (3 poinr CDeRir)

You have both influence over and contacts in the local
corporate community. You understand the dynamics of money
in the city and have links with all the major players. In times of
need, you can cause all sorts of financial mayhem, and can raise
considerable amounts of money (in the form of loans) in a very

short period of time.

CnteRrainmenr Ties: (3 poinr CDeRir)

(JndeRUJORld Ties: (3 poinr OOeRir)

You have a degree of fame and influence in the local

entertainment scene (music, theater, dance, S.C.A., etc.).
Either you own or manage a good venue or site, or you have some
notoriety among both peers and fans. You can exert this influence to ferret out information or buy favors. For five points, this

You have both influence over and contacts in the local

Mafia and organized street gangs. This provides you with limited
access to large numbers of "soldiers," as well as extensive links
to the underworld of crime. The more often you use your ties
with the criminal element, the weaker they grow.

fame can become nationwide.

Police Tics: (3 poinr CDeRir)

You have both influence over and contacts in the local

police department. You can, with a single phone call, cause an

APB to be issued. However, the more often you use your ties
with the police department, the weaker they become, and the
more attention you attract toward yourself. Your influence is not
solid (that can be achieved only through game play), and it can

let you down at times.

Political lies: (3 poinr CDeRir)

You have both influence over and contacts among the
politicians and bureaucrats of the city. In times of need, you can
shut off the power and water to a building or neighborhood, and
can unleash many different means of harassment against your
enemies. The more you use your political ties, the weaker they

become. Total control can only be achieved through game play.

CoRpoRorion CGO: (5 poinr CDeRir)

You have a particular influence and sway over a major
corporation and associated companies, just as if you were its
chief executive officer. Indeed, you might have owned this
company before your Chrysalis, and you have retained your
control. Through this corporation, you know much that takes
place in the corporate community and have the means to wage
economic warfare. This Merit provides you with some informal
allies and Resources, the exact extent of which is determined by
the Storyteller.

(JJaRd: (3 poinr Flaiu)

You are devoted to the protection of a mortal. You may
describe your ward, though the Storyteller will actually create
her. This character may be a friend or relative from your preChrysalis days, or just a good friend. Wards have a talent for
getting caught up in the action of stories, and they're frequent
targets of a character's enemies.

ChapreR FOUR: ChaRacrcR CRearion

167

Hunred: (4 poinr Flauj)

Vampires and werewolves are not the only supernatural
who need to fear fanatical witch-hunters. You have somehow
attracted the interest of some mortal agency or individual who
now seeks your destruction. This hunter is beyond reason, and

has some form of power, influence or authority that puts you at

a disadvantage. Your friends, family and associates are likewise
endangered. Sooner or later, this Flaw will result in a confrontation. The resolution should not be an easy one.

Physical
These Merits and Flaws deal with your health and physical makeup.

Dou61e-joinred: (l poinr CDeRir)

You are unusually supple. Reduce the difficulty of any
Dexterity roll involving body flexibility by two. Squeezing
through a tiny space is one example of a use for this Merit.

SuRReol beaury: (l poinr CDeRir)

You possess a beauty far beyond that of normal mortals.
People stand in awe of your perfect form. If you are sidhe then
perhaps your fae mien shines over into your mortal seeming.
Characters who take this Merit must first purchase at least an

Appearance 5 though their appearance is considered to surpass

even that.

Huge Size: (4 poinr OOeRir)

Your mortal seeming is abnormally large in size, possibly over
seven feet tall and 400 pounds in weight. You therefore have one
additional Health Level, and are able to suffer more harm before
you are incapacitated. Treat this as an extra Health Level, with no

penalties to rolls. Trolls can take this Merit since the extra Health
Level gained through Huge Size affects only the mortal seeming.
The extra Health Level is added to those a troll gets from his
Birthright for the purposes of chimerical damage, however, or real

damage if the troll has called upon the Wyrd.

AlleRgic: (1-4 poinr Flaoi)

You are allergic to some substance pollen, animal fur,
alcohol, chocolate, etc. For one point, you get hives, sneeze or
become dizzy upon prolonged contact with your bane; for two
points, you swell up uncomfortably in the affected area, reducing
all Dice Pools by one; for three points, your reaction actually
incapacitates you, reducing appropriate Dice Pools by three. If
the substance is really common in your chronicle, add an
additional point to this Flaw.

Asrhmo: (l poinr Flam)

You have difficulty performing strenuous tasks because you
cannot breathe properly. With asthma, your lungs only pull in
a fraction of the air that normal lungs require. Any time that you

exert yourself, you must make a Stamina roll against a difficulty

of 6 or be unable to perform any action on the next round while

you catch your breath.

168

Changeling: The DReaming

ShoRt: (l poinr Flacu)

You are well below average height, and have trouble seeing
over high objects and moving quickly. You suffer a two dice
penalty to all pursuit rolls, and you and the Storyteller should
make sure your height is taken into account in all situations. In
some circumstances, this will give you a concealment bonus.

Only childling trolls can take this Flaw.

DisfiguRed: (2 point Flacu)

A hideous disfigurement makes you ugly and easy to notice
or remember. You therefore have a zero Appearance.
Sidhe characters cannot take this Flaw.

Child: (3 poinr Flauj)

You were a small child at the time of your Chrysalis. You
may be precocious, but you're still just a kid. You have the Flaw

Short (see above), and find it difficult to be taken seriously by

others (two dice penalty to all relevant rolls). Additionally, you

may be subject to parental control, curfews and child labor and

Sidhe who are members of House Dougal cannot take this

as their handicap, though it can be taken if they have a different
handicap as their House Flaw.

One ARTTI: (3 poinr Flacu)

You have only one arm choose which, or determine
randomly at character creation. This could be a battle scar, birth

defect or other form of injury. It is assumed that you are accustomed

to using your remaining hand, so you suffer no off-hand penalty.
However, you do suffer a two dice penalty to any Dice Pool where
two hands would normally be needed to perform a task. A character
may not take this Flaw along with the Merit Ambidextrous.
Sidhe who are members of House Dougal cannot take this
as their handicap, though it can be taken if they have a different

handicap as their House Flaw.

CDute: (4 poinr Flacu)

Your vocal apparatus does not function, and you cannot
speak at all. You can communicate through other means
typically through writing or signing.

truancy laws. Few clubs will admit you, because you are "underSidhe who are members of House Dougal cannot take this
age." Childlings who do not take this Flaw are for some reason
as
their
handicap, though it can be taken if they have a different
more accepted by those older than themselves.
handicap as their House Flaw.

DeFoRiniry: (3 poinr Flacu)

You have some kind of deformity such as a misshapen
limb, a hunchback that affects your interactions with others
and may inconvenience you physically. The difficulties of all

dice rolls related to physical appearance are raised by two. Your

deformity will also raise the difficulty of some Dexterity rolls by
two, depending on the type of deformity you possess.
Sidhe characters cannot take this Flaw.

Lame: (3 poinr Flaai)

Your legs are injured or otherwise prevented from working
effectively. You suffer a two dice penalty to all dice rolls related

Rmaplegic: (6 poinr Flacu)

You can hardly move without assistance, such as a pair of
crutches or a wheelchair. Even then it can be painful and
cumbersome to do so. The Storyteller and you should take care

to roleplay this Flaw correctly, no matter how difficult it makes

things. A character may not take this Flaw along with the Merit
Double-Jointed.
Sidhe who are members of House Dougal cannot take this
as their handicap, though it can be taken if they have a different
handicap as their House Flaw.

to movement. A character may not take this Flaw along with the

Merit Double-Jointed.

ChapreR FOUR: ChaRacreR CReation

169

I
r:ia|L

to-

Ml

ConcRips
Cantrips, more simply known as "faerie magic," are how
changelings manipulate Glamour to create magical effects,
both in the Dreaming and in the mortal world. A changeling
sparks her own internal Glamour and thereby creates a link with
the Dreaming a link strong enough that she can draw upon
and form the raw stuff of the Dreaming to suit her desires. In a
sense, cantrips are physical manifestations of Glamour.
What follows here is a description of the Arts, which define
(he actual powers and effects of changeling magic, and the
Realms, which delineate who or what a changeling can affect

with her magic when she casts a cantrip.

i\KCS
Arts are the defined means by which a changeling can mold
and shape Glamour to produce certain effects. Each of the Arts
is organized into five ranking powers of ascending potency. The
powers given are what is known to most changelings of Earth;
ancient fae may have abilities far beyond the scope and ken of

their younger brethren. Following the description of each power

is the systems and rules usage, including applications and the
effect of casting the same cantrip multiple times upon a subject.
The Arts described here only begin to scratch the surface of
those available to changelings; they are, however, the most
commonly encountered. Being creatures of Glamour and whimsy,
many changelings have discovered other methods of using the
Arts described here (often for radical and unorthodox results).
Whether a character can use an Art in a manner other than the
ways described here is at the whim of the Storyteller though
ii never hurts to try.

Mortals often later forget the effects of Arts cast upon them

("Coincidence," or "There must be a rational explanation."). Any

time a mortal is affected by or witnesses a Wyrd cantrip, consult the
Mists chart on pg. 208 to determine exactly what she remembers.

Definitions
The Art: Each Art opens with a general description
of the Art's basic function as well as a little bit about what

its cantrips are capable of. This section may also discuss
how the Art is used and perceived in changeling society.
Attribute: Immediately following this description

is the Attribute which is used when casting a cantrip

from this Art.
Powers: Following the description of the Art are its
different levels and what cantrips can be cast at each of
these levels. The opening section provides an overview of
the types of effects that are possible with that Art.
System: This section offers the actual rules for casting
the cantrip. This includes how the Realms interact with
the cantrip, how the number of successes earned affects
the cantrip, and how (or if) the cantrip can be resisted.

Type: This indicates whether the cantrip is chimerical or Wyrd. Chimerical cantrips are those that either only
affect enchanted beings or which have subtle effects that
could be purely coincidental. Anything that has a real-

world effect (such as teleporting from one place to another) is considered a Wyrd cantrip. If a changeling calls
upon the Wyrd, all cantrips that the character casts
automatically become Wyrd.

ChapceR Five: Arcs and Realms

171

The basic cantrip casting rules make the most use of the
Realms of Actor and Fae. Generally speaking, the target of
many cantrips is most often a person, whether a mortal,

supernatural or another fae. In many cases, the Scene Realm

can be used in conjunction with Fae or Actor to affect multiple
targets. Realms such as Nature, Prop and Time have their own
particular uses in cantrips as well.

to affect multiple targets. For example, casting Fuddle upon a

small group of mortal tourists to cause them to believe that a troll
has turned into a wolf requires Actor 4 (mortal tourists) and
Scene 2 (for the group).

The number of successes indicates how long the subject is

Fuddled. Multiple castings of Fuddle are not cumulative; if such

is attempted, the casting with the most successes is the one that
For example, Jimble (a pooka of fair nature if little wis- takes effect.
dom) goes into a bar and walks right into a pack of Unseelie
1 success one minute
redcaps he played a prank on just the other week. Realizing that
2 successes 10 minutes
his life is in danger, Jimble ducks out of the bar and casts a Fugue
3 successes one hour
cantrip on the redcaps to make them forget that he was ever
4 successes one day
there. Jimble needs to use Fae 2 to affect one of the redcaps and
5 successes one month
then Scene 1 to make all the redcaps in the room forget that
Type: Chimerical
they had seen him.

ChiconeRy
Chicanery is the Art of deception and
favored by those who utilize guile to lead
the unwary astray. This Art deals in
fooling the senses and ensnaring the
mind at higher levels. Practitioners

of Chicanery are usually considered suspect by nobles and their

chancellors, and are closely
watched. A few nobles have become infamous through injudicious use of this Art, although Chicanery is generally considered to be

a commoner's Art.
Attribute: Manipulation

Fuddle
Fuddle allows the caster to alter a
target's perceptions. Proper use of this Art can
be difficult, however, since it cannot create something
from nothing there must always be some basis for the
deception the caster wishes to create. In a sense the caster is
limited by the target's perceptions. A target who is blind and
deaf cannot be made to suddenly see and hear the ocean, for
instance, but she might fooled into smelling the tang of the salty

sea air. Fuddle relies upon already existing factors to deceive the
senses, and cannot completely negate a sense or create a sensation. In other words, an eshu trying to make use of Fuddle could
not turn invisible while standing in plain sight, nor could he
conjure up the sound ot police sirens on a silent night. If the eshu
were hidden in shadows, he could use Fuddle to cause a person
to overlook him, or he could cause the sounds of barking dogs to
be perceived as police sirens.
This cantrip can never cause any direct harm to an individual, though it is possible for a target to inflict accidental
injury upon himself due to his confused senses.

System: The target of the cantrip determines the nature of

the Realm needed to use this Art. The Scene Realm is required

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Changeling: The DReaming

Veiled Cues
As its name implies, Veiled Eyes muddles
a target's senses into ignoring anything the
caster desires. The cantrip does not turn
an object invisible, but rather convinces the observer that the object is
not really worth his notice. Veiled

Eyes would not cause a store to

vanish from plain sight, but it

would convince passersby that

the store sold nothing of interest

to them, causing them to ignore
it. People cloaked with Veiled Eyes

are merely ignored.

System: The person or object
being veiled determines the Realm
needed when using this Art. This Art
functions differently than most Chicanery cantrips in that once cast upon an
individual or item, the target of the cantrip
becomes veiled to all passersby. The Actor Realm would

be used to veil a mortal, and the Scene Realm would be

appropriate to veil a building (though Scene and Actot
could be used to veil an entire room full of people, making

the room appear to be empty to anyone who entered or

looked inside).
The obscurement lasts for one turn per success. A changeling can double the amount of successes by spending an extra
Glamour point. A changeling can penetrate Veiled Eyes by
rolling Perception + Kenning (difficulty is 4 + the number of
successes scored in the initial casting before any Glamour points
were spent). Only mortals who have had contact or foreknowledge of the veiled object get a chance to resist. Supernatural

beings with magical senses (Kenning, Awareness, Auspex, etc.)

may make the attempt to penetrate the obscurement when they
first encounter it. This cantrip can be cast multiple times to

increase the duration of the obscurement.

Type: Chimerical

 Fugue
(also known as "Tip-of-the-Tongue")
While Fuddle allows a changeling to alter a person's perceptions, Fugue lies within the province of memory. With Fugue,
the changeling may remove or steal whole chapters of a person's
life and beliefs, or home in on one salient detail, such as the

moment the target bumped into him while walking down the
street. Fugue can never add anything to an individual's memory,
and its effects are rarely permanent.
System: A changeling only needs the Realm of the target
to cast Fugue.
The number of successes determines the duration and
amount of memory lost. The caster divides the number of
successes between the memory loss and the duration, according to the charts below. A changeling who rolls four successes
could cause her target to forget about his lunch for one
minute, a person's identity for one turn, or the location of his
car keys for a day.
Memory Loss
1 success Forgetting a simple, immediate object or
information (car keys, phone number, etc.)
2 successes Loss of memory of an uninteresting scene in
the past ("What did I have for lunch?" or "What was her name ?")

3 successes Complete eradication of a specific event,

person's identity or object's presence.

4 successes Powerful, forthright beliefs or memories may

be forgotten.

5 successes A tabula rasa; total memory loss (a vampire

could be made to forget her nature, but finds herself inexplicably
craving blood).
Duration
1 success One turn
2 successes One minute
3 successes One hour
4 successes One day

5 successes One week

Multiple castings of this cantrip are cumulative. A changeling who achieves 10 successes on three castings of Fugue could,
say, force a mage to completely forget her Awakened nature for
a week (endeavors of this kind do not usually have tidy endings,
however, and this is a great way to rack up powerful enemies).

Type: Chimerical

Haunred HeaRr
The caster of Haunted Heart can control and fan the
emotions of her target. She can evoke any type of feeling she
wants: fear, envy, love, gaiety, sadness, etc. This cantrip can
cause a target to feel anything he is capable of feeling, even if he
has never experienced the desired emotion before. The cantrip
is more potent if the emotional evocation is similar to an episode

from the target's past. However, the feelings can be drawn from
anything: books, movies, observing wildlife, etc.

For example, linking a memory of lost love to a banana

amid cause the target to weep piteously as he remembers how

ChapceR Five: Arcs and Realms

173

much his ex-lover used to love bananas. Casting a feeling of spite

in a crowded bar would start a bar fight.

Old memories (even those forgotten or blocked) could

reactivate with a canny use of Haunted Heart. Evoking hatred
toward policemen in a man wrongly jailed would have a recurring effect well beyond the duration of the cantrip. Provoking a
fear of a lake may cause the subject to suddenly remember almost
drowning at age six and give the subject a permanent fear of
water (subject to Storyteller discretion). Lucky (or shrewd)
casters who manage to awaken a feeling that is significantly
linked to an incident in the target's past get one free success
when using this cantrip.
System: The Realm needed to cast this cantrip is
determined by the target. Actor and Fae Realms are by far

the most common.

This cantrip lasts one minute per success. The duration can

be extended by spending one Glamour per additional minute.

Multiple castings of this cantrip are cumulative, as long as the
object and the emotion evoked remain the same. Opposite
emotions cast upon the same object cancel each other, no
matter how many successes each casting had. A phobia of snails

cast with five successes would be neutralized by a cantrip of

mollusk-love with one success.
1 success Invokes a mild reaction.
2 successes The target feels wild, chaotic surges of intermittent emotion. As long as the emotional object is not in sight,
the target acts normally.

3 successes Creates a continuous state of passion. The

target's conversation drifts toward the emotional object; +1
difficulty to all rolls involving Mental Attributes.
4 successes The target is passionately engaged. She

actively seeks (or avoids) her object of passion; +2 difficulty to

all rolls.

5 successes Total obsession; the target can do nothing

but engage in his passion. He becomes violent if restrained.
Resistance requires the expenditure of a Willpower point (and

a life-threatening reason).
Type: Chimerical

@@@@ Caprive HeaRC

Whereas Haunted Heart controls the emotions, Captive
Heart has greater magnitude. The target of Captive Heart
becomes pliant to the caster's commands; his personality can be

completely changed with a few words.

Use of this cantrip allows the changeling to change broad
or narrow facets of a person's behavior. A person could be made
to believe he is Mick Jagger, a lawn chair or a secret agent for

Planet Z. The victim of this cantrip makes every effort to

conform to the caster's wishes: jumping around and singing,
hopping and croaking, or simply standing quietly in the corner
anything. This has certain limitations, however; the target
cannot be commanded to do anything directly harmful to himself. Commands such as "Take the knife and draw it across your
throat," will send the target into confusion as her self-preservation instinct manifests. On the other hand, a command that is

174

Changeling: The DReaming

not directly harmful ("See that man in the crown? Attack

him!") is obeyed with as much speed as the target can muster.

System: The nature of the cantrip's target determines the

Realm needed. Only one person can be affected with a single

casting of this Art, so the Scene Realm cannot be used to affect

multiple targets.

The number of successes determines how long the

Gimmix permits a changeling to maneuver objects

telekinetically. With this cantrip she can move, twist, throw, lift
and crush things. Fine motor coordination, such as typing or
dialing a telephone is impossible, however. Anything a real
person could do with her hands if her fingers and thumb were

cantrip lasts. Whenever the subject must perform an action

glued together is possible. Gimmix can be used in extremely

small places, handling objects that the changeling couldn't

that runs counter to her personality, she is allowed one

normally see or reach.

(extended) resistance roll (Willpower, difficulty 8). If the

The Bunk for this cantrip must incorporate some hand
total successes on the resistance rolls exceed the caster's gesture that mimes the effect of the cantrip.
current Glamour, the cantrip is broken. As with all cantrips,
System: The Realm is determined by what the changeling
non-mortals may spend Willpower to break the cantrip. is trying to affect. If she is trying to lift a pooka by his ears, the
Any expenditures of Willpower they make count as suc- Fae Realm would be necessary, but lifting a knife would require
cesses on extended resistance rolls.
the Prop Realm.
Captive Heart can be cast multiple times with cumulative

success, if the caster spends a Glamour point for

each extra casting. If two casters use conflicting commands on one target, the cantrip
with the most successes determines the
outcome. A target told first to be a

The number of successes indicates the force of the

telekinesis. For objects thrown, the damage possible is determined by the strength of the
cantrip (e.g., Strength = 2 inflicts two
Health Levels of damage against a target). Multiple castings of this cantrip
are considered separate castings and
cannot be accumulated for greater
strength. Five successes (depending on the target's weight) and the

tree and then a dog follows the

cantrip with the highest successes

and ignores the other one.

1 success The enchantment lasts for one turn.
2 successes The enchantment lasts for one scene.
3 successes The enchantment lasts for one hour.

appropriate Realm are necessary

to directly affect a human's body
with this cantrip.

The effects of this Art only last

one turn, so the cantrip must be
continually recast to maintain any

4 successes The enchantment

telekinetically lifted object. Alternatively, once a single object has been affected, the character can spend a point of

lasts until sunrise or sunset, whichever

comes first.
5 successes The enchantment lasts 24
hours.
Type: Chimerical

LegeRdemain
Legerdemain is the Art of sleight-of-hand and illusion.
Originally based on illusions and "stage magic," Legerdemain transcends such parlor tricks, allowing a changeling to
affect physical reality. Changelings who are the entertainers

in Kithain society (jesters, clowns, pooka, etc.) generally

specialize in this Art. While this is also considered a commoner Art, a user of Legerdemain is not as suspect as with
Chicanery; however, an Unseelie pooka armed with this Art

bears watching.

While many of the effects of Legerdemain duplicate

Chicanery, use of this Art differs in that it creates a substantial illusion that is visible to all changelings and enchanted
beings rather than altering a single individual's perception.

There are those who claim that some uses of this Art actually
create temporary chimera.
Attribute: Dexterity

Glamour for each additional turn he wishes to

maintain the Gimmix.

1 success Lift six oz.

2 successes Lift five Ibs.
3 successes Lift 40 Ibs.
4 successes Lift 100 Ibs.

5 successes Lift 200 Ibs.

Type: Wyrd

Strength = 0
Strength = 1
Strength = 2
Strength = 3
Strength = 4

CnsnaRe
This cantrip has two major uses: the changeling can cause
a large object to move about quickly, or she can entangle an
opponent with any scenery at hand, such as roots, old tires,
tripwires, etc.
If the changeling is attempting to trip an individual, any
vines, rope or other small objects suddenly move to trip and bind
the intended target. If no such objects exist, the target believes

that there are, tripping over his own feet and becoming bound
by chimerical vines or rope.

ChapreR Five: Afjrs and Realms

175

The other use of this Art allows the changeling to cause one
object weighing up to 300 Ibs. to spin and whirl about at high
rates of speed. Such objects can be targeted at another person or
object (often resulting in much carnage).
System: The object being affected determines the nature of
the Realm needed to cast this cantrip.
If the changeling directs an object to smash into a person,
the object inflicts three Health Levels of damage for every
success achieved in casting. To hit the target with the lifted
object, the changeling must succeed in a Willpower roll (difficulty 7). The target is allowed a resisted Dodge roll.
For Ensnaring, the number of successes determines how
well the target is Ensnared.
Ensnarement

1 success Causes target to trip; target must roll Dexterity

+ Athletics (difficulty 6) to avoid falling.

2 successes Target is Ensnared; must succeed in a

strength roll (difficulty 6) to escape.
3 successes Target is Ensnared and must exceed the
Ensnare's successes by three or more in an extended Strength
test (difficulty 6) in order to escape.
4 successes As above, but the target must gain five
successes.
5 successes As above, but 10 successes are required.

176

Changeling: The DReaming

Targets Ensnared remain trapped until they can break free.

Multiple castings of this cantrip are not cumulative (use the

Ensnare cast with the highest success in the case of several

castings upon one target).
Type: Wyrd

Cffigg
This cantrip creates a duplicate of an object or person that
the changeling can see and touch. The copy has all the features

of the item that could be seen and felt. An Effigy of a book is

tangible, and if the original were open when copied, the Effigy
would be open to the same page and have the same writing on
the page.
The copying of the Effigy is only skin-deep, however, so
none of the internal qualities of the original are transferable.
The Effigy-book may be open to the same page as the original,
but a person couldn't close it or read other parts. The caster can
supply "special effects" to the copy by spending one Glamour
point per effect (i.e., making the book open and close, writing
on the other pages, etc.). Creating realistic movement and
coherent speech in Effigy-created beings requires a successful
roll of Manipulation + Subterfuge (difficulty subject to the
complexity of the action taken).
An Effigy lasts until the caster ceases concentration, stops
thinking about the Effigy, or it is eroded by Banality. An Effigy

can be out of the caster's line of sight, but the caster cannot
create any special effects or supply movement or speech for it.
An Effigy in the presence of banal individuals begins to
erode. (Any changeling who has a Banality score higher than his
Glamour rating is considered to be banal for these purposes.)
Each turn that the Effigy is in the presence of a banal person, one
success is subtracted from the cantrip's successes An Effigy in the
presence of an Autumn Person deteriorates at twice this rate.
The Effigy completely discorporates when the Banality erodes
the successes of the Effigy's casting to zero. An Effigy with six
extended successes cast on it lasts six rounds, or sooner if the
caster stops concentrating on it (any action other than concentrating is at +1 difficulty). On the seventh, the Effigy
discorporates. As it erodes, the copy loses its "resolution," and its
imperfections become more apparent. Multiple castings on the
same Effigy are cumulative.
Effigies cannot be easily damaged. An Effigy damaged by
Wyrd or chimerical effects loses one from its total successes but
suffers no other ill effects. An Effigy reduced to zero successes in
this manner completely discorporates.

The number of successes determines how well the changeling performs the Mooch. To determine if her object is missing
(unless she was holding the object in plain sight, in which case

System: The Realm is determined by the caster's subject for

his copy when creating an Effigy.

Shadow, the casting essentially becomes a free-willed, uncontrolled chimera and acts on its own whim (a sleeping caster
does not forget merely because she sleeps; her unconscious
mind still remembers).

The number of successes indicates the copy's accuracy, as

well as the amount of damage an Effigy can inflict on a foe.
1 success Bad copy.

2 successes Major differences.

3 successes Minor differences; can inflict 1/2 chimerical
damage.
4 successes Nearly perfect copy; can inflict chimerical
damage.
5 successes Exact duplicate; can inflict Wyrd damage
(only if the caster initially specified the Effigy as Wyrd).
Type: Wyrd or Chimerical

CDooch
The changeling can instantaneously move things from one
place to another. A favorite of pickpockets, Mooch can remove
a trinket from a mark's pouch and replace it in the caster's own.

The cantrip only works if the caster can see the object, or he has
seen it within the past minute. A coin be could Mooched in
plain sight, though anyone watching would spot the Mooch.
System: When casting this cantrip to Mooch an item from

another character, the changeling uses whatever Realm is appropriate to the item's current owner. For example, lain the pooka
notices that Anya the boggan has these really neat shoelaces in her
sneakers today, and he would like to "borrow" them. To Mooch the

shoelaces, lain would need the Fae Realm since Anya is a boggan.
It his attention is captured instead by the charm bracelet on the
wrist of a mortal girl working at a newsstand, he would need the
Actor Realm to work Mooch on her.
If the object is on its own, then a Realm appropriate to the
object being Mooched (generally Prop) is needed. So if the
mortal girl takes off the bracelet that lain's hankering after and
lays it on a stack of magazines, lain would need Prop to work
Mooch this time.

the Mooch is apparent), the target may make a Perception +

Alertness roll (difficulty 4 + the number of successes gained for

the Mooch).
Characters who possess the Pickpocket Skill receive one
automatic success when they cast Mooch.
Type: Chimerical or Wyrd

Phoncom Shadoois
This cantrip is the true art of illusion creation. Whereas
Effigy creates an unmoving copy, Phantom Shadows creates
original illusions and engenders them with sentience. The
created illusion can be of any subject the caster desires and is
difficult to differentiate from the real thing, unless those who
examine it are mystically aware or possess faerie sight. The
Phantom Shadow intrinsically knows what its caster wants

and carries out her wishes; however, if the caster forgets (or is
made to forget as with Fugue) the existence of the Phantom

A Phantom Shadow has exact parameters with unique

limitations. A Phantom car does not necessarily have gas, and
a Phantom Shadow soldier may not appear with a gun, although

the cantrip does create clothes for the soldier to wear. A created
computer possesses operating software, but nothing else (no
spreadsheets, word processing or gaming software).
Phantom Shadows cannot be used to make a target appear
as something else.
System: The item or creature being created determines the
nature of the Realm needed to cast this cantrip. Entire phantom
(or chimerical) buildings can be constructed through the use of
the Scene Realm.

The casting of this cantrip actually creates a malleable chimera.

The chimera created thusly can be either animate or inanimate at
the caster's choice. The number of successes gained determines how
believable the illusion is as well as how powerful it is. Multiple
castings are cumulative in the same manner as with Effigy. Each time
this cantrip is cast, the caster receives five chimera creation points
for each success earned. The caster can then build his chimera using
the chimera creation rules on page 220 for animate chimera or see
the chart in the Appendix for inanimate chimera.

A chimera created by Phantom Shadows remains for as

long as the caster continues to supply it with Glamour. The
caster must supply the Shadow with at least one point of
Glamour per day or it vanishes. A Phantom Shadow that has

been released and become a true chimera begins to seek out its
own Glamour by whatever means necessary.
Phantom Shadows can inflict chimerical damage on
anyone, including enchanted mortals and supernaturals. A
target may disbelieve on an extended Perception + Kenning
roll, difficulty 7. If the disbeliever achieves more successes

ChaptCR Five: ARCS and Realms

177

i the caster of the Phantom Shadow, the Shadow immediately disperses.

Banality also tends to erode the illusion in the same way
as Effigy, but the decay is slower; the total number of successes reduces at a rate of one per hour of exposure. (Illusions
that are patently "unbelievable," such as tap-dancing fish,
tend to erode faster, though this is at the Storyteller's discretion.) Autumn People cause Phantom Shadows to
discorporate at twice this rate.
1 success Fuzzy image (5 points).
2 successes Looks real if it's not studied too closely (10
points).

3 successes All but the finer details are complete (15

points).

4 successes Only the slightest imperfections (20 points).

5 successes Perfect image (25 points).
Type: Chimerical (A Phantom Shadow
made "real" by calling upon the Wyrd must be
maintained by spending a point of Willpower every turn.)

Much of the power of changelings arises from the elemental af-

finity between their faerie souls

and the forces of nature. In ancient times, the spirits of rocks and

trees whispered their secrets to the

fae who lived in the forests and
groves. The ability to hear the forests' whispers was lost by most changelings during the Shattering, remembered
only by the Inanimae. One of the first
things the Inanimae taught the changelings
after the Shattering was how to whisper back.
The Inanimae are mostly asleep now, and the Art they

taught Primal is rumored to be only a fraction of the

wisdom the nature spirits could have imparted. As a sign of
gratitude to these beings, the cantrips of Primal are named after
the spirits who helped the fae relearn these connections.
Kithain often stereotype other changelings who specialize
in Primal cantrips as "salt of the earth" types: simple, stolid and
honest. This oversimplification often makes them the butt of
pooka jokemeisters ("Hey, troll! Did you hear the one about the
Willow-Whispering farmer's daughter who....")

Primal cantrips have no effect on anything made of pure

iron, though they can affect alloys, such as steel.
Attribute: Stamina

(JJillouj (JJhispeR
This cantrip allows the changeling to talk to anything,
even things that normally cannot talk or understand speech.
Willow Whisper grants the ability to speak to books, furniture,

rocks, plants, buildings, aliens... anything. There is one limita-

178

Changeling: The DReaming

tion to this cantrip: all requests must be phrased in a whisper.

Using Willow Whisper in a place such as a football stadium in
the middle of a game is a fruitless exercise.
Also, nonsentient objects possess nonsentient intellect;
rocks and trees may be really interesting to talk to, but they
process information differently. An oak tree might think of
"a short while" as 20 years, while a rock might consider
several thousand years as a brief moment. Storytellers should

imbue inanimate objects with personalities appropriate to

their natures.
System: The Nature and Prop Realms are most commonly
used in conjunction with this Art, describing the object with
which the caster is trying to communicate.
The successes indicate how many questions may be asked
and the clarity of response from the subject. Multiple castings

upon a target are cumulative, but each successive casting is at + 1

difficulty.

The Realm describes the object with

which the changeling is communicating.
1 success Mumbling, meandering answers; one question only.
2 successes Vague, obscure
answers; three questions.

3 successes Clear but

strange answers (the object is
thinking in its terms, not recognizable human or fae terms); lasts
for one scene.
4 successes Clear, straightforward, but very boring answers;
lasts for one week.
5 successes Perfectly clear, lucid, interesting answers; lasts for up to a
month.
Type: Chimerical

QdRitch
The user of this cantrip can cause any one of the following
natural elements to appear: fire, water, earth, air or wood. The
cantrip causes the element to appear in the most natural form
possible: water showers down as either rain or bubbles up from
the ground like a spring; wood either sprouts out of the ground,
or an object "grows" bark. The element can appear in an
unnatural setting (such as rain indoors), but the element could
nor appear in an unnatural or manufactured form. A changeling
could not suddenly cage an opponent inside a square wooden
box, but he could cause a network of roots to grow around a
target, forming a most unusual prison.
System: If simply creating natural elements, the Nature
Realm is used. If actually affecting an individual, both the
Nature and the appropriate Realm (for whatever is being affected) must be used.
The number of successes determines how much of the
element appears. For every two successes gained (round up), the

changeling can create a one-die effect (as is generally the case

when conjuring fire and air) or provide one Health Level of

protection (as can be the case when conjuring stone or wood).
For example, a caster achieving three successes can cause a
root-prison to appear that could withstand two levels of damage.
A caster who rolls one success could summon a flame that would
inflict one Health Level of damage, or cause bark to grow on her
skin, protecting against one Health Level of damage. Multiple
castings are cumulative.
The changeling can direct where the element will appear,
but she cannot control what the element does unless she
recasts the cantrip. If she causes fire to rain from the sky, she
cannot control the path of the resulting inferno unless she
recasts the cantrip and receives at least as many successes as the

present size of the flame.

The consistency of the element is up to the caster, but she
may not conjure anything that is not a phenomenon "normally"

occurring in nature.

The effects of this cantrip last for one minute for each
success earned.
Type: Chimerical

Oafsenshidd
This cantrip imbues an object or person with the solid,
protective essence of oak bark. Targets of Oakenshield can resist
a tremendous amount of chimerical punishment.

System: The Fae and Actor Realms are most commonly

used in conjunction with this Art, though it is possible to use
Prop or even Nature in some aspects to protect a specific item

from damage.
Each success provides a Health Level over and above the
Health Levels already possessed by the target. These extra
Health Levels last until they are destroyed by damage or deliberately shed by the wearer. Multiple castings are not cumulative,
and any successive casting of Oakenshield negates the successes
gained by any previous castings of it.

Type: Chimerical

HeorheR balm (OR Holly SrRiHe)

This cantrip has two uses: it can either mend that which is

broken, or it can break something by expanding upon tiny

imperfections in the object. The caster can heal or break
anything, although Storytellers may decide that affecting certain objects or areas requires an extra expenditure of Glamour

and/or Willpower.
System: Almost any Art can be used in conjunction with
this Realm. The Realm used is determined by the person or

object to be healed or harmed. If the caster uses Scene Realm to

spread the damage over a large area (or several persons), the
total damage is equally distributed.
Heather Balm heals one Health Level per success. In the

case of nonliving objects, the Storyteller decides how many

successes are required to repair the subject.

ChapccR Five: <\Rrs and Realms

179

For Holly Strike, one Health Level of damage is caused for

each success earned. When this Art is used on people, weird,
jagged lacerations appear on random parts of the body. When
damaging objects, the Storyteller must determine how many

Dn is like an immense, complex, shifting tapestry, too

complicated for most to fathom. All beings, whether mortal, fae
or Prodigal, have the threads of their fates caught up within this

Health Levels are needed to destroy it.

threads, until they suddenly realize that they have unwittingly

Type: Chimerical
& QdeR-FoRTT)
This cantrip allows the caster or another target to take on
the shape of something else. The new form possesses all of the
Attributes and disadvantages of the new form. If the changeling
turns himself into a tree, he may be taller and tougher, but he
won't be able to talk (unless he casts Willow Whisper just
how does one perform that Bunk now, anyway?) If he turns
himself into a stone, well, he'd better hope he's in a scenic spot,
because he'll be seeing a lot of it in the next several centuries.
While it is possible for the changeling to transform himself into the form of a mythical beast, he
does not gain any magical powers from this
change. A character altered by ElderForm only gains any natural abilities
that form may have, not supernatural
powers. For example, a changeling
who transformed himself to appear
as a vampire would have pale skin
and maybe even fangs, bnthe would

gain none of the special vampiric

powers (such as regeneration), nor

would he be susceptible to a vampire's
weaknesses (such as sunlight). The
same would be true if a changeling

transformed himself into a dragon; he

would have scales and claws, but he could
not breathe fire.

System: Unlike most cantrips, the Realm

used with this Art is determined by the form the
caster wishes the target to take.
The period of the transformation is determined by the

number of successes. There is a chance that the target will revert

to her original form each time an unenchanted person comes
into contact with the target. Roll the unenchanted person's

Banality (difficulty 9); if the number of successes on this roll

equals or exceeds the successes made by the caster of ElderForm, the cantrip is dispelled.

1 success One turn

2 successes One hour
3 successes One day

4 successes Three days

5 successes One week

Type: Wyrd

Soorhsay
Soothsay is the Art of divination, prediction and interac-

tion with Ddn, the fae belief in fate.

180

Channeling: The

tapestry. Wormlike and blind, they burrow their way along their

caused the end they've achieved.

Occasionally, the forces of Dan make themselves apparent
to a person. The most dramatic of these incarnations are the
Norns, or Three Sisters, but the visitation can be more subtle.
A priest glances down and sees a shiny gold coin. Instead of
giving it to the church, he pockets it for himself. Years later, he
is caught embezzling church funds.
This Art is for thinkers and contemplative Kithain. As
such, changelings who specialize in Soothsay can often be found
as seers and advisors to nobles. Most Kithain have widely
differing views of those fae skilled in the Art of Soothsay. Nobles
find them useful for court intrigue, and commoners
are wary of their knowledge. In general, they
are accorded much respect.
Attribute: Intelligence

Omen
In general, most people have
difficulty seeing themselves as part

of the "big picture." This cantrip

offers a glimpse of the target's place
within the great tapestry of Dan.

Subtle clues of the ultimate fate of

a person, place or thing reveal
themselves to the caster. While this
cantrip is too weak to ascertain more
than a hint of the target's future, Omen
is nonetheless a useful tool.
The information gleaned by Omen is
cryptically prophetic. It hints at the target's
future, but is sometimes vague concerning the immediate present. The changeling may not be able to discover
that the target is an axe murderer, but she might guess that the
target's intentions do not bode well for someone.
System: When casting an Omen cantrip, the Realm determines what the Omen is about. In most cases this will be the
Realm of Fae or Actor (since most Omens concern people),
though it is possible to cast an Omen upon an object and thus
learn a little about its future.
The successes determine what information is available of
the subject. None of the answers provided are straightforward,
and the Storyteller should frame the response as symbolic visual
clues. For example, a caster of Omen achieves three successes on
an Unseelie troll with a Savage Legacy. The Storyteller may
describe the image as this: "You see the troll wandering naked

through a library with a look of confusion on her face. Suddenly,

she grabs the nearest book and proceeds to eat the pages."
1 success One clue about an immediate plan of the target.
2 successesOne clue about the Demeanor or general disposition of the target (if a changeling, one clue about his Court alliance).

3 successesOne clue about a long-term goal of the target.

4 successes One clue about the inner nature (or Legacy)

of the target.
5 successes One clue about a closely guarded secret of
the target.

Again, a changeling casting this cantrip receives no direct

information. She couldn't cast this cantrip over Blackbeard's
grave and find his treasure upon rolling five successes, but the
cantrip might give her contextual clues as to where to look.
Multiple castings are not cumulative. Any further castings
are at +1 difficulty, and the info has a tendency to be more vague
with each successive casting (Storytellers should get really

creative with botches, and perhaps even make the initial rolls

themselves and not reveal the result to the player).

The Bunk used to spark the cantrip should involve some

traditional means of fortune-telling (Tarot, tea leaves, astrology, entrail-reading, etc.).

Type: Chimerical

6 FaiR Is Foul and Foul Is FaiR

With this cantrip, the caster can more actively affect the
target's Dan. She can curse the target with misfortune, or she
can throw a ray of good fortune into a target's path. In either
case, the change is not usually major; the target's situation
usually only affects elements not already decided one way or

another. Powerful enemies will not suddenly die, but with a

bit of good luck, the target may find a piece of information

that changes her enemy's mind about her, or (with bad luck)
the target's closest ally suddenly decides she is not trustworthy and joins the enemy camp. Whatever happens, the
change is usually unexpected.
System: The Realm determines the target of the cantrip,
the elements affected and any other characters involved.
Multiple castings are not cumulative; they only cause
multiple effects. Furthermore, all successive castings upon a
target are at +1 difficulty, and successive bad-effect castings on

the same target have a tendency to rebound on the caster.

The number of successes determines the amount of good or
ill fortune the target receives. For "quick-and-dirty" fortune, the
caster can either raise or lower the difficulty of any one roll no

higher than 3 or lower than 5.

1 success Find or lose a small thing (car keys, an old

friend).
2 successes Find or lose a valued acquisition (your Rage
deck; a valued friend).
3 successes Find or lose something treasured (a passionate love; a sizable inheritance).
4 successes Find or lose a major element (a powerful
patron/enemy; a magical sword; your lifetime companion; the
family fortune).
5 successes Find or lose something critical (your health,

never fatal; a major magical tome).

Type: Chimerical

ChapreR Five: ARrs and Realms

181

 Torrlerale
This cantrip provides a way to scrye through an object that
is familiar to the caster. With Tattletale, the changeling can see
anything that is within the immediate vicinity of the object.
The image appears in any reflective surface that she desires. In
order to successfully cast this cantrip, the target must be wellknown to the changeling, or she must possess a part of, or know

its True Name. Once she establishes a connection, she can use
any Perception-based Ability or cantrip through the object.
System: As with all cantrips involving multiple elements,
several Realms are needed to incorporate everything. For instance, a troll wants to spy on several Nunnehi who stole his
favorite goblet, as well as the nearby scenery. He would need Fae

4, Prop 2 and Scene 1. If he just wanted to view the interaction

between the Nunnehi, he would only need Fae 4 and Prop 2. If
he wished other characters present to view the scrying, he would
need the appropriate Realm of the characters.
Multiple castings are not cumulative on this cantrip. There
is no limit to the casting's range. Some users have even caught
glimpses of the Dreaming (if the object is in the Dreaming,
Umbra, etc., subtract two from the total successes. Assume the
cantrip failed if the net result is less than one).

The more successes gained, the more detailed and intricate

the information.
1 success Shimmering glimpses, with breaks and gaps if

the object is moved. Visual only, lasting a turn.

2 successes A good image that lasts approximately five

minutes with no sound or color. The viewpoint cannot be
chosen, and it does not change unless the object is moved.
3 successes The image is perfectly clear, with full color
and fuzzy sound quality (sounds can be heard within five feet of
the object). Viewpoint may be tilted up or down, or pan left to
right. Contact lasts one scene.
4 successes Same as above, except that everything within
normal earshot of the object can be heard. Furthermore, the caster
can focus (or "zoom") upon any detail near the object. With a
successful Soothsay + Realm roll (difficulty is the target's Banality
+ 4 ) , the caster may use Omen on any subject she can see with this
cantrip. Contact lasts sunrise or sunset, whichever is closest.
5 successes As above, except that the caster can move her
point of view wherever she likes. She can choose a subject and
follow him, even if he moves out of eyesight of the original object.
With a successful Soothsay + Realm roll (difficulty is the target's

Banality + 4 ) , she may use up to Level Two Soothsay cantrips upon

the target (giving new meaning to a "good luck charm"). Contact
lasts one full day, but a Stamina + Meditation roll (difficulty 7) is
necessary to maintain contact after every six hours.

Type: Chimerical

A changeling uses Omen to get a small glimpse of a person's

Dan. With Augury, he can throw a major element into the path
of a person's destiny.
Augury works as a limited form of Fate Fire. After the Bunk

is performed (which must include some form of divination, as with

182

Changeling: The DReaming

Omen) and the cantrip cast, the changeling describes a scene or

event which will take place at some time in the future. The event
could occur anytime, and the caster has no control over when it
does. Furthermore, the adage, "Be careful of what you wish for...."

is particularly germane here; the changeling describes the scene,

but the circumstances leading up to and following the scene are at
the whim of the Storyteller (who should give the players a little
slack, unless the scene described is a ridiculous attempt at
powermongering). For instance, a caster describes a scene wherein
her worst enemy is butchered by his own treacherous guards. A
sadistic Storyteller could engineer a plotline in which the caster is
forced to Elder-Form herself into an exact likeness of the enemy.
Just imagine her sweating bullets as she approaches her "loyal"

guards in the Elder-Form guise of her enemy. Will they strike now?
Only the Storyteller knows!
No one knows whether the caster of Augury engineers the
future event, or the caster's own Dan is at work as a moment in
the future unravels backward in time, planting a kernel in the
Augury of the intrepid caster. It is for this reason that Soothsayers treat Augury with kid gloves.
System: Multiple castings are not cumulative; however, multiple castings can "link" successive scenes in the future together. No

more than three scenes may be so linked, and the Storyteller can add
unforeseen plots and elements in between the linked scenes. (The
more you attempt to control your Dan, the more your Dan controls
you, Oedipus.) The Realms describe all of the major elements
within the Augury, including the target. To affect large areas

outside the immediate vicinity of the target requires Scene.

The number of success determines the pivotal consequence
of the described event.
1 success Minor event, a scenic element (slight weather
change); car keys found; an expected letter arrives.
2 successes Uncommon event, a major scenic element

(thunderstorm, snow, 3-car crash); an old friend calls out of the

blue; the IRS decides not to audit you.
3 successes Significant event, freakish weather (lightning strikes a particular person, or a rain of toads falls over

L.A.); a dog reveals his owner's murderer; an ally arrives in

the nick of time.
4 successes Decisive event, wide-ranging elements (basketball-size hail for 36 hours, or black rain for a week); the state
militia rebels; the IRS sets up a trust fund for you, based on your
tax shelter.
5 successes Acutely incredible event, nearly impossible
elements (the President admits he is a vampire, a town simply
disappears); the state militia announces its allegiance to Peru; a
3-headed baby holds a press conference.

Note: The caster achieves one free success (in addition to any
successes earned) if her suggested Augury event is a complimentary element to the target's Dan. For example, if her target is a
person dying of AIDS and she describes a scene where he passed
away with all of his loved ones present, she gets one free success.

If no successes are earned, she does not get this free success.
Type: Chimerical

 Fare RRC
Many people have little contact with their Dan; this is why

the concept is so elusive. The day of reckoning does not usually

arrive for a while. Casters of Fate Fire can speed up the process

and bring a person's fate to manifest sooner for good or ill,

depending upon the balance.

The caster has no control over the outcome. Of course, he

can make suggestions as to what may be the most fitting
manifestation of Ddn to the Storyteller. Casters of Fate Fire
often have vague, portentous dreams of what will come to pass.
System: As with most Soothsay cantrips, the caster needs
all of the Realms that will play a part in the casting of Fate Fire,
including that of the target. As this is an unusually powerful

cantrip, the Storyteller should take some time and thought in

considering the target's manifestation of Dan (fate is usually

obvious in its manifestation, but this cantrip should not totally
unbalance the story... unless the Storyteller wishes to have a
storyline wherein the main plot is the aftershock of Fate Fire).
The successes determine the degree of Dan brought to bear
upon the target.
1 success The target receives a chance encounter,
warning her of the consequence (or benefits) of her actions. A

troubled soldier has nightmares about war; a bad driver is nearly

hit by a car.

2 successes The target receives a clear illustration of her

Din, suggesting her ultimate rewards. The soldier receives
Jonathan Livingston Seagull in the mail (no return address); the
bad driver sees two cars smash up.

3 successes A sudden turn of events in the target's plans

either set her back or propel her ahead of "schedule." The soldier
is court-martialed; the driver suddenly inherits a hot rod.
4 successes Fate dramatically steps in and reveals the
ends to the target's means. This may mean either sudden
calamity or sudden prosperity. The soldier's platoon is wiped out
(except for him), and he throws away his gun in an attempt to
save an infant. The driver's close friend dies in a car accident.

5 successes Instant karma. A character's fate is immediately brought to the fore. The soldier receives a supernatural
visitation, informing him that his fate is not tied to warfare, but
to saving lives. The reckless driver has a car accident, but may
(or may not) live to become a safer driver.
Type: Chimerical

SovcRdgn
In ancient times, the sidhe used Sovereign to regularly
enforce their noble dictates upon commoner kith. A few highly
conservative (and unpopular) nobles still adhere to this custom.
The Art of Sovereign forces commoners and nobles of equal or
lesser rank to obey the caster's dictates. Thus, a knight could not

use Sovereign on a baron.

This Art is the most widespread grievance that commoner

fae have against the sidhe nobility. As such, wise nobles use this
Art sparingly, lest they risk a revolt among their subjects.
Traditionally, this Art was jealously guarded by the nobility, but

ChapceR Five: ARCS and Realms

183

in recent times this Art has surfaced in some commoners' use.

System: The Realms describe the targets affected. ObviSome members of the Beltaine Blade blame House Fiona, but ously, certain Realms (such as Prop) are useless with Protocol.
the more likely reason is the rise of the non-sidhe nobility.
The number of successes determines how difficult the
Any time this cantrip is used to affect a changeling of equal
rank (commoners are all considered to be of equal rank), the

Protocol cantrip is to break by making a resisted Willpower roll

as described above. A botch when resisting this cantrip means

target can make a resisted Willpower roll (difficulty 6) to resist

the target abases herself by bowing and scraping to the reigning

the effects of the cantrip. Each success reduces the caster's

successes by one. Any character can spend a Willpower point to

dusk, dawn or when the lord proclaims, "Court adjourned!"

be allowed to make a similar roll, but at difficulty 7.

Attribute: Charisma

PRorocol
This cantrip allows nobles to conduct business and hold
court functions without being perpetually interrupted by noisy
childlings or commoners. Protocol ensures that everyone affected behaves as noble etiquette requires, although a roll is

required to determine if the target(s) can fathom the dictates of

the proceedings (see the sidebar). When this cantrip is cast, no
one may speak out of turn, and sudden combat and tomfoolery
are out of the question. Duels between persons of equal rank to
settle disputes are acceptable, if the reigning noble permits it.

Nobles take court very seriously, as it is the

main deciding body for Kithain society. Before

a noble can cast Protocol, he must determine what kind

of court session he is holding, as well as its purpose

(tribunal, treaty, a simple festival, Parliament of Dreams

session, etc.). The court sessions listed below are in
ascending order of secrecy. Ironically, the more secretive
the session, the less often Protocol is used.

Open Court: Open to almost everyone. Often called

as an impromptu session or a festivity highlight. Protocol
is sometimes used if things threaten to get out of hand.
Closed Court: Open to certain commoners privy to
important information. Called to settle matters of state.
Protocol is occasionally used, especially if suspect commoners are in attendance.
Privy Council: Open to the reigning lord and his
closest advisors. Protocol is rarely used here.
Reune: Highly secretive meeting between close
confidantes or those making backroom political
deals. Protocol is never used; noble fae would consider it an insult.
In addition, the form of a session is often difficult to
comprehend for those unused to court proceedings. Attending changelings must make a Perception + Etiquette
roll (difficulty andnumberof successes vary; sidhe reduce
the difficulty by two, and non-kith attendants automatically fail this roll) or be out of sync with the proceedings.
(Increase the difficulty of all Social and Mental rolls
related to the proceedings by two.)

lord until the cantrip ends. This cantrip remains in effect until
whichever occurs first.

Multiple castings of this cantrip are not cumulative. Two

nobles who attempt to cast this cantrip at the same time is a
minor breech of etiquette to the higher ranking noble (of course,
the lower ranking noble's Protocol fails).
Type: Wyrd

Diccum
This cantrip enforces the power of authority and command
over commoners and underlings. The target is simply unable to
disobey the requests of the caster, although the target is aware
when Dictum is used upon him (even if he is unfamiliar with the

Arts).
A target under the sway of Dictum attempts to carry out the
caster's requests to the spirit and the letter, unless the request
would somehow place him in immediate danger. A target

couldn't be told to attack a werewolf, but he could be asked to

guard the door against werewolves, as the command does not
place the target in immediate harm.

This cantrip, more than any other Sovereign cantrip, is the

major point of contention between commoners and nobles.
Commoner kith seem to take less of an affront to a user of
Grandeur (see below) than a user of Dictum. After all, most
Kithain already respect and feel a certain sense of awe for the
nobility, but they do not appreciate being forced to bow and
scrape before every noble whim.

System: The Realm determines the targets affected by

the cantrip.
The number of successes denotes how difficult this cantrip
is to resist by making an opposed Willpower roll as described

above. This cantrip lasts exactly one hour. Multiple castings are
cumulative (successive castings are at an additional + 1 difficulty
for each time cast).

Type: Wyrd or Chimerical

Grandeur impresses upon others that element of the majesty of Arcadia that every noble and sidhe carries. It is the
component of noble poise and refinement that later mortal
rulers attempted (but ultimately failed) with their divine pageants and coronations. Anyone who views a caster of Grandeur
is overcome with awe; he can take no action (violent or

otherwise) in the presence of the noble (even if that noble

attacks the target). Holding court is not possible for a caster of

Grandeur, as most of the attendees would be unable to speak.

Changelings with romantic Legacies tend to fall in love
with casters of Grandeur; this may be the reason it is rarely used

184

Changeling: The DReaming

in public (although High King David does seem to have an

overwhelming number of admirers....).
System: When Grandeur is cast, the Realm is determined
by the subject(s) of the cantrip. The Scene Realm can be added
to affect multiple targets.
If someone wishes to resist, she may attempt an opposed

one success per day. Once the successes are reduced to zero, the
Ward is destroyed. In the presence of Autumn People, this
deterioration takes place at a rate of one success per hour.
Multiple castings of this cantrip are cumulative, but the
caster can only accumulate a maximum of five successes on any
given Weaver Ward.

Willpower roll (difficulty is the number of successes scored by

Note: Yes, you can cast Weaver Ward on someone's

the caster). This cantrip lasts for one scene. Multiple castings
are cumulative (successive castings are at an additional +1
difficulty for each time cast).

mouth, but you need to achieve more (non-cumulative)

successes than the target's Willpower (and the target can
spend Willpower to automatically overcome the obnoxious
use of this cantrip.
Type: Wyrd

Type: Chimerical

(JJeoveR (JJaRd
Use of this cantrip prevents a door or entranceway from
being passed by certain persons or inanimate objects. Alternately, a caster can use Weaver Ward to insure that no one picks

up or uses an object (if the cantrip is used in this

manner, the caster must also possess the Realm
that represents the object).
A changeling may use this to erect
a selective screening for this Ward
that lets certain persons through
(though the person's True Name
must be known and spoke aloud at

the time of casting), such as a

Warded cave that only permits
members of a certain society to
enter. She can also create a deac-

tivator password that temporarily

shuts the Ward down; "Open
sesame!" and "Open locks whoever
knocks!" are two more famous examples of such.
Weaver Ward may be also used as a
"cantrip lock," or a lock against unwanted
counterweavings. Cast in this way, Weaver Ward
protects cantrips from being undone. No counterweaving is

possible against a cantrip unless the Weaver Ward is undone

first. For this to occur, the counterweaver must be aware of the
Weaver Ward, and direct her counterweaves against it. After
Weaver Ward is undone, the other spell can be made normally.
System: The Realms determine who or what may not pass
through the Weaver Ward. If cast upon a particular item rather
than a doorway, a Realm appropriate to the item must be used.

To Ward against cantrips, the Dweomer of Glamour (the fifth

level of Fae) must be used.
Even one success with Weaver Ward prevents the subject

of the cantrip from entering the specified doorway or using the

intended object. The only ways around this cantrip are casting
a Counter-Weave, or the Wayfare cantrip Portal Passage. In
either case, the would-be breaker must score more successes
than the original Weaver Ward casting. Otherwise, only the
wearing of time (many years) or excessive Banality will overcome this cantrip. In the presence of strongly banal people
(those with more Banality than Glamour), a Weaver Ward loses

Qeos (OR Ban)

When this cantrip is used, the power of Glamour is employed to direct a person upon a task or quest. This quest must
be fulfilled to the letter, or the target suffers some
kind of curse (designated at the time of casting). The target need not know what lies in
store for him if he fails to complete the
Geas, but the anxiety of knowing can
be worse than the punishment.
The other use of this cantrip,

called Ban, forbids a target from

doing something or engaging in a
specified activity. The most com-

mon use of this cantrip is the exileBan, which forces the target to
leave a specified area and never

return (or suffer the effect of the

curse). A Ban can also be a forswearing of a certain activity, such as smoking, killing another changeling, etc.
Certain forsworn quests and oaths are
Geasa of a sort, and need no caster to initiate
(the oathtaker's will and desire are initiating the
cantrip). See "Oaths" in Chapter Seven for details on this
form of Geas. For any other oaths not specified by this section,
assume that a point of temporary Glamour is gained upon
completion of the quest. The Storyteller must determine any ill

effects for failure to complete the quest or the breaking of an

oath. The minimum should be the addition of a permanent
point of Banality.
A Geas or Ban that is impossible (e.g., a mortal is ordered
never to breathe air) immediately fails. Geasa or Bans ordering
a target to kill himself are likewise void, but a Geas or Ban can
be cast which will surely mean death to the target (i.e., a target
could not be Geased to stab himself, but he could be forced to

take a quest in which he must kill an "unkillable" enemy).

System: The target of the cantrip determines the Realm need
to cast this cantrip. The Scene Realm can be used to affect multiple

targets. Unlike other cantrips, the changeling only needs the

Realm affecting the target(s) to cast Geas or Ban. The Prop Realm
is not usually needed unless the Storyteller feels that this is
necessary. As usual, Scene is required to affect multiple targets.

ChapreR Five: (\Rrs and Realms

185

The target must fulfill the Geas or Ban to the letter or suffer
the consequences, determined by the number of successes. The
target may (immediately) attempt to resist the cantrip by
spending one permanent point of Willpower and succeeding in
a Willpower roll (difficulty 4 + the caster's successes). This
attempt must be made immediately after the cantrip is cast.
Only one success is necessary to resist its effects. A Geas or Ban
is immune to the effects of counteweaving.
The caster must divide her total successes between the
quest and the curse (see below). She cannot stack multiple
castings of this cantrip to increase the effects, though a single
character can be affected by multiple Geasa and Bans. If she
spends an extra Glamour point, she can designate the curse to
gradually affect the target (with increasing severity) over the

2 successes A moderate Geas or Ban (retrieve a known

item that has few guards; exile from a place rarely visited).
3 successes A difficult Geas or Ban (find an unknown
person; cease an activity you find important).
4 successes A nearly impossible Geas or Ban (find an
honest politician; exile from an area you've lived in all your life).

5 successes A legendary Geas or Ban (bring back the

Siege Perilous from Arcadia; never visit the love with whom you
have sworn the Oath of Truehearts).
Curses:
1 success Mild curse (rash or itch).
2 successes Moderate curse (minor physical ailment or

non-debilitating illness, such as a cold).

3 successes Major curse (debilitating illness).
4 successes Catastrophic curse (loss of loved ones, all
possessions, etc.).
5 successes Deadly curse (death, or worse).
Type: Chimerical

course of the quest. For example, a caster could send a target on

a quest to find true love; the longer he looks, the more a
debilitating and scarring disease ravages his body.
A Geas can be long-term ("Fight injustice whenever you
face it.") or short-term ("No one may move until I finish
singing my ballad."). The extent and power of the Geas (and
the curse) are only limited by the number of successes at the
time of casting.
Wayfare is the Art of efficient travel. Originally developed
Quests or Bans:
by scouts and messengers, this Art has also found use in noble
1 success A simple Geas or Ban (drive me to the airport; circles as a means to spy, because the powers at higher levels
stop picking your nose).
allow one to move into seemingly impossible places. For this

(JJayfdRe

186

Changeling: The DReaming

reason, the overt use of Wayfare at higher levels is carefully

System: The Realm determines the target(s) of this cantrip.

watched by some nobles (and outlawed by others). At the lower

Each success allows the changeling to perform an additional

end, the Art is considered more of a useful tool than a dangerous

weapon. In general, commoners, noble retainers and eshu are
the most likely to possess Wayfare.

action on her next turn. If the Scene Realm is used to allow

multiple people to be affected by Quicksilver, the successes must
be divided among the targets.

Attribute: Wits

Hopscorch
Leap trods in a single bound! With this cantrip, the changeling can make herself or others venture (seemingly) impossible

leaps, either up or down. This cantrip is limited by the amount

of space available (she could not smash an enemy into the
ground as she could with Gimmix).

System: The Realm is determined by the target imbued

with the ability to leap. An item imbued with this ability can be
made to leap as well as people, though the caster must actually
will it to do so. Anyone in physical contact with the
item may prevent it from doing so by making an
opposed Willpower roll (difficulty 6). Each
success reduces the caster's successes by
one. A failed Willpower roll generally

Type: Wyrd

PoRral Passage
Portal Passage creates an opening through any barrier, up

to 10 feet thick. This portal will generally appear as a normal

door (6' x 3'), though it may be smaller, depending upon the
size of the barrier. The portal will pierce any barrier, no matter
how thick. A barrier can be defined as a wall, hedge or closed

door. A mountain obviously cannot be pierced since this

exceeds the thickness limitation, though an eight-foot-thick

wall of stone can be pierced.
System: When casting a Portal Passage
cantrip, the substance in which the
portal is to be created determines
the Realm. In most cases this will
require the Nature Realm,
though generous Storytellers

means that the item in question rips

free from the resisting parties grasp
and leaps into the air. In the case of
this cantrip being cast upon a
person's clothing, the clothing will

may allow the Scene Realm to

substitute (if appropriate). If
the character was trying to

make an o p e n i n g into a

generally rip free (unless it is of

locked car or a boat, the Prop

particularly sturdy manufacture).

This opposed roll cannot be used to
stop a person who has been affected

Realm may be appropriate.

A created portal remains for

one turn for each success gained.

Type: Wyrd

by Hopscotch. Finally, the Scene

Realm cannot be used to cause a build

0 (JJind RunneR

ing to leap into the air.

If the Scene Realm is used to allow

multiple people to jump, the successes must be
divided among the targets.
For example, Jimble the pooka casts a Hopscotch cantrip on
a unsuspecting redcap's undershorts (hoping to give the redcap in
question a serious wedgie). Obviously not wanting to be pulled
into the air by his undershorts, the redcap makes his Willpower

roll. His four successes cancel ] imble's original four. Jimble is going
to need that Hopscotch cantrip for himself in a few moments....
The number of successes determines how far the caster can

leap.
1 success Five feet straight up; 15-foot broad jump.
2 successes One story straight up; 30-foot broad jump.
3 successes Two stories straight up; 60-foot broad jump.
4 successesFive stories straight up; 150-foot broad jump.
5 successes 10 stories straight up; 300-foot broad jump.
Type: Wyrd

@ QuicHsilveR
Faster than a speeding phoenix! This cantrip allows the
changeling or a subject of her choice to move incredibly fast for
brief instances. Others view the Quicksilver target as a blur.

This cantrip can bestow flight upon

the target. The target has full control over
where he wants to fly, and for how long (subject to
the limits of the cantrip). Multiple castings are not cumulative,
and another Wind Runner cantrip may not be while the
changeling is airborne. If he forgets about the cantrip's duration
while aloft, he has a long time to ponder his mistake as he

plummets earthward.
System: The Realm is determined by the target of
the cantrip (almost always Actor or Fae). This cantrip

can cause an object to fly, but it is subject to the limitation of Hopscotch (see above). Any individual who is in
physical contact with the object may attempt to stop the
flight by making an opposed Willpower roll (difficulty
6). This opposed roll cannot be made to stop a person

affected by Wind Runner. If the Scene Realm is used to

allow multiple beings to fly, the caster must divide her
total successes among her targets.

The number of successes + 1 die determines how many

turns the target may remain aloft.
Type: Wyrd

ChapceR Five: ARCS and Realms

187

Flash

four levels of a particular Realm, she is able to affect anything up

This is the cantrip feared by the nobility for its ability to

allow anyone to get anywhere. With Flicker Flash, the changeling can disappear and reappear anywhere in creation that she

to the fourth level.

desires. The caster must know, see (or scrye) or possess a part of
both her target and the destination. If she cannot fulfill this

changeling has available to cast a cantrip. If several Realms are used

limitation, there is a chance the cantrip will go awry (the

Storyteller should have as much fun as she likes thinking up a

really creative place to send the character!).
This cantrip does not usually work when attempting to
cross to the Dreaming. The few changelings foolish enough to
attempt crossing to Arcadia have all been lost.
System: The nature of the person or item being affected by
the cantrip determines the Realm. If the Scene Realm is used to

Flicker Flash multiple people, the successes must be divided

among the targets.
The number of successes determines how quickly the changeling crosses from point A to point B. Storytellers may adjust this
chart as they see fit for their own chronicle.
1 success Travel takes one hour (or more).
2 successes Travel takes about five minutes.
3 successes Travel takes about one minute.
4 successes Travel takes about 10 seconds.
5 + successes Travel is instantaneous.

Type: Wyrd

Realms
Possession of Realms determines who or what changeling
casters are able to affect when casting cantrips. Everything up to
the level she possesses is inclusive; thus if a changeling possesses

The level of the Realm used added to the appropriate Attribute (based on the Art used) determines the number of dice the
in casting a cantrip, she must use the Realm with the/ewest number

of dots for figuring the Dice Pool. Even if she only needs a lower
level of a Realm, she can still use her full rating for the purposes of
casting a cantrip. So if she has five levels of Fae, but is only trying
to affect a commoner, she can still add five to her Dice Pool.

For example, a giant land dragon is rushing at a group of

changelings. Thinking quickly, Eriond the eshu decides to cast
a Wind Runner cantrip so that they may fly away out of danger.
The changelings have a couple of enchanted mortals with them,
further complicating the situation.
Eriond has to use three Realms to be able to affect himself

and all of his companions: He has Fae 4 (though he would only

need one, since all of his companions are commoners), but he
has only Actor 1 (which is fortunately enough since the enchanted mortals are good friends). He then combines this with
Scene 4 (since they are currently in an open field). The lowest
Realm he possesses is Actor, so Eriond uses this Realm when
determining his Dice Pool for casting the cantrip. See Chapter
Seven for complete information on casting cantrips.
Exceptions to the use of Realms are Scene and Time. In

most cases, Scene allows the caster to affect multiple targets, and
Time allows a cantrip to be cast with a delay before it takes effect
(literally, a time bomb). When used this way, neither Realms are
used to figure in the number of dice for Dice Pool. There are
some instances where Scene can be used as the primary Realm,
and in such cases Scene is used to help determine the Dice Pool.

AetOR
This Realm concerns itself with mortals. The higher the Realm, the less the caster must personally know the person. This
Realm includes supernatural beings such as vampires, wraiths, etc., but not other fae.

Level "''Tide

DescRiption

True Friend
Personal Contact
Familiar Face

A well-known confidant, buddy, etc.

You have had a long conversation with this person, and you know his name.
You recognize his face, but you do not need to know his name.

Complete Stranger You need no information, but the person cannot be your enemy.
Dire Enemy
TTiispersonmustbeyourenerny,orincompetitionwithyou;agamingfriendfallsinthiscategory.!!

NaruRe
This Realm encompasses animals, elements and nonsupernatural creatures of nature.

Level

TTr1e

DescRiprion

Raw Material
Verdant Forest
Feral Animal
Natural Phenomena
Base Element

Unliving, organic matter (rope, paper, stone, etc.). If it's inorganic (steel, etc.), it is not of this Realm.
Living, organic plant material (not animals).
Living, nonsentient animals (self-aware animals are governed under Actor).
Natural occurrences: weather, volcanic eruptions, earthquakes, etc.
Governs natural (carbon-based) elements, or the traditional four: fire, water, earth and air.

188

Changeling: The DReaming

Fae
This Realm governs all creatures of the Dreaming.

Level

*
*

Tide

DescRipdon

Hearty Commoner
Lofty Noble
Manifold Chimera
Elusive Gallain

Commoner changeling.
Any changeling with a title.
Chimerical creatures or items.
Usable on all fae beings not categorized above: Nunnehi, Inanimae or anything else

unexplainable but related to the Dreaming.

Dweomer: of Glamour Anything composed of Glamour: cantrips, treasures, dross, etc. (Note: you need to possess
?]
r - ~h:: i.::is;,j,i,f:: i = : this level to attempt to counter any cantrips cast).

Prop
Prop governs objects that not natural and crafted from human hands. This includes formerly natural objects crafted into
something else (wood sculptures, papier mache', etc.).

Level

Scene'

Tide

DescRiprion

Ornate Garb
Grafted Tool
Mechanical Device
Complex machine

Objects commonly worn (clothing, rings, tattoos, etc.).

An item with no movable parts (swords, shields, but not guns or even a morningstar).

Arcane Artifact

Any crafted item not listed above, with complex components.

':

:;:;

"":;::

An item with movable parts, but not needing fuel to operate (including computers, which need electricity).

A single item with movable, sometimes electronic components, but with an easily understandable mechanism (toaster ovens, cars and printing presses; no computers, TVs, etc.).
:

"

'

::

";

'

; :;

" ' ; . . / -^ :

This Realm determines area of the casting. It allows the changeling to affect multiple targets (although she must possess
the requisite Realms to affect these targets as well. She could not use Scene 3 by itself to affect a playground full of kids).

Level

Tide

Description

Chamber
Cottage
House
Park
Kingdom

up to 25 sq. ft.

up to
up to
up to
up to

200 sq. ft.

750 sq. ft.
2,000 sq. ft.
50,000 sq. ft;

Time
This Realm allows the caster to set a "delay" on a cantrip casting. She could cast the cantrip, leave the area and then expect
the cantrip to release without her being present. The number of dots determines how long the delay can be set, and the difficulty
modifier applied to the casting.

Level

"Time Delay
1 turn
1 hour

1 day
1 week
1 month

ChapreR Five: <\Rrs and Realms

189

"Rules.1 Who needs 'em! Ptoooeey! You live your life by rules,
and then you're supposed to play by rules, too? What a crock of goat

shit! It's been my experience that the most interesting, sexy and fun
stuff is as far off the beaten path as you can get. I say, give meastarting
point and I' II find my own way. Don' t need to be firs t at the finish line.
Don't need to be the best. It's all the stuff in the middle, and to the right

and left, that makes my tail wag."

Se'han MacCannae, satyr grump

Rules are an important function of any game such as

Changeling. Rules are the foundation upon which we build our

their characters. No one wins or loses. The goal is to combine

efforts in order to tell the most amazing story possible.

house of creativity. They are the bones, muscle, sinew and brains
Most players assume the roles of changelings, faeries who must
of our characters. They outline the limitations imposed on our live in a world wracked by Banality and fraught with danger. One
characters by the World of Darkness. They also allow us options friend takes the esteemed position of Storyteller. The Storyteller
that are only possible within the realm of the game. Finally, rules has the most important function in any Storytelling game. She
serve as the common judicial system on which the game is

details the structure of the story that the players move through and

structured and through which we process the events that occur.

In Changeling, rules are secondary to the stories that players
create. The foundation of a house only makes sure the house
stands. It's the story that paints the eaves, hangs the shutters and
ilecorates the windows. However, the necessity of rules is unquestionable. They make playing a game possible. Yet if the rules ever
constrict your story, feel free to discard some of them, whether
temporarily or permanently, based on the type of house you want
in build. Do what you please with your game. Your only limits are

embellish. The Storyteller alone knows the big picture, the scope
and breadth of the story. Her primary responsibility is to the
players; she works with them to ensure that everyone has a good
time. She has final say in any rules disputes, and may allow or

the depth of your creativity and the breadth of your dream.

guidelines delineate the amount of game time a character actually

spends doing something as opposed to the amount of time it takes

Rules and SroRyrelling

When friends gather to play Changeling, they work together to create a story, a shared dream built around the lives of

disallow anything at any time in the name of furthering the dream.

Tune
Time is relative, as are all things. Changeling involves six
different measurements to describe the passage of time. These

a player and the Storyteller to work through the action in real time.
Turn: A turn is the amount of time required for a character
to take one simple action anything that can be done in

ChapreR Si;c: Rules

191

roughly three seconds. Although the player and Storyteller may

discuss a turn's action for half an hour, the time that passes for
the character is much shorter.
Scene: A scene describes a series of events that usually takes

Once you have rolled your Dice Pool, look to see how
many successes you achieve. Every die that matches or exceeds
the difficulty number is considered a success. However, any
"one" rolled on a single die eliminates a success. Count how

place in one location. A scene can encompass any number of turns,

or can last minutes or hours depending on the nature of character

many successes you have left, and that number represents the
height of your accomplishment or the depth of your failure. The

interaction. A scene can usually be titled based on its setting, such

more successes you roll, the better your character does. If you roll

no successes, your character doesn't achieve what she set out to

Chapter: A chapter is a series of scenes strung together with do, and the roll is a failure. If you roll more "ones" than you do
a coherent beginning, middle and end, and is usually played successes, your character botches, which is a catastrophic failure;
through in one game session. A chapter could represent a day in not only does your character fail at her task, but something bad
the lives of the characters, or an entire week spent, say, gather- happens as well. (See "Botches," pg. 199.)
Rolling dice is exciting you don't know what's going to
ing information on a particular villain.
as "The Bar Scene" or "The Binghamton Freehold Scene."

Story: Turns, scenes and chapters combine to form stories.

happen. Don't get carried away, though. The dice serve a

A story is the tale that characters experience. This tale has an

purpose, but rolling them to determine every outcome becomes

tedious. Roll dice only if roleplaying or the mutual consent of

introduction, a conflict and climax, and a resolution. The story

is the problem of the month, the adventure of the moment.
Chronicle: A chronicle describes the big picture of the characters' lives. It is a series of stories connected by characters or
setting. Long-term character development occurs through such a
series as the characters become older and hopefully wiser. Characters may undergo many changes throughout a chronicle, and their
goals and dreams may change as they live and learn. Characters

may also come and go in a chronicle; the underlying ties are the
ongoing plot and theme, as composed by the Storyteller.
Downtime: Not all of the moments in characters' lives are

roleplayed. That would be boring. Events that don't relate directly

to a story being told are delegated to downtime. Events that occur
in such time, such as running the day-to-day aspects of a business,

learning a new skill, resting or recuperating, are described or

summarized simply to account for how downtime is spent. Downtime can last hours, days, weeks or even months depending on the
amount of time that passes until the next story begins.

Dice Rolling
You need a handful of 10-sided dice, which you can buy in
any game store, to play Changeling. The exact number you need

is based on the statistics you set for your character. Players

usually need fewer dice than the Storyteller does. Dice are
typically rolled under the following circumstances:

When you create your character, you divide points among

various Traits to represent your character's strengths and weaknesses. Your character has a certain number of dots in each of these
Traits. Once your Storyteller decides which Traits are relevant to

the players doesn't resolve the matter. Changeling is a roleplaying

game that uses dice, not a dice-rolling game in which you play
a role. Use your dice to enhance play, not to drive it.

ir Rorings
You define your character through her Traits. Traits in
Changeling are rated one to five to represent a character's

strengths and weaknesses. One is lousy; five is superb. The

normal range runs between one and three, with two being the
human average. A character can also have a Trait rating of zero
if she is handicapped or particularly miserable at something. Use

the following chart as a guide when defining your character,

deciding how capable she is, and assigning dots to Traits.
x
Abysmal

Poor

Average

Good
Exceptional
Superb
The two most commonly used types of Traits are Attributes
and Abilities. Attributes represent the basic physical, social and
mental capabilities of a character, such as Dexterity, Charisma
and Intelligence. Abilities include Talents, Skills and
Knowledges (like Athletics, Drive and Law) that a character has
learned throughout her life. When you assign dots to yout
character's Attributes, you determine how strong, attractive or

smart she is. Choosing your character's Abilities defines what

she knows, what she can do and how well she can do it.

your character's actions, you gather up one die for each dot you
have in those Traits. The total number of dice that you can roll,
based on your character's statistics, is called your Dice Pool.
Next, your Storyteller assigns a difficulty number to your

Whenever your character performs an action, the Storyteller decides which Traits apply to that action. For every dot
that you have in the named Traits, you can roll one die. Thus,

roll, a number between one and 10 that represents how challenging your character's action is. The Storyteller may also

in Strength, you get four dice in your Dice Pool for that roll.

make rolls more difficult by reducing the number of dice in your

pool, depending on the circumstances of your character's actions (such as she's attempting the task without the appropriate
Ability, or her environment is making the task tougher than it
might normally be). Such alterations are called modifers.

192

Changeling: The DReaming

if your character performs a feat of strength and she has four dots
It's rare to roll only the dice that your character has in a
particular Attribute (which are innate aptitudes). You typically

add the dice from a relevant Ability (Skill, Talent or Knowledge). Your Storyteller chooses one Attribute and one Ability
that she thinks applies to the task your character is attempting.
This combination of Traits makes up your Dice Pool. You never

combine more than two Traits to produce a Dice Pool. Furthermore, you use only one Attribute or one Attribute plus one
Ability to create a pool. You cannot combine two Attributes or
two Abilities.
Any Attribute can be combined with any Ability, although
some combinations are much less likely than others. For example, you might not expect to combine Stamina + Drive.
However, if a character is taking a long trip and risks falling
asleep at the wheel, this roll would be appropriate. Difficulties
and conditions listed in the following examples are arbitrary,
and your Storyteller may lower or increase them based on the
circumstances of the story.
For Example
Michelle telh her Storyteller, Ed, that Mind, her cat pooka
character, is Crying to snag a goldfish from the fountain in a Chinese
iKtaurant. Ed decides which Attribute and which Ability applies to

Uimi's attempt. He telh Michelle to roll Dexterity (an Attribute) plus

Athletics (an Ability). Michelle adds the number of dots she has in
Dexterity (3) to the number she has in Athletics (2) to create her Dice
Poo! (a total of five dice). She rolls all five dice versus a difficulty number
assigned by her Storyteller (in this case 6) she gets 1,5,6,8,9. Now
she counts her successes, removing one success for each "one" that's
mM. The "one" cancels out the 6 she got, leaving her two successes (8
and 9). The total number of successes determines how well Mimi
succeeds at catching a goldfish. With two successes, Mimi manages to
snag her little appetizer. New, what sauce goes with goldfish?

^\CTnOr)S
Words, imagination and descriptions are the mainstay of
any Storytelling game. Changeling players act out their characters' conversations and describe their actions. Your character
will attempt many different things in the course of a game, from
tenderly kissing the hand of his beloved to swinging his sword

with gusto. You describe your character's actions to the Storyteller and the other players so that they can envision the scene
and then describe their characters' actions. Your action descriptions should be detailed. This helps the others imagine exactly
what your character is doing.

Many actions occur automatically, whether because of

their simplicity or because there's no opposition to them. A
character who "greedily eats the steaming french fries in front of
her" has no trouble doing so. Other actions are more difficult,
and the Storyteller may request that a player roll her Dice Pool
to see how well the character succeeds, if at all.
Actions are broken down into several types, and a player
has certain options when choosing her actions. An explanation
of each type of action follows, accompanied by an example that
illustrates it.

Simple Acrions
The basic type of action is the simple action. When a
character makes a simple action, she performs one act. The
ChopceR Si;c: Rules

player gathers her Dice Pool based on the appropriate Traits,

the Storyteller assigns a difficulty number to the action, and
the player rolls. The outcome of the roll determines the
character's degree of success.
For Example
Wrench, a nocker, has gathered with some of his companions to
share information in the Binghamton freehold, a diner in the mundane

world. He scratches his head, bored, as he listens to Tomacchio the

troll's long-winded tale of his own heroism. Wrench's mind and eyes
begin to wander. He notices that a glass of milk balances precariously
on the edge of a table. Someone bumps the table, and the glass shakes
loose. He dives in an attempt to rescue the glass before it hits the floor.
The Storyteller informs Wrench's player that he must roll

Dexterity + Athletics against a difficulty number of 6. The

player adds the number of dots that Wrench has in those Traits
and gathers his Dice Pool. There are seven dots, so he can roll

seven dice. He rolls 1,1,3, 4,4, 6, 8. The "ones" cancel out the
two successes and, with no successes left, Wrench's player fails
the roll. The Storyteller describes the tumble, resounding crash
and white splash of milk as Wrench's hand grabs at empty air,
just a second too late.

OOulriple Actions and Splicring Dice Pools

Sometimes circumstances demand that you try to do several things at once, which occurs often in a high-adventure
game like Changeling. Your character may attempt to perform

two or more simple actions in the same turn. You must split your
Dice Pool among the actions to do so. For example, if your
character wants to attempt to break into a car while watching for

the cops, he performs a multiple action.

Compare your character's Dice Pool for breaking into the
car (Dexterity + Security) to his Dice Pool for watching for the
cops (Wits + Alertness). You must use the smaller of the pools,
and allocate the dice in it among the actions. Roll separately for
each action. If you fail one of the rolls, you don't necessarily fail
all actions (unless all rolls are failures). You can succeed at one
task and fail or even botch another in the same turn.
For Example
Mary Contrary, a sad-faced beagle pooka, is sitting at the table
near the falling glass of milk. Withagasp, she simultaneously tries to
move out of the way and lunges downward to grab her friend
Tehlana's laptop computer, which hums quietly on the floor nearby.
Mary is attempting two simple actions in the same turn.
The Storyteller informs Mary's player that the rolls are Dexter-

ity + Dodge (to avoid getting splashed) and Dexterity +

Athletics (to grab the computer). Mary's player compares her
two Dice Pools and discovers that her Dexterity + Athletics is
the smaller of the two, with only five dice. She allocates three

of those dice to dodging the milk, and two to rescuing the

laptop. The Storyteller assigns a difficulty of 6 to both rolls.
The player rolls, and Mary succeeds at dodging, but fails to
rescue the laptop. The Storyteller describes the wet sizzle as

milk splashes on the keys of the computer and causes it to

malfunction. Mary's shoes are dry, though.

194

Changeling: The DReaming

Qctended Actions
Simple and multiple actions require only one success per
roll for a character to accomplish each task. Any successes
beyond the first indicate how well the character succeeds. An

extended action works differently; more than one success is

required to perform a feat. An extended action requires continu-

Dice Pools versus a difficulty number indicated by the Storyteller. The players compare the number of successes achieved,
and the player who rolls the most succeeds. Each success rolled
by the loser cancels out one of the winner's successes in the same

way that "ones" cancel out successes. The winner's remaining

successes define how well the task is accomplished. It's difficult

ous effort over a period of time, such as putting out a fire over a
space of turns, quickly stitching up a torn pocket in minutes, or
maybe even taking hours to hack into the United Nations

to perform a resoundingly successful resisted action.

database. The Storyteller defines the extended action by the

freehold, look up at the sound of the crash. Lira works at the freehold

number of successes the player must accumulate before her

character completes her task. This number could be anywhere
from three to 20 successes. You roll repeatedly over subsequent

as a waitress, andbegins to rise fromher seat in Se'han'slap to clean

turns (or other units of time, such as minutes, depending on the

enormity of the task) in an attempt to accumulate the required

number of successes. Once you have collected enough successes,

your character has accomplished the task.
If a roll is botched (see below) in an extended action, all
;iccumulated successes are lost. The whole effort is for naught
;md may be impossible to complete; essential tools were broken,

For Example

Se'han and Lira, two satyr members of the Binghamton

up the mess. Se'han wraps his arms more tightly around her waist

and grins up at her. "Let one o' the lads clean that up," he purrs,
his voice deep and amused. Lira shakes her head. "No can do,
Se'han. I'm the only one here today." She wiggles and squirms,
trying to free herself from his embrace.
The characters struggle directly against each other in
resisted actions. The Storyteller asks Se'han and Lira's players to
roll Dice Pools based on Strength + Brawl. The difficulty

number she sets for each is equal to the opponent's total Dice
Pool. Se'han rolls six dice against a difficulty of five, and Lira

or subjects were frightened off.

It's also possible to fail an extended action simply because

rolls five dice against a difficulty of six. Despite the odds, Se'han

you run out of time. If you need to accomplish a task in three

rolls fewer successes than Lira does, and Lira manages to wriggle

turns, and need five successes to do so (perhaps a bomb is

out of Se'han's grasp, leaving him cold, alone and pouting.

counting down to detonation), you're out of luck if you have

only four successes at the end of turn three. The Storyteller

Resisted and ;ctended Actions

decides when a time limit applies to an extended action.

For Example
Tehlana, another nocker, looks down to see her laptop

Actions can be both resisted and extended. Players compete to see who collects a designated number of successes first,
over an extended period of time. The successes achieved in each
roll are compared. Each success above the opponent's number of
successes achieved in an individual roll is added to a success

filling. She cries out in anger and surprise, "Which one of you
turkeys did this?!" She scoops up the laptop, dumps out as much
milk as she can and dries out the keyboard. She pops a disk into the
drive, and her fingers flicker over the key sin an attempt to save the
data stored on the machine.
Recovering information is no minor task, but it's only a
single task, so it is deemed to be extended. The Storyteller
informs Tehlana's player that she needs seven successes on a
Wits + Computer roll (difficulty 6), and that Tehlana will lose
a megabyte of information from the computer's memory chip
for every turn after the first that she attempts the action. The

player gathers her Dice Pool and rolls. She gets four successes
in the first turn, and only two in the second turn. The
computer loses a megabyte of memory in the second turn. The
player needs only one more success to complete the task. Her
third roll botches! The Storyteller describes that the laptop
makes an odd whirring sound, and a bright light flashes across
the screen before it goes blank. Tehlana has lost everything,
and she howls in rage. Even if the third roll had succeeded, the

laptop would have lost two megs of information.

Resisted Actions
Sometimes your character's actions are opposed directly by

another character, who typically seeks to accomplish the same

task. This is a resisted action. Both players roll their appropriate

total. The first opponent to collect the designated number of

successes wins the contest. It can take some time to accumulate
the total number of successes needed.
For Example
By this time, everyone in the freehold has turned to sec what the
commotion is. Johnny, a loud-mouthed redcap, begins to hoot,
pointing at Tehlana. Her face turns bright red, all the way to the tips
of her ears. She catches Johnny's eye and glares. They commence a
staredown, neither one willing to be the first to look away.
The Storyteller decides that this is both a resisted and an

extended action. He tells the players that the first one to

accumulate three successes on a Stamina + Intimidation roll
versus a difficulty number of 6 wins the challenge. Rolls are
made every turn. Johnny's player rolls four successes, and

Tehlana's player rolls three in the first turn. Tehlana's successes

cancel out three of Johnny's, so the score is Johnny: one,
Tehlana: zero. In the second turn, Johnny's player rolls only
three successes, and Tehlana's player gets five. The score is now
Johnny: one, Tehlana: two. In the next turn, Johnny rolls three
successes and Tehlana rolls four. The final score is Johnny: one,
Tehlana: three. Tehlana wins the staredown. She continues to
glare at Johnny as he averts his eyes and undoes his smirk.

ChapceR Si;c: Rules

195

Acrion ,SBils
Simple Action

(Spcomple .

^^

wsswsraiB
Search, Shoot a gun

One roll completes the task. The player rolls

the appropriate Dice Pool versus a difficulty

number set by the Storyteller. Automatic
success is possible.

Multiple Action

Dodge and shoot, Dodge and drive The player compares the two Dice Pools, uses
the smallest and allocates the dice among the
actions. She rolls for each action against a
difficulty number set by the Storyteller. You
can be successful at one action while failing or
botching another. Individual automatic

Extended Action

Research, Seduction, Climbing

successes are possible.

Resisted Action

Extended and Resisted Action

'

The task takes a certain number of successes to

complete. The effort is protracted over turns,

but sometimes minutes or hours.
(Gambling, Shadowing, Intimuiation Two characters oppose each other. A roll is
made for each with difficulties set by the
Storyteller. The character with the most
successes wins, but the loser's successes are
subtracted from the winner's to determine
degree of success.
:
The winner is the first to accumulate a certain
Arm-wrestling match
number of successes over time (usually turns).
Successes achieved in excess of the opponent's

in a single roll are accumulated and applied

toward accomplishing the goal first. The
Storyteller sets the difficulties of extended and
resisted rolls.

TeamujORrs

The players describe how Thomas puts his arm around Mary's
shoulders comfortingly, while Mars'hia croons, "There, there,
dear. No use crying over spillt milk." Mary is soothed by her

Characters can cooperate to accomplish a specific task,

including extended actions. Players roll their respective Dice
Pools and the number of successes are added together. (The friends' gestures, and her tears taper off into hiccups.
Traits of different characters cannot be shared to form a new
Dice Pool.) The total number of successes rolled indicates how
Once you have stated your character's action, and it has
well the group accomplishes its task, if at all. More participants
usually increase the chances for greater success. Teamwork is been decided that a roll is necessary to accomplish the feat, the
effective in many circumstances, such as combat, research and Storyteller assigns a difficulty number to the action. The diffirepairing machines. On the other hand, too many cooks can culty number is the minimum number you must roll on any one

DiFFiculries and Successes

spoil the broth. The Storyteller decides how many characters

can contribute to a task, if any at all.

For Example
All the noise and confusion upsets Mary Contrary, who is still
a childling. She starts to cry, which sounds more like baying since she

is a beagle pooka. Thomas, a boggan, and Mars'hia, an eshu, rush

to her side and attempt to comfort her, combining their efforts.
The Storyteller decides this involves a Charisma + Empathy roll versus a difficulty number of 6. Thomas' and Mars'hia's

die in order for that die to be considered a success. A difficulty

number is always a number between 2 and 10. If the difficulty

number is 6, and you roll 3, 5, 6 and 9, you score two successes

(6 and 9). The lower the difficulty number, the easier the task
is to accomplish.
Furthermore, the Storyteller can decide to assign a difficulty number of 2 or 10 (though they're not on the list, on the
next page). These difficulties should be rare. A difficulty of 2
means the action is pathetically easy. A difficulty of 10 indicates
that the action is nearly impossible and your character is as likely

players roll their Dice Pools separately. Thomas' player rolls one
success; Mars'hia's rolls two. Together, they achieve three to botch as he is to succeed. The standard difficulty number for

successes, which constitute a solid success for this simple action.

196

Changeling: The DReaming

an action is 6, unless the Storyteller states otherwise.

above, rather than just announcing that the character is discovered by a noise she makes, it would be much more amusing and fun
for the player if suddenly the electricity went out in the building

Difficulties

Easy

4
5

Routine
Straightforward

6
7

Standard
Challenging

and the character was thrown into pitch darkness, losing sight of

the person she was sneaking up on. Always strive to provide the

most unusual and interesting result for a botch.

8 Difficult
9 Extremely Difficult
You need to roll only one success for your character to
succeed at an action. However, the more successes you roll, the
better your character performs. One success means your character achieves marginal success, whereas three indicate complete
success and five indicate a monumental success.
Degrees of Success

One Success
Two Successes
Three Successes
Four Successes
Five Successes

Marginal
Moderate
Complete
Exceptional
Phenomenal

laying Ir Again
If at first you don't succeed, try, try again.
If your character fails an action, you may decide that he tries

again. Subsequent attempts may be possible, depending on the

circumstances, although the Storyteller may always rule that further
attempts are pointless. In order to simulate the growing frustration a
character feels as he tries to accomplish something and fails repeatedly,
the Storyteller may add one to the difficulty number of each subsequent attempt. If an original difficulty was 6, it becomes 7 on the next
attempt, and 8 on the third. The character accomplishes his goal on
the first successful roll. Each new attempt is a separate action.
Note that trying rolls again usually applies only to simple
actions. Extended actions already allow for successive attempts,

Automatic Successes

and resisted rolls are won or lost outright. However, if you want
to attempt an extended or resisted action again, after failing it

The Storyteller may decide to forego making you roll to

determine success at an action if the total of your Dice Pool exceeds
the difficulty number of the action. This is called an automatic

once, you can initiate a whole new series of rolls in which your
difficulty is one higher than it was in the previous attempt.
There are, of course, situations in which rolls cannot be

success. Automatic successes preserve the integrity of the story and

tried again. If a character fails to dodge (with the Dodge

avoid interrupting roleplaying with intrusive game mechanics.

The Storyteller decides whether to allow an automatic success or

Ability), for example, or throws a punch, she takes damage or

misses her target, as appropriate. Future dodge or attack at-

to demand a roll, no matter how many dice are in your pool or how

tempts are made normally.

For Example

low a difficulty number is. (Actions that are always problematic or

unpredictable, such as attacks, should always be rolled for, no
matter how many dice are in a pool.) An automatic success is
marginal at best, as if only one success had been scored. If you want

better results at the action, you must make a roll.

torches
The last thing any player wants to roll is a botch, which
occurs when he rolls more "ones" than successes. Ones cancel
out successes, so a botch indicates "negative success" or a
disastrous failure.
The Storyteller decides what happens when a player botches.
The results are obvious in many cases. If a character attempts to
dimb a rope and a botch is rolled, she probably falls. If she tries

to sneak up on someone and a botch is rolled, she might knock

over a vase. Other situations may not be so clear-cut. Botches
require a bit of creativity on the part of the Storyteller.
For Example

Sergei the troll is attempting to intimidate a young boggan into

leaving him alone. Sergei s player botches the roll, and the boggan
mismtcTprcts Sergei s meaning. The boggan falls head over heels in
Ion1 with him, and now follows him wherever he goes.
When deciding die outcome of a botch, the Storyteller
should try to avoid the obvious disaster. Instead, try to find another
alternative that might surprise and amuse the players with its

inventiveness. For example, with the sneaking character example

Sneezer, a nocker, is attempting to make a simple repair on an

engine (Dexterity + Repair versus a difficulty number of 6). Her player

fails the first roll. Sneezer is determined to keep trying, though. On the
nextattempt, the player must roll Dexterity + Repair, difficulty 7. With
each subsequent attempt that she fails, Sneezer becomes increasingly
frustrated and confused as to the reason for the malfunction. She may
eventually find it impossible to repair the engine.
Increasing difficulty also represents growing opposition from
a living or aware opponent. A prime example is the eshu Sable's

attempt to lie (Wits + Subterfuge) to her friend Moira, a sluagh,

about where she was the night before. Sable isn't convincing in her
first attempt; her player fails the roll. Each lie she tells after that
risks getting her into more trouble and causes Moira to become
increasingly suspicious (the difficulty of the Wits + Subterfuge roll

increases by one every time Sable's player tries again).

s oF Rolls
Now you know the rules, how to avoid them, and how to use
them to your advantage to create your own wondrous faerie tale
within the realm of the World of Darkness. The dice-rolling
system described in this chapter is really all you need to play the

game. Rules described later in this book are intended as clarifications, options, exceptions and extensions to the basic ones
detailed above. This chapter holds all the information you need
to understand the rest of this book. If you feel you have missed

ChapceR Si;c: Rules

197

something or don't understand a rule, re-read this chapter and

you'll find that it makes more sense the second time around.
The following are some examples of rolls and ways in which
you can combine Attributes and Abilities to represent certain
actions. You might even want to grab some dice and your
character sheet and try a few of the rolls if you're new to this.

Your character fights a giant chimerical scorpion and

The Qolden Rule

The only real rule in Changeling is that
are yours to do with as you please. They are offered here
as guides and a starting point from which to play; they
are not set in stone. Feel free to change, eliminate or add

attempts to cut off its tail with her sword. Roll Dexterity + Melee
(difficulty 8).

to the rules as you see fit. Changeling is about breaking

the Banality that binds us all, that keeps us from believing and from making our lives the tributes that they

Your character attempts to play a lullaby on her flute. Roll

could be. Don't become trapped in the gears of the

Charisma + Performance (difficulty 6). The number of successes

rolled determines how well she plays.
Your character suddenly finds herself in the middle of a

machine and forget to explore new horizons and stretch

the boundaries of your imagination. The rules don't
control you, you control them.

full-blown gang war, bullets flying everywhere. Roll Wits +

Dodge (difficulty 8) to see if she can find a place to hide.
Two characters, yours and a stubborn nocker, argue the
merits of building a chimerical helicopter. Both players roll
Manipulation + Persuasion (difficulty 6) and the one who rolls
the most successes wins the resisted action.

cal, social and mental aptitudes, such as how strong (Strength),

smart (Intelligence) or attractive (Appearance) she is.
Backgrounds Traits: Traits that represent aspects of a
character's life not directly related to his Attributes or Abilities.

Attributes: Traits that describes a character's innate physi-

Is that redcap as mad as he seems? Roll Perception +

Empathy (difficulty 7) to determine if your character can tell.
Your character has to solve a riddle, or the chimerical
sphinx parked on the lawn won't let her in the building beyond.
Roll Intelligence + Enigmas (difficulty 7) to see if she can solve it.

Examples of Background Traits include items the character may

own (Chimera, Treasures) or people the character may know

Your character attempts to threaten a pooka into submission. She lifts the pooka up by the seat of his pants. Roll Strength
+ Intimidation (difficulty 8).
Your character, a duke, tries to regain control when chaos
erupts during a particularly long court session. Roll Stamina +
Leadership (difficulty 7) in this extended action. A total of three
successes are required.
Can your character charm the cop into not giving you a

is one of the Temper Traits.

Botch: A catastrophic failure on a dice roll. A player
botches when he rolls more "ones" than successes.
Bunk: An action that a changeling must perform before
casting a cantrip successfully.
Cantrip: A spell cast by a changeling.
Chapter: A part of a story that is usually played in one game
session, made up of several scenes and characterized by a clear
beginning, middle and end.

ticket? Roll Appearance + Persuasion (difficulty 8).

(Contacts, Mentor, Retinue).

Banality: A measure of the degree to which mortal rationality and disbelief has affected a person, changeling or place. It

You suspect that the little girl with the strawberry-blonde

Character: A Changeling player assumes a role in the

hair might be a changeling who has yet to awaken. Roll Perception

+ Kenning (difficulty 8) to sense the level of her Glamour.

game, creating a fictional individual to roleplay. This fictional

person is that player's character.

Qame ICRTDS

reveals the bigger picture of the characters' lives. In a chronicle,

Chronicle: The overall scope of a game; a series of stories that

The following list provides definitions of some of the terms

the Storyteller sets the overall theme and plots the development

commonly used in Changeling. Not all of these will make sense

to you yet, but as you continue to read through this book you can
refer back to them to refresh your memory.

of the characters and the imaginary world they live in.

Dice Pool: The total number of dice that you can roll based
on the number of dots you have in the relevant Traits, plus or

Ability: A Trait that describes what a character has learned

minus any modifiers.

through experience and training. Some examples include Athletics, Drive and Linguistics.

Difficulty Number: This number is assigned by the Storyteller and represents how challenging a character's action is.

Action: Any activity or feat performed by a character;

when a player announces that his character is going to do

You must meet or exceed this number when rolling your dice.
Certain modifiers may affect an action's difficulty.

something, that the character is taking an action.

Advantages: A catch-all category of character Traits that
includes Backgrounds, Arts and Realms.
Arts: An Art is an area of concentration within the field of
faerie magic. A character may have expertise in more than one
Art or in several. Examples of Arts include Chicanery, Legerdemain and Wayfare,

Downtime: A period of time before, during or after a story

when nothing of significance happens, and when it would be

198

Changeling: The

boring to roleplay events. Although character actions occur

during this time, players simply summarize what their characters

do and play moves on to the next important event.
Experience Points: Players earn experience points during the
course of a game. These points can be spent to increase their

characters' various Traits. Experience points represent the personal growth and training that occurs as characters live and learn.
Extended Action: An action that requires several successes, typically acquired over a series of turns, before the
character can succeed.
Failure: If you achieve no successes in a roll, the roll is a
failure. The character merely does not succeed. The failed
action, unlike a botch, does not cause anything catastrophic to
happen to the character.
Glamour: The magical energy at the disposal of changelings.
It is their lifeblood, the magical mortar that holds them together,
and what they mold and shape into many wondrous things.
Glamour, one of the Tempers, is often spent instead of rolled.
Realms: The spheres of influence in which changelings
can use their magic. These define the areas that a character has

concentrated on in her study of changeling magic.

Refresh: The act of renewing the pool of Bunks from which

aplayer has to choose from when his character performs cantrips.

Resisted Action: An action that is opposed by another
character. Players compare their number of successes; the player
with the most succeeds.
Scene: A period of action and time set in one location or
dealing with a particular issue.
Simple Action: An action that requires only one success to
he accomplished successfully. More successes indicate a higher

level of accomplishment.
Story: A series of interconnected scenes characterized by

an introduction, conflict, climax and resolution.

Storyteller: The person who creates and guides the story,
describes the settings decides rules and plays the parts of adversaries or friends that the characters meet.
Success: Any die that meets or exceeds the difficulty
number of a roll is considered a success.
System: A specific set of rules used in a certain situation
during a game of Changeling; rules to help guide the rolling of

dice to simulate dramatic actions.

Tempers: A Trait category that encompasses Glamour,
Banality and Willpower. Tempers work differently from other
Traits and are often spent rather than rolled.
Trait: A qualifier that describes your character through a

number of dots or points assigned to it. Some of these include

Abilities, Attributes and Advantages.
Trait Rating: A Trait rating is the permanent value of one
of the Tempers.
Troupe: The term used to describe a group of friends that
meets on a regular basis to play Changeling. Troupe members
work as a team to create a fantastic story through the actions of
their characters.

Turn: A period of time of about three seconds, during

which a character may take one action.
Willpower: One of the Tempers, Willpower measures the

self-confidence and inner control of a character. Unlike other

Traits, it is often spent instead of rolled.
ChapreR Si;c: Rules

199

. 1 1 1 1 1 1 1 ' vl.1l

Glamour has been with us since the first times. It is the ringing

melody of the song of life. It flows like a river through us, on us, around
usalivingpower. Like the healing water from the Cup of Dreams, the
raging fire from the Gae Bolg, and the unblinking stone eye of Balor,
Glamour is the very source of our being. It is sacred to us. Drinkdeepand

dream.
Eilun Silver-hair

The living font of all spiritual energy, Glamour flows from the
Dreaming to Earth. Indeed, Glamour is concentrated dream, comprising magic, life and beauty. Its truth is hard to fathom, perhaps

impossible. The wisest changelings have spent lifetimes studying it,

yet it remains a mystery.
Whatever else, Glamour is a precious commodity now that
Autumn has come and the Long Winter encroaches. At one time,

Glamour filled the very air, free for the taking. Now it grows ever
more rare, and gathering it becomes ever more difficult.
This chapter provides all the information about Glamour
that you need to know to run a successful Changeling chronicle,
including: cantrip casting, gaining Glamour, enchantment, Bcdl.im, freeholds, information about chimera and how to create

them, and the Mists.

Knouring rhe
As far as anyone knows, Glamour flows from the Dreaming,
ilw ancestral home of all faeries, to Earth. Exactly how it reaches

linrtli is unknown, but the process seems to have some connection

to humanity's creative and artistic faculties. The human imagina-

tion evidently has the capacity to open channels to the Dreaming,

acting as a siphon and gateway for Glamour.
Still, why this occurs at certain times and not at others is
unknown. Nor do changelings understand why Glamour is often
found not just in people, but in places and objects that no human
has ever touched or that have been abandoned for years. Do the
dreams of humanity call Glamour to roost in places, things and
people? Does the creativity of great artists and thinkers continue to
collect Glamour after the artists themselves have ceased their great
Dreaming? No one can tell. Certainly, Glamour shows up in some

strange places and among some unexpected people.

Although Glamour is fundamental to changelings' existence, even they have a difficult time explaining exactly what it is.
This is because they find it difficult to separate their feelings from
their perceptions. The feelings that accompany Glamour are

unlike any other, and virtually indescribable in human speech.

Furthermore, Banality causes many changelings to forget the
ambrosial qualities of Glamour all too quickly. It is difficult to
retain the memory of a beautiful, Glamour-filled moment when
one must go to work (or school) the next day.

ChapreR Seven: CjlamouR Syscetns

203

SroRyrelling CjlamouR
When you tell stories involving Glamour, keep in mind

that Glamour is a power source unlike any other it has a will

of its own. All of the guidelines detailed in this chapter should
be completely ignored whenever they interfere with the flow of
the story. Glamour should always be mysterious, unpredictable
and exhilarating. If the players consider Glamour as mere

points on their character sheets, you're not doing your job.

Glamour is not about points it is about imagination.

One way to convey the sense that Glamour is more than

just a game mechanic is with the descriptions you use. When
describing Glamour, appeal to all five senses: It feels warm, hot,
cold, soft, silky, rough. It smells like rose petals, musk, patchouli
oil, sweet clover, a midnight breeze. It tastes like honey or wine.

failure of a cantrip depends on whether a changeling can coax

Glamour to do his bidding by performing a Bunk. Though Arts and
Realms define the actual powers and effects changelings are capable
of manifesting, they are only a part of the equation. A Bunk is
needed to create the spark that allows a changeling to tap into the

Dreaming. In entirety, this complete effect is known as a cantrip.

basic CanrRip Casring

There are many factors that go into the casting of a cantrip.
Beyond simply choosing an Art, Realm and a Bunk, you have to
determine whether the Art is Wyrd or chimerical, and whether
your character affects an enchanted or mundane target.

1. Choose an <\Rr
The first thing a changeling must do when casting a cantrip is

It looks like a rainbow caught in a tie-dye factory. It moves like

to choose an Art. There can never be more than one Art involved

water, like a warm wind on the savanna. It's the aurora borealis,
St. Elmo's fire or the gleam in a lover's eye.
You can also speak of Glamour in strictly allegorical
terms: "You are flooded with a feeling like the first moment

in the casting of a cantrip. The player must describe the effect he

wishes to create with the Art. All Arts are defined as being either
chimerical or Wyrd. Chimerical Arts are those that have only
chimerical effects, or effects that are so subtle that unenchanted

of a new love." "It is as bright as a hope and as solid as a wish."

beings who witness them won't notice anything out of the ordinary.

"You feel as fresh as a daydream, as innocent as a yawn, yet

as worldly as envy."
Most importantly, Glamour never stands still for long.
It is always churning, moving, flowing. It is infectious, wild
and unknowable. It can never truly be held down or contained. Indeed, it is a testament to a changeling's faerie

Wyrd Arts are those that have a physical effect in the real world,
and that are noticeable by mortals.
For example, a boggan named Hodge finds himself surrounded by

spirit that it can be shaped at all.

(because it has readily noticeable effects in the real world).

ConrRips
Cantrips are the means by which changelings manipulate
Glamour to create magical effects, both in the Dreaming and in the
mundane world. By sparking her own internal Glamour, a changeling can create a link with the Dreaming a link strong enough for

her to draw upon and form the raw stuff of the Dreaming to suit her
desires. In a sense, cantrips are the manifestations of Glamour, the
source of which is the Dreaming.
With experience, a changeling finds that she is able to shape
Glamour in much the same way that a potter shapes clay or a weaver
weaves cloth. Changelings' techniques for shaping Glamour are

known as Arts. Arts are the powers a changeling can use to affect
the world around her. Each of these powers is different; one may
allow a changeling to move at incredible speeds or leap high into
the sky, while another might allow a changeling to control another
being's mind or even trick him into believing he is someone else.

Each Art has its own potencies, peculiarities and weaknesses.

Furthermore, every changeling has an affinity with certain
aspects of the world. These aspects (six in number) are known as
Realms. These Realms have been studied and defined by Kithain
lorekeepers, although affinity with them is determined largely by a

changeling's kith. Of course, it is possible for a modern changeling

to open himself to new experiences and explore new Realms.
By combining the active use of an Art and the innate familiarity of a Realm, a changeling can mold Glamour into a tangible
evocation. The Art used defines the nature of the magic, while the
Realm describes the focus of the effect.
But Glamour is fickle and wild. It makes demands of its user,
and these musl be fulfilled lest Glamour dissipate. The success or

204

Changeling: The DReaming

a corby of redcaps on All Hallows' Eve. Hodge decides to use his Way fare
Art (Hopscotch) to leap to the top ofanearby one-story building. Looking

up the Hopscotch Art, Hodge's player notes that it is a Wyrd effect

2. Choose a Realmls)
The player and Storyteller now decide what Realm is needed
to cast the cantrip, based on the effect described by the player.
Realm typically describes the target (person or thing) that is
affected by the cantrip (although some Realms are not compatible

with certain Arts). If you are using the advanced cantrip rules (see

QamouR TeRms
ArtThe primary part of a cantrip; the Art defines the
actual effect of the cantrip.
Bunk An act performed to activate Glamour so that
a cantrip can take effect. Often something silly such as
singing a song, say ing a rhyme backward or dancing in circles,
it can also involve drawing an ornate door in chalk or laying

a full Tarot spread.

Cantrip The combination of an Art, Realm and a

Bunk to create a changeling spell.
Chimerical Chimerical effects affect only chimerical
creatures, changelings and the enchanted. A cantrip that has
no noticeable effects in the real world is considered chimerical.
Realm Usually indicates the subject of a cantrip.

Nightmare A side effect that results from Banality

tainting a cantrip. Nightmares often cause cantrips to have
strange and unexpected results.

WyrdThese cantrips have real-world effects, such as

moving at incredible speeds, flying or healing real damage,

and the results can often be seen or recognized by mortals.

pg. 206), more than one Realm may be used in casting the cantrip.

Modifier Realms such as Scene and Time are applied at this time.
Continuing the earlier example, Hodge, a boggan and thus a
commoner, needs to use the first level of the Foe Realm (Hearty
Commoner) in order to cost the cantrip on himself. Fortunately Hodge
has up to level four of the Foe Realm, so he will have no problem.

3. Deteronine rhe Dice Pool

rules that this is a level-one Bunk, and that Hodge will be able to cast the
cantrip without the player needing to split his Dice Pool.

5. DeccRinine DifFiculry
The base difficulty for casting a cantrip is either the subject's
Banality + 4 or the caster's Banality + 4, whichever is higher.
. Subtract the level of the Bunk being performed from the total

difficulty. Additional Glamour can be spent to lower the difficulty

The Dice Pool is determined by adding the appropriate At-

by one for each point spent. The end result can never be lower than

tribute (listed under the Art being used) to the level of the Realm
being used. This gives you the total number of djce that can be
tolled to cast the cantrip. If your character has a higher level in a
Realm than that needed for casting, you may still add all the levels

4 or higher than 10 (remember, starting difficulties higher than 10

must be lowered to 10 or below).

Hodge's Banality is 5, so the base difficulty for casting his cantrip is 9.

Since Hodge performs a level-one Bunk, the difficulty of the cantrip is

loweredtoS. Since he really wants this spell to work, Hodge's player spends
he possesses in that Realm to the Dice Pool.
a
point of Glamour to lower the difficulty by one more, reducing it to 7.
Referring to the Wayfare Art, Hodge's player sees that the Wits
Attribute is used. He combines Hodge's Wits 3 with his four levels in the
Foe Realm giving him a total of seven dice in his pool. Note that the player 6. Dereronine QamouR Cosr
does no t use a number of dice equal to the leve I of the Realm usedin cos ting
Numerous factors determine the Glamour cost for casting a
the cantrip (one), but a number of dice equal to the level that Hodge cantrip. The following guidelines should be used to determine the
possesses in that Realm.
final cost of using a cantrip.

4. Choose a Bunk
The player must now declare the Bunk that the character

All Wyrd cantrips cost one Glamour.

Chimerical cantrips cast on enchanted beings or inanimate

performs. The nature of the Bunk must be chosen first. The player

objects cost no Glamour, though you may still spend additional

Glamour to lower the difficulty of casting (see above).

decides exactly what Bunk his character performs, and the Storyteller decides whether or not it is appropriate and what level it is.
The Storyteller assigns it value of 1 to 5, based on the complexity

Any cantrip cast on a banal target costs one Glamour. (This

is not cumulative with the cost for casting a Wyrd cantrip.) Banal
targets include mortals, unenchanted supernatural beings and

(and appropriateness). The level of the Bunk generally indicates

how long it takes to perform. A Bunk can be anything from dancing

a silly jig to drawing an elaborate portrait of the cantrip's target.

anyone without a Glamour Trait rating (including changelings

who have fallen to the Forgetting).

Casting a cantrip without a Bunk requires an expenditure of

The Bunk performed should always be appropriate to the

nature of the cantrip being cast. While dancing a jig might be

one Glamour.

appropriate to a cantrip intended to cause the changeling to fly

difficulty.
Using a modifier Realm costs an additional point of Glamour
(see "Modifier Realms," below).

high up into the air, drawing a portrait might be more appropriate if the changeling attempts to use Soothsay to learn specific
information about a person.
Level-one Bunks can almost always be performed in the same action
as casting a cantrip. However, when a changeling attempts to perform
anything more involved than a level-one Bunk, and seeks to cast a cantrip
in the same turn, the player must split his Dice Pool. In some rare cases
the Storyteller could allow a particularly interesting Bunk of a high level
to be performed with a casting without splitting Dice Pools, but this is the

exception, not the rule. For each level over one of a Bunk that is performed
in the same turn as a casting, the character is considered to take an
additional action. So, performing a level-two Bunk while casting a
cantrip causes the cantrip Dice Pool to be divided by two.
To avoid a split Dice Pool, the character can choose to take the

requisite number of turns to perform a Bunk, casting the cantrip at

the end of that time. This is often done by changelings who have
plenty of time to cast a cantrip, such as performing a Soothsay,
though it is rarely done in combat.
Cantrips that have a starting difficulty of 10 or less can be cast
without performing a Bunk by spending an additional point of
Glamour, beyond those points demanded by the cantrip itself (see
below). If the cantrip's starting difficulty is higher than 10, the
difficulty must be lowered to at least 10.

If a Bunk is interrupted at any time, the casting fails automatically, and any points of Glamour invested are lost.
Since he needs to get away from the redcaps quickly, Hodge decides
that his Bunk will be to stamp his feet three times fast. The Storyteller

Up to five points of Glamour can be spent to lower casting

The total Glamour cost for casting a cantrip must be paid

before the cantrip comes into effect. If a character cannot pay the

total cost (either with his own Glamour or dross), the cantrip fails,
though no Glamour points are lost.

The base cost for casting Hodge's cantrip is one Glamour since
it is a Wyrd effect. However, Hodge's placer spent an additional
point to lower the difficulty by one, bringing the total cost for casting
the cantrip to two Glamour.

7. CDahe rhe Roll and Apply rhe Resulr

At this point the player rolls his character's Dice Pool to
determine if the cantrip succeeds. If so, effects of the cantrip are
applied to the subject.
Hodge's placer rolls his seven dice: He gets a2,3, 3,5,7,8 and
10, giving him a total of three successes. Looking at the Hopscotch chart,
he determines that Hodge can jump two stories straight up into the air,

allowing Hodge to land on top of the building safely.

The Cffecrs of CanrRips

Chimerical cantrips affect only a changeling's fae mien and

chimerical objects and creatures, or are subtle enough that they are
not noticed by mortals. Wyrd cantrips affect both the real and
chimerical worlds; thus, a Holly Strike cantrip affects a local
policeman and a chimerical dragon equally.

ChapceR Seven: QlamouR Systems

205

Advanced CanrRip Rules

success rolled reduces the caster's successes by one. If the caster's success
are reduced to zero, the subject is unaffected by the cantrip. Resisting

CDodificR Realms

a cantrip by invoking Banality does not take an action.

Note that this method of countering cantrips can only be used

The Scene and Time Realms are most often used to modify the
effects of a cantrip. The Time Realm can be used to create a time delay

to affect a cantrip that is cast directly upon a character. Storytellers

may also allow characters to invoke their Banality to resist the

on a cantrip, causing it to come into effect long after the changeling

magical powers of some chimera. Unenchanted mortals (and supernatural beings) cannot use this means of resistance, although some

has left the area, the equivalent of a magical time bomb. Though the
usefulness of this may not be readily apparent, careful examination of
this Realm will reveal that it can be extraordinarily useful.
Scene allows a changeling affect a number of creatures or

objects in a given area. The changeling must still use the appropriate Realm(s) needed to affect those within the scene. For
example, if a changeling wants to affect all of the mortals in a
room, she has to use the appropriate level of the Actor Realm in

conjunction with the Scene Realm.

powerful Autumn People may, and Dauntain certainly can.

A character does not need to be aware that a cantrip is bein^
cast at him to counter it with Banality, and he can use this method
of resisting cantrips at any time.

Unfortunately, before Hodge can use his cantrip, one of the redcaps
traps him in an Ensnare with three successes. Desperate to escape, Hodge
decides to try to resist that cantrip with his own Banality. Since Hodge has

Whenever a character uses a modifier Realm, the player must

a Banality of 5, his player has a Dice Pool of five to resist the effects o/the
cantrip. The Storyteller informs the player that his difficulty is 6 (the redcap's

spend an additional point of Glamour, and the difficulty to cast a

permanent Glamour rating). Hodge's player rolls 1 , 2 , 2 , 4 and 6, giving

cantrip increases by one. Additionally, if a Scene Realm is used to

cast a cantrip that has a physical effect (it does not matter if the
cantrip is chimerical or Wyrd), the difficulty increases by one for
each target affected after the first.
Suppose that Hodge was with two friends while attempting to escape
from the redcaps. Being a good sort of a fellow (and a boggan to boot),
Hodge certainly wouldn't leave his friends to the vile mercies of the
redcaps. Fortunately, Hodge possesses the fourth level of Scene (Park),
which the Storyteller judges is more than enough to allow Hodge to affect
his friends with the cantrip as well. Since Hodge uses a modifier cantrip,

his player must spend an additional point of Glamour (bringing his total
to three), and the difficulty of the cantrip increases to 9 (base 7, plus two
for each target affected after the first). Hodge's player will probably want
to spend additional Glamour (if he has it) to lower the difficulty further.

SecondaRy Realms
It is possible to apply more than one Realm to the casting of a
cantrip. In such cases, the player must decide which Realm is
primary (this is usually apparent according to the nature of the
cantrip being cast). For each additional Realm that can be applied,
the difficulty of the cantrip being cast is lowered by one. Though the
character must possess the appropriate level of the Realm, his total
level in the Realm is not subtracted from the difficulty of the

cantrip; the difficulty is reduced by only one for each additional

Realm as a whole that applies.
Our old friend Hodge attempts to Mooch a dagger from a sidhe
noble. The Foe or Actor Realms apply when Mooch is used to steal an
item from a person (in this case it is the second level ofFae, Lofty Noble).
However, Hodge also possesses the Prop Realm (he needs Grafted Tool
to Mooch a dagger, which he has). So while Lofty Nobk is used as the
primary Realm, Hodge can use Grafted Tool as a secondary Realm,
reducing the difficulty of the player's cantrip roll by one (not by Hodge's
total score in the secondary Realm).

CounreRing CanrRips
Changelings can counter cantrips in one of two ways.
Invoking Banality

A changeling is able to resist the effects of a cantrip by callingupon

his own inherent Banality. The character gains a temporary point of
Banality by resisting a cantrip in this way. The player rolls a number of
dice equal to the character's permanent Banality rating against a
difficulty of the casting character's permanent Glamour rating. Each

206

Changeling: The DReaming

him no successes. Despite the fact that the roll was failed, Hodge'splffyerodds

a point of temporary Banality to his character sheet. Bad luck for Hodge!
Counterweaving
Characters who possess knowledge of Gremayre can undo a
cantrip, even as it is cast. Counterweaving requires that the player
spend a point of Glamour. She may then roll the character's Wits +

Gremayre against a difficulty equal to the Glamour rating of the

cantrip's caster. The player must earn as many or more successes as the
caster for the counterweave to be successful; partial successes do not
affect the cantrip in any way. The counterweaver must also possess the

appropriate Realm(s) and their levels used in the original casting.

Counterweaving can be used on instantaneous cantrips. To attempt to undo a cantrip as it is being cast, the counterweaver must abort
her next action (even if that would take place in the following turn).
If the Realms used in a cantrip are not readily apparent to the
counterweaver, the weaver's player may roll Perception + Kenning
(difficulty 6) to determine their nature. The difficulty is 8 for the

counterweaver to determine what Art is being used.

Fortunate!} for Hodge, one of his friends is skilkd in Gremayre and

possesses the appropriate level of the Realm used to cast the redcap's
cantrip. The countering player has a Dice Pool of eight (the total o/his
character's Wits + Gremayre). The Storyteller tells him that his difficulty

is only 6 (the redcap's Glamour), and that he has to achieve at least three
successes (the number achieved by the redcap in his casting). The player
marks off a point of temporary Glamour (for attempting the
Counterweaving), and then rolls 2, 4, 4, 5, 7, 7, 8 and 9, more than

enough successes to dispel the Ensnare cantrip.

NighrmaRes
Any time a character is about to suffer a point (or more) of
temporary Banality, the player may choose to acquire a Nightmare
die instead. Nightmare dice should all be of the same color and
easily distinguishable from the other dice the player uses. The
number of Nightmare dice that a character currently possesses can
be recorded on the character sheet wherever the player sees fit
(below the Banality track is a good place). The total number of dice
is referred to as the Nightmare Pool. If a character ever gains more
than 10 Nightmare dice, they are removed immediately and the

character gains a point of permanent Banality.

Whenever a character with Nightmare dice casts a cantrip, the
dice in the Nightmare Pool must be substituted for an equal number of
dice in the player's Dice Pool. These dice should never exceed the total

Dice Pool, even if the character possesses more Nightmare dice than are
rolled to perform a cantrip. For example, if a character has a pool of
eight dice to cast a cantrip, and has a Nightmare Pool of three, three

dice from the Dice Pool would be substituted by three Nightmare dice.
Any time a "one" is rolled on a Nightmare die, the character
suffers the ill effects of a Nightmare. The number of Nightmare dice
that come up as "ones" determines the severity of the Nightmare

experienced. Once aNightmare die rolls a "one," it is removed from

the character's Nightmare Pool. Once Nightmare dice have been

assigned to the pool, there is no way for them to be removed short

of rolling "ones" and imposing Nightmares.
Descriptions of possible Nightmares can be found on the
chart below.

Possi&le NighcmaRes
The following is a list of Nighmares that may occur as the
result of rolling ones on Nightmare Dice.
Number of Ones Nightmare
1
Horrid Dreams
You have terrible dreams for the next five nights.
1
Freezing Wind
Everywhere you go, you are followed by a chilling breeze
or wind. This lasts for a month.
2
Clumsiness
You trip continually unless you concentrate on your

movement. All difficulties for physical movement are increased by three. This happens the next time you are in a
dangerous situation and lasts for a scene.
2

Headaches

You are plagued with terrible migraines for the

next month.

: .;! ; ; ;

: :

. ?"" :

3
Bad Luck
You suffer botch results on both a " 1" and a "0" during the
next dangerous scene in which you take part.
3
Temporary Blindness

You cannot see for a scene. The Storyteller says when the
scene begins. , : :'/ v, : : , :' : :.'.!. .'.; . ' . . ' ; ' . . v.f . . ' ' ' ' ' . , . ' '

Recurring Nightmare

Draw another Bunk. This becomes a taboo that you must

observe for the next month. The Storyteller decides to what
extent this reaches.

3
Widdershins
The cantrip you just cast reverses itself.
4
Lose Important Item
Even if you constantly watch all your possessions for the

next week, you will lose one of them (to fire, destruction or
forgetfulness). The possession is usually your most valuable or
valued possession possibly a treasure. It may be possible to
regain the item, or it may be lost forever.
4
Wracked with Pain

You are wracked with terrible pain and cry out in agony.
Every time you think of this pain, you must make a Willpower

roll (difficulty 7) to avoid experiencing it again. This lasts for

a full month.' ;; ::';' : ;? | i i ! , ? f ' ; , ! ' ' '.';' : : : ; : : : ;: / :
5
Lose All Glamour
All of your temporary Glamour departs at once.

ChapreR Seven: QlamouR Sysrems

207

CDisrs ChaRr
The chart below may be consulted whenever a changeling or enchanted being is "killed" by chimerical damage, or whenever
an unenchanted mortal (or supernatural) witnesses a chimerical effect or chimerical creature. This chart is also used to determine
what happens to mundane beings that have been enchanted and are subsequently returned to the mortal world.
i't '; <
Banality

Duration of Coma

Memory

One minute

Total Recall: Everything is remembered with crystal clarity.

One hour

Startling Clarity: The entirety of the encounter is remembered as if it were yesterday.

Six hours

Hazy Memory: Nearly everything is remembered, though some of the details may be hazy.

12 hours

Disoriented: The individual is slightly confused and possibly shaken, but is able to recall most
of his experiences, though many of the details are vague.

One day

Uncertainty: The person has a vague memory of what occurred, but is plagued by doubts as to
the validity of the experience,

Three days

,:,; I i

Haze: A hazy recollection of the experience is possible, but the individual doubts her own

memories. She dismisses the experience as a momentary delusion, unless she has physical proof.

One week

Flashbacks: The person may experience occasional vivid flashbacks of his experiences, but they
otherwise seem like a distant dream.

Two weeks

One month

Dreamlike Quality: The individual recalls only vague, dreamlike images, and doubts that the
experience ever occurred.
Distant Dream: Something must provoke the memory and even then the experiences are

9
Fourrttonths
: ; i : j i : .* [ ? : .'!:'.:- - i i; : :

10

One year

recalled as nothing more than a faded dream.

CompleteDeniahThecharacterhasonlyfaintscrapsofdreatnlikerecpllectipnaixdcompletely
denies the experience ever occurred.
' : ; ;. ; ' ; ; .?' ". !/ . ! ; ? : ! ' :
s : '.

Complete Blank: The person remembers absolutely nothing of his experiences with the fae.

The GDisrs
The Mists separate the fae from the mundane, clouding the

minds of mortals so that they do not remember their encounters

with things faerie. A side effect of Banality, the Mists exemplify the
force of human rationality.

CFFecrs on CDoRrals
Most mortals (and unenchanted supernatural beings) do not
remember their encounters with the fae accurately. The Mists are
likely to erase much of these memories or at least relegate them to
a dreamlike quality. The amount of Banality an individual possesses
determines exactly what she remembers.

Of course, Bedlam must be a threat with teeth if the balance

between the real and fantastic worlds is to be encouraged.

FiRsr Threshold
The first threshold is perception-based. A character begins to
have trouble distinguishing between mundane and chimerical things.
She also begins to see what appear to be chimerical things that are not
really there. Listed below are threshold flaws that can be inflicted on
a character who has descended into the first level of Bedlam.

Color Change: Everything changes color, either randomly

or in patterns.

Whispers: The changeling "hears" telepathic or audible

whispers that impart secrets or prophecies, or that spew unintelligible gibberish.

Bedlam

Dread: A feeling of complete and utter dread engulfs the

changeling; shadows distort into monstrous shapes.

Insanity is a danger to the Kithain. They interact regularly

with things that are not "real," and Glamour has a habit of making

ing people with nimbi or other illuminations.

one's perceptions change over time. Thus madness is a threat to

every changeling.
Changelings typically pass through three "thresholds" of Bedlam, although they occasionally go right from normalcy to complete madness without stopping at the intervening thresholds.

The Storyteller has complete control over the process of

Bedlam. She may decide to advance a character further into Bedlam

at any time that seems appropriate. However, there is a list of

Lights: Bright lights flash in and out of existence, surroundNote: Whatever the first-threshold flaws that a changeling
suffers are, they should be annoying but bearable. The character
should descend into madness slowly. First-threshold madness is

curable and recoverable. After the first threshold has been reached,
however, the Storyteller may choose to add additional first-threshold flaws to the character's perceptions, or she may send the
character to the second threshold immediately.

"warning signs" (see above) to guide the decision-making process.

Second ThReshotd

As a general rule, a character who fits three or more of the warning

signs has the potential to slip into Bedlam.

Bedlam's second threshold is more severe and debilitating. At

this point chimerical reality seems to become mundane reality. The
Storyteller should take the player aside and explain how the
character's reality has changed. This is when madness becomes

Bedlam should be inflicted only when it is appropriate. One

mad changeling can ruin the whole chronicle if you're not careful.

Changeling: The DReaming

evident to other changelings, because the afflicted's Glamour is

affected. The changeling ceases to interact with anyone who does

not fit his version of reality.
Certain kinds of therapy (see "Treating Bedlam," below) can
actually drive the afflicted deeper into Bedlam at this point. It is very
difficult for outsiders to discern whether a changeling is in the first or
second stage of Bedlam. Indeed, the changeling may regain lucidity

If left untreated, Bedlam completely overtakes a character. She

loses all free will and passes into the world of dreams. One night, while
the changeling dreams, she simply ceases to be, disappearing entirely
from the face of the Earth. At this point (or perhaps sooner), the
player may no longer run the character and must create a new one if
she wishes to continue play in the chronicle.

occasionally; during these "spells," he seems positively normal.

iRearing bedlam

Some examples of second-threshold Bedlam are:

Don Quixote Syndrome: The character believes everything
to be from an ancient time or fantasy realm.

Banality. A changeling in first-threshold Bedlam often goes off by

Delusions of Grandeur: The character sees everyone as

an underling, fit only to serve him. No matter what utter
nonsense he spouts, he expects others to laud his ideas and cater
to his insane visions.

Social Darwinism: The character sees everyone as either

predator or prey and herself as a predator of great strength and
skill. This is an insidious form of madness, as it can remain
undetected for some time. Soon, however, the character will strike
and death will follow in her wake.
The Walls Have Ears: The character believes that everything has a personality and is alive. Manifestations of this madness
range from a changeling holding quiet conversations with fence
posts to uttering apologies every time he takes a step on the street.
Note: It's very difficult for players to watch their characters fall
into Bedlam. Before proceeding to the third threshold (at which all

but the most miraculous healing fails), the Storyteller should make
sure that the madness fits the character's personal story, and give

First-threshold Bedlam is cured, ironically, by exposure to

himself, seeking to "cure himself in the normalcy of human

society. He resigns his position at court or leaves his household,

taking a job in the mortal world and forgetting his changeling
nature temporarily. Eventually, the changeling is cureddisavow-

ing all contact with changeling society is often like a splash of cold
water on the changeling's psyche.
Treatment of second-threshold Banality is a little different. A
delicate balance of magical healing (using the Primal Art) and
Banality therapy must be used to treat the madness. The madness
has progressed to the faerie soul of the changeling, and both his
human soul and faerie soul must be cleansed before continuing.
The only widely known cure for third-threshold Bedlam is
drinking from the Cup of Dreams, an ancient and powerful faerie
treasure thought to be lost in the Dreaming. It is said that some
dragons also possess the lore to cure third-stage Bedlam. No Banality
cure has ever worked, and psychiatrists who treat changelings in

third-stage madness are thoroughly confused by their patients' resistance to psychoactive drugs and normal therapeutic techniques.

the character opportunities to heal, if possible. Of course, if the

player of the mad character is having fun, there's no reason to ease
his transition into the third threshold utter madness.

ThiRd ThReshold
The third threshold of Bedlam is the most devastating. The
character becomes an unintelligible creature. She retains all the
characteristics of her former stages of madness, but also suffers from
a number of other threshold symptoms, as seen below:

Berserker: The character attacks all around her with whatever weapons are nearby.
Autism: The character withdraws into himself, not recognizing the outside world at all.
Feral Cunning: The character reverts to an animalistic
state; not a frenzied attacker like Berserker, but a cunning,
predatory animal that doesn't communicate and seeks only to
escape or kill.
Perversity: The character descends into the depths of her
psyche and performs inhuman acts barely conceivable by even the
most depraved soul.
Note: Third-threshold Bedlam is highly contagious. Any
changeling forced into prolonged contact with a character in thirdthreshold Bedlam risks developing first-threshold Bedlam. This is,
of course, up to the Storyteller's discretion, but it is a definite
danger. Only the most brave (or foolish) treat those in thirdthreshold Bedlam. Changelings in this stage are often destroyed,
albeit remorsefully.

As if this weren't awful enough, those in third-threshold

Signs Checklist:
The following are some warning signs that a changeling
might be in danger of experiencing Bedlam. Although none
of these is a "sure" sign of impending madness, the more
warning signs a character exhibits, the more likely it is that
Bedlam is on the horizon.

Your Glamour is higher than both your Willpower

and your Banality.
You spend more nights in freeholds than in the real

world. (If you spend all of your time in freeholds, Bedlam is

almost assured.)
...": : You have more than one faerie treasure.
You interact with more than three chimera on a
regular basis.

You are a constant Ravager.

You have no mortal friends.
You have no mortal job (or other attachment, such
as school).

."

' ; , . ;:

''. ' " ; ..'' '. :.;'

You are almost exclusively nocturnal.

You drink alcohol or use drugs or have sex to excess.
You spend more than half of your waking time
creating art of some kind.
You have no mortal family.
You have no mortal possessions.
You are in a state of unrequited love.

Bedlam birth many nervosa (see pg. 277), which share common
characteristics and work to protect the mad one.

ChapreR Seven: CjlamouR Sysrems

209

Gnchanrmenr
It is useful for changelings to bring mortals into their world at
times, whether out of necessity or for less savory reasons (or both).
This is done through a process known as enchantment. Enchanting a
mortal is actually far easier than one might suspect; it is merely a
matter of imbuing the chosen mortal with a bit of one's own Glamour.
A changeling who wishes to enchant a mortal must create a
small token and infuse it with her own Glamour. Such tokens can
take many forms: a bit of ribbon tied into a bow, an origami
sculpture, a bouquet of daisies picked from the side of the road.
Some Kithain create food or drink, which they imbue with their

SupeRnoruRols
For supernatural creatures (vampires, werewolves, wraiths

and mages) to interact with creatures of the Dreaming (change

lings and chimera), they must be enchanted just as mortals must
be. Some supernatural creatures have the ability to "enchant"
themselves through certain powers of their own. For the

purposes of clarity, text that refers to unenchanted mortals also

applies to supernatural creatures.

' c i Wraiths must physically manifest in the mortal world

before they can be enchanted. Vampires may be en
chanted by drinking changeling blood, though wise
changelings avoid letting vampires nibble at them too
often (something about addiction...).

210

Changeling: The DReaming

Glamour. Whatever the form, the item or food must be given to the
chosen mortal (who must then accept it), and then either carried
or eaten by the subject. The amount of temporary Glamour invested into the token determines how many days the mortal
remains enchanted, on a one-for-one basis.
So, for example, if Higgins, a boggan, was to give his friend
some home-baked cupcakes into which he had invested thtee
Glamour points, his friend would become enchanted upon eating

one of the cupcakes and the enchantment would last for thtee
days. If he chose to give her a small trinket constructed from bits
of wire, bird feathers and ribbon, it would take effect as soon as his
friend accepted the gift.

An enchanted mortal is brought fully into the realm of the

Kithain. Such a mortal can see and interact with chimera, and can
take damage from chimerical weapons. Enchanted mortals take
damage from chimera just as changelings do (see "Chimerical
Damage," pg. 264).

The amount of time that an enchanted person remains unconscious after leaving the Dreaming is determined by referring to the Mists

Chart (see pg. 208). Unconscious mortals appear to be in a comalike

state, and usually remember very little of what happened to them.
Enchanted mortals cannot cast cantrips; their Glamout is
borrowed and they have none of their own. They can use their own
Banality to defend against cantrips cast on them, but each time they
do so they lose one of their points of surrogate Glamour. Some
kinain (mortals with faerie blood) do have some Glamour of theit
own, but it is difficult for them to regain it; most need a changeling
to supply it for them. Kinain are the exceptions to the rule about

enchanted mortals, and have even been known to learn cantrips

ened. Makers of this oath gain a Willpower point when it

taught to them by changelings.

completed, but lose two if it is ever broken.

Staying in a freehold has an odd effect on enchanted mortals.

The Oath of Fealty

The time limit of their enchantment is suspended while they are

I swear fealty unto you, lady/lord. Your command is my desire, and

within a freehold, so that they may stay enchanted indefinitely

while they are there. Additionally, like changelings, they do not
age while within the boundaries of a freehold. While this may not

your request my desire. May my service always pkase, and may my sight
grow dark if it does not. As the tides to the moon, my will to yours, my liege.

be noticeable if the mortal spends only a few days there, if the mortal
were to stay for several years it could be very evident upon his return
to the mortal world. When the Mists cloud the mortal's mind, it
may seem to him as if several years have passed in only a day or so.

There are other means by which a changeling can bring

mundanes into the enchanted world or affect them with chimerical
weapons. These are known as the enchanted strike and the dolorous stroke, and are discussed in Chapter Eight.

Calling upon rhe (JJyRd

In contrast to bringing mundane people into the Dreaming, a
changeling can transfer his fae mien and all of his chimerical
possessions into the real word by calling upon the Wyrd. This

action allows a changeling to manifest a bit of the chimerical world

in the real world.
When a changeling successfully calls upon the Wyrd, his chimerical form becomes real, as do all chimerical items and any chimerical companions he may have. (Chimerical companions are considered
to he those recorded on the character sheet under the Chimera
Background, not chimera the character may have befriended.) In

addition, all cantrips cast by the character are considered to be Wyrd.

For the character to call upon the Wyrd successfully, his player
must spend a point of Willpower and a point of Glamour. The
player must then make a successful Willpower roll, difficulty equal

to the changeling's permanent Glamour rating. Only a single

success is required to call upon the Wyrd. The effect lasts for the
duration of the scene.
Failure on the roll simply means the character is incapable of
carrying his fae image and possessions over into the material world.

Effects of the Wyrd

All chimerical weapons in that character's possession inflict
real damage.

All cantrips that the character casts are considered Wyrd.

This means that all cantrips cast cost one Glamour to cast.
Any chimerical companions purchased as Backgrounds are

real and do real damage.

A character who has called upon the Wyrd takes real damage
from all chimerical weapons, cantrips and creatures.

Oarhs
The Oath of Clasped Hands
Blood for blood, bone for bone, life for life, until only we stride the
earth. My life is in your hands, my blood is in your veins. Hold me well
and Iwilllendyou my strength, break your bond and may we both perish.
Frit'iiiisliip / swear to you, an oath of clasped hands and shared hearts.
This oath is never made lightly; these words are only for those
who feel a bond for a friend as strong as any they might feel for a
lover. To make this oath, the oathmakers" hands are clasped around
a double-edged blade while the words are spoken. As the blood of

the oathmakers is mixed, their friendship is reaffirmed and strength-

This is the wording of the formal Oalh of Fealty, commonly used

at investitures, knightings and Sainings. Speaking the words of this
oath requires the investment of one Willpower point, and a formal
obeisance that lasts a full quarter-hour must be made. Once the oath

is taken, the difficulties of all resistance rolls against any form of

mental domination are reduced by two. Breaking this oath causes the
loss of three Willpower points. In cases of extreme betrayal of this
oath, the offender can be struck blind for a year and a day.
The Oath of Escheat

I take you as my vassal. You are of my house, even as the very

stones. I pledge to hold you, to guard you, and to keep you. I pledge to
honor your service as it deserves, and to reward loyalty in kind. As the
moon to the seas below, my will to yours. I pledge the Escheat to you.
With these words, a ruler formally signifies that she accepts
another fae as a vassal. The oath is commonly spoken in conjunction with the Oath of Fealty, but not always. When these words are
spoken, the speaker loses one Glamour point, and a chimerical gold
coin, stamped with her visage, appears in her hand. The oath is not
actually binding until the oathmaker offers, and the proposed vassal
accepts, this token. Failure to abide by the terms of this oath
indicates a fall from the ways of true fae honor, and thus causes the
acquisition of a Banality point. Anyone currently bound by (and

holding to) the terms of this oath, even if it is to but one vassal, gains
an extra Willpower point per week.
The Oath of the Accepted Burden
Lay down your burden, that 1 might take it up. The road is long, and

I swear I shall bear it for you, until all roads end. I shall Ithe actual task
is named here], eke may the road cease to lay beneath my feet.
Superficially similar to a geas, this oath is a promise to perform
a certain deed. The nature of the deed itself is irrelevant; it could be
anything from a kiss to retrieving the still-beating heart of an
enemy. This oath is always made to another, and is made to verify
that a task that he desires will be performed. When these words are
spoken, a Willpower point is gained by both the oathmaker and the
one to whom the promise is made. If the oath is not kept, each loses
two Willpower points.
The Oath of Guardianship

As the sun guards the Earth by day, as the stars by night, so shall I
serve thee. This my duty I shall not abandon [object of oath] till [duration
of oath], else may the stars close their eyes and sleep.
This is a fearful oath, and those who do not uphold to it are
cursed to never spend two nights in the same bed until a century has

passed. The Oath of Guardianship binds the oathmaker to keep a

single object, place or individual from any and all harm, to the point

of ultimate self-sacrifice. There is no cost to make the Oath of

Guardianship, save that extracted by its keeping.
The Oath of Truehearts
I give a gift of myself to thee. Take it freely; freely is it offered, and
forever thou hast me in thy keeping. I swear love unto you and pledge you

my troth. May those who watch over love watch over this oath and those
who keep it, and may we never find fault in their eyes.
The purpose of this oath needs no explanation. It is spoken in
unison by the two (or more) lovers it hinds, and it takes a point of

ChapreR Seven: QlamouR Sysrems

211

Glamour from each to craft a chimerical songbird visible only to the

lovers. The instant this oath is broken, the bird ceases to sing,

perhaps because society, whether mortal or changeling, tends to let

children and their imaginations have free rein.

perching silently on the shoulder of the oathbreaker and now

visible to all as a sign of betrayal. In addition, both betrayer and
betrayed gain a Banality point as a result of this cowardly action. On

an artist or person with special creative insights. Anyone from a

writer to an actress to a chef to a child with an imaginary world can

the other hand, being true to the oath grants one additional point
of Glamour from any Rapture the lovers participate in.

create Glamour. However, not all writers, actresses, chefs or children can generate it. It takes a certain rare connection between a

The Oath of the Long Road

I swear that 1 shall [nature of quest undertaken] or lose my honor,

mortal and her dreams to create Glamour. Most people have too
much Banality to tap into the Dreaming successfully.

that I shall {nature of quest] or lay down my sword, that I shall [nature
of quest] or Dream no more. You and the sky my witnesses, so mote it be.
The Oath of the Long Road is the most potent of the oaths known
to the common fae. It is the voluntary acceptance of a quest to be
performed, and its swearing is usually sanctified with the blood of both
the oathmaker and her witness(es). It is always spoken in front of one,
or preferably three witnesses. The oathmaker receives an extra Willpower and Glamour point, but there are dire consequences for failure.
Simple failure to complete the quest causes the loss of three Willpower
and three Glamour points. Abandoning the quest altogether strips the
oathbreaker of all temporary Glamour and Willpower, strips a point of
permanent Willpower, and adds two Banality points.

There are four widely used means to an epiphany, even though

one is expressly forbidden by both Courts: the pathway of inspiration, or Reverie; the pathway of self-inspiration and creation, or
Rapture; the pathway of theft, or Ravaging, which is banned by the

The Oath of Crossed Blades

The type of mortal who is able to generate Glamour is usually

Escheat; and the pathway of destruction, or Rhapsody.

ReveRie
Reverie is considered the most noble method of gathering
Glamour. A changeling spends time cultivating the Dreamer, inspiring the mortal to tap into the Dreaming and create a Glamour-filled
work. Reverie is looked favorably upon by Kithain because it is
sustainable, and more beneficial to the mortal in the long run.
The Seelie Court prefers Reverie to Ravaging as a means to

Where two stand, there will be one. I swear enmity unto thee
until the setting of the last sun. May my heart cease to beat and my
hand lose its strength should ever I show favor to thee, and the bones
of the earth are my witness.
Only trolls and sidhe generally speak this oath; members of the

draining their creativity permanently as Ravaging can do. The

Unseelie tend to consider Reverie too time-consuming for too little
return. Some Unseelie nobles and a few rare Unseelie commonets

other kith consider it counterproductive to announce one's enmity.

occasionally use Reverie as their preferred method to gain Glamour.

Still, there is a certain style to swearing eternal hatred, and the oath
serves as a bold step in the intricate dances of court. A fae swearing
this oath instantly trades a point of Willpower for one of Glamour,
and also has the difficulty of any roll involving his enemy reduced
by one. Should, however, the oath be broken, a point of Willpower
is lost permanently, and a pair of matching scars, akin to those that
would be left by a rapier's point, appear on the face of the oathbreaker.

However, the artists and art they inspire usually relates to change or
a darker form of art or creation than the Seelie would choose.
Changelings who follow the pathway of Reverie to gather their
Glamour are sometimes viewed as muses or patrons to the mortals
they nurture. It is necessary for Kithain to study and get to know their
subjects over a period of time. This communion helps the changeling

FOUR Rirhs ro Gpiphony

Changelings require Glamour to maintain their tentative connection to the Dreaming. Without Glamour, they would quickly be

lost in the Mists or, even worse, become Undone and lose all that
makes them fae. They need to seek Glamour out constantly: find
mortals who possess or are capable of creating it, and either inspire,
plunder, or brutally and permanently rip the it away from them. A few
rare Kithain are even able to tap into their mortal halves to create
Glamour for themselves, without needing to steal it from someone
else. The different methods of obtaining much-needed Glamour from

one's self or from mortals are called epiphanies.

An epiphany is a near-overwhelming rush of sensations,

ecstasy and emotions that flood into the changeling as she connects
directly to the Dreaming for one brief, fleeting moment. A particularly intense epiphany can cause a changeling to switch Court
affiliations or change in personality, at least temporarily.
Bedlam is always a danger for those Kithain who become
greedy in their musing. If a changeling gains too much Glamour too
quickly, madness can take possession as his mind retreats from
mundane reality and into chimerical reality. This is why grumps
sternly and repeatedly remind childlings to keep their greed for
Glamour under a tight rein. Interestingly enough, childlings are
able to handle more Glamour than either wilder or grumps can,

212

Changeling: The DReaming

achieving epiphany because it keeps the precious few True Dreamers

in the world creating works of art, as opposed to taking the chance of

understand what inspires a mortal, and how to best aid her in

developing her creativity. Knowing the right words and ways to push
a mortal to create ever greater wonders is the key to a long-lasting, and
mutually beneficial, fount of Glamour for the Kithain. The more time
and creativity the muse spends on the Dreamer, the better the
Dreamer's art will be and the more Glamour she will produce.
Many muses use love as a source for inspiration, although it can be
risky for both parties. Love can grow into obsession; the artist might
become enraptured with the muse rather than the art. On the other hand,
if the mood of the Kithain changes, perhaps to anger or jealousy, a longterm and formerly beneficial Reverie can become a bitter Ravaging, or a
violent punishment through Rhapsody in a worst-case scenario.
A muse experiences Reverie and gains Glamour by being
exposed to the product of the Dreamer's work whether it be a
novel, poem, painting, recording, a divinely created meal or an
appreciative audience. Sometimes a muse's influence is so instrumental to the work, and the work is so potent, that Glamour is
received every time the creation overwhelms a new audience.
A Reverie's concrete forma novel, poem, painting, recording eventually becomes diluted and unable to generate mote
Glamour through repeated contact with mortals. A new song or
play performed before a live audience may release copious amounts

of Glamour, but lose much of its initial impact once it is released on

CD or as a movie. Perhaps this is why the works of many great artists
are kept under wraps once they become widely distributed, they
become mundane and produce no more Glamour.

CDusing Thresholds

1 success

A year

Just as there were different Muses in Greek mythology, each a

patron of a particular art, so each changeling can have a specialty by
which she inspires artists to create awesome works and thereby Glamour. This specialty, called a Musing Threshold, usually reflects the

2 successes
3 successes

A month
A couple of weeks

changeling's own tastes, and the ways in which she is inspired in life.

Each player should choose a Musing Threshold for his character during character creation. A changeling shouldn't have more

4 successes A few days

5 successes Instant connection
Once the character knows and understands his Dreamer, the
player can make a roll to inspire her. The character must spend time

with the Dreamer, sometimes as little as a few hours or as long as a

than one Musing Threshold. A character who begins without one

can gain a specialty during play, and a character's specialty can

number of weeks or even months. The more time spent musing, the

change during the course of a chronicle.

At the beginning of a story, each player can establish a goal
that he intends to fulfill with his Musing Threshold to earn

Roll Manipulation + Empathy (difficulty 6). The number of

successes rolled equals the number of Glamour points gained in the
end. If the character spends extended time with the subject and is
extraordinarily patient, the Storyteller may lower the difficulty of the

Glamour. It might be to coach a dancer to master a difficult move,

to help a singer hit a note or to encourage a painter to complete a

long-unfinished piece. Alternatively, the player doesn't have to

specify a subject whom his character inspires, but that his character
simply seeks to be inspirational wherever he goes during the story,
and gains Glamour as a result.

See the Musing Threshold Table for examples of how changelings can specialize in motivating artistry.
System: In order to generate Glamour, the character must first

know what inspires his Dreamer subject, or those whom he comes in

contact with. Roll Perception + Kenning (difficulty 8); the number

of successes indicates how much time the character must spend with
the Dreamer in order to understand what makes him create.

more remarkable the creation.

Manipulation roll (or may raise it if the changeling rushes his

Dreamer). The amount of Glamour gained might also be limited by

the talent of the Dreamer; some Dreamers can create only minor
works of art. If a botch is rolled, the Dreamer rejects the changeling's
assistance or vision and suffers a creative block. The muse must study
the mortal again (e.g., start from scratch) before he can inspire the
Dreamer to create something else that can generate Glamour.
Even if the character is successful in inspiring creativity, it may
be some time before the Dreamer feels the desire to create again.

The Storyteller may make an appropriate Attribute + Ability roll

(difficulty 6) for the Dreamer to determine the period of time that
must pass before inspiration returns (compare successes rolled to

ChapreR Seven: CjlamouR Sysrems

213

CDusing ThReshold Ta61e

Inspire Creativity: The character loves to inspire
creativity in all those around her, especially those who hold
potential to be great artists. She often strives to inspire not

just one artist, but a group of artists to work together to create

a mutual piece of art. Many different minds working together

toward one goal can be trying at times, and the character's
guiding vision unites the artists.

Create Hope: The character is an optimist of the

highest sort and tries to keep hopes alive. This might
involve searching for people in seemingly hopeless situa-

Spontaneous CjlamouR
Occasionally, when a Glamour-induced work

enacted (such as a breathtaking performance in a play, a

virtuoso musical performance or a moving poetry reading),
spontaneous Glamour is created for all who witness the

accomplishment. The Storyteller decides how much Glamour was released and how much changeling witnesses can
absorb. No roll or system is needed.
Some performances might infuse more Glamour into an
Unseelie than into a Seelie changeling, or vice versa. The
nature of the performance, whether it is dark and brooding or

tions who are ready to give up. The changeling tries to

come up with another solution to the problem at hand, or
picks up their spirits.
Create Love: The character believes that love can

light and happy, makes all the difference. However, all

Kithain should gain some benefit from attending such an
event. Characters with Thresholds appropriate to the work of
art or performance may gain additional Glamour, at the

make everything work out in the end, and gains strength

Storyteller's discretion.

by playing matchmaker or by resolving problems in relationships. She has the patience to listen to the laments of
the heartbroken, and tries to keep couples together or to
make individuals give romance one more try. As long as
the subject keeps trying and believes in the changeling's
advice, the musing works.

Create Calm: The character believes that possessing

a calm spirit can resolve most situations, and she tries to keep
people cool to help them gain insight on their situations.
Foster Trust: The character believes that the world
can be a better place with a little trust and understanding. He
tries to encourage people's faith in each other so that everyone can work together and achieve what they need to, or

sometimes to get involved with life and people again.

Helping Those in Need: Some people are lost or need
guidance to get back on their feet. People who need the
character's aid include runaways who need someone to believe
in, addicts trying to quit their addictions, and neglected children who need self-esteem. Helping them to stand on their own
makes the character whole.
Foster Dreams: This variety of musing involves
inspiring people to dream of things that they want to achieve.
If they believe in their dreams and strive to get what they
want, their dreams may become reality.

In order to achieve Rapture, a changeling must make an artistic

or creative breakthrough, which is no small task. The changeling
chooses an art or medium in which she excels (though this is not a
necessity), and comes up with a vision or an idea that she wants to
fulfill before she can begin the long process of seeking Rapture.
System: When the Storyteller decides that the character has
labored over her creation long enough, and is at the point of

achieving Rapture, the player must make an appropriate Attribute

+ Ability roll (difficulty equals the character's Glamour subtracted
from her Banality + 6). Difficulty can also be adjusted if the
Storyteller believes that the character has devoted more than
enough time, thought and passion to her creation.

The number of successes rolled equals the amount of Glamour that the character gains. If the player rolls five or more
successes, the changeling gains a point of permanent Glamour, in
addition to any temporary Glamour! A botch indicates a total and
utter confidence-shattering failure, causing the character to gain
a temporary point of Banality.

RevcRie and RaptuRc

in Specific Locations
If someone uses Reverie in one specific location, such as

the duration chart, above). The amount of time needed to create

again can also be modified at the Storyteller's discretion.

RapruRe
Changelings possess both faerie and mortal natures. By allowing their mortal sides to be inspired achieve Rapture they can
get in touch with the Dreaming as if they themselves were mortal
Dreamers. This is a very lengthy and difficult process as it takes a lot

of soul-searching and understanding of one's faerie and mortal

natures, but it also has the potential for enormous gain.
Rapture allows the changeling to gain Glamour from her own
imagination. The moment of Rapture is one of pure and total ecstasy
as the changeling connects directly to the Dreaming. The two halves
of her nature are united as one for a brief and fleeting moment. Both the
Seelie and Unseelie recognize that Rapture is difficult to achieve. Any

a Dreamer's loft or studio, or if a Kithain achieves Rapture

repeatedly in the same location, the area becomes infused

with Glamour. Such residue Glamour can attract other
Dreamers as they try to find any inspiration they can.
If a particular area becomes a haven for artists, Seelie
nobles (and the occasional Unseelie noble) may declare
Ravaging in those areas a punishable offense, even putting
special wards on such locations to keep the Dreamers safe. A

story could even be based on a motley that protects or tries to

infiltrate such a locale.

Glamour-infused sites tend to attract the attention of
any and all changelings; the outpouring of Glamour can't be
hidden from a Kithain's natural Kenning. Unseelie tend to
consider such places easy prey, and the playing fields for

games of "Ravage and Run."

Kithain who can find it is believed to have reached an ultimate height.

214

Changeling: The DReaming

* *

Ravaging
It is a simple matter to tear, wrest or rip Glamour from a mortal,
and it can be as satisfying as any epiphany. Such an assault taints the
epiphany with the psychic anguish of the victim, mixing pain with
Glamour a delicious meal for many Unseelie changelings.
This form of psychic rape is called Ravaging. Unfortunately,

mortals don't have an infinite supply of Glamour, and they need

time to replenish their creativity. If their Glamour is stolen from
them, it will take much longer than usual for them to rejuvenate.
Seelie tend to view Ravaging as a unnecessary evil, and they
frown upon anyone who practices it. The Unseelie consider Ravaging
a necessity, since Ravaging brings about change, even though it
occurs through suffering and destruction. Childlings don't usually
have the understanding or patience to use Reverie or Rapture as a
means for epiphanies. Indeed, Unseelie childlings take perverse
pleasure in Ravaging other children. They feel safe that they will only
be scolded. After all, "Children will be children," the elders tutt.

If a particular mortal is Ravaged repeatedly and frequently, his

creativity can be extinguished permanently. Still, as many Unseelie
are fond of saying, "There are always more Dreamers."
Ironically, changelings utilize their own Banality when they
Ravage, which runs the risk of gaining more Banality. The Ravager floods the Dreamer with Banality, literally driving the Glamour out of her body, and the Ravager gathers it up. Occasionally,

Banality is gathered up too, which is another reason why the Seelie

frown on Ravaging.
System: Once the Kithain has established a relationship of
sorts with the target (usually a loose friendship), the player rolls a
number of dice equal to his character's Banality rating (difficulty 6).
The number of successes rolled equals the number of Glamour
points gained. If the Ravaging roll is botched, the character gains
a permanent point of Banality as the Ravaging attempt backfires

and tears into the character's psyche.

Victims of a Ravaging are unable to create or perform anything
original or inspired for at least one day per Glamour point stolen. They

usually sit around listlessly, feeling drained and depressed. The artist's
block experienced also has unseen effects as the artist can gain a small
amount of Banality. Alternatively, the artist might be left so frustrated
that her connection to the Dreaming is severed forever.

Ravaging Threshold
Most changelings who Ravage use simple psychic assault to
gain Glamour. However, some Kithain have exotic and perverse
tastes. Ravaging Thresholds are specialized methods used by some
Unseelie to spice up their Ravagings with anguish. They put extra
effort into their Ravagings to make them an art form.
A character's Ravaging Threshold is usually based on her past,
and is often the result of some emotional trauma that she suffered.
The Threshold chosen is often a means to get revenge on the world.
Possible Thresholds are provided in a sidebar. Inventive players and
Storytellers are encouraged to come up with additional ones.
There are two ways to incorporate Ravaging Thresholds into a
story. The changeling tries to accomplish a goal through his chosen
Threshold, and appropriate events are assumed to occur in downtime.

Achangeling might, for example, spend time during a story frightening

whatever children she can, gaining Glamour from theirhorrific thoughts
and dreams. No one person is the target. The second use of Ravaging
Threshold is more intense. It involves roleplaying an emotional scene

the player roleplays the abuses that her character heaps on a victim.

Ravaging Thresholds
Exhaust Creativity: The character delights in exploiting others, or is contemptuous of the talents of those
who are more creative than he is. He employs others to create
for him, but this art is ultimately corrupted, buried or wasted.
The Dreamer then burns out, wondering why he wasted his
:
time on such frivolity.
. . : . ; . ; :;:; i j
: :
Destroy Hope: The character is fatalistic and Ravages
by destroying hope. This might involve watching over someone who is in a hopeless circumstance and is ready to give up
fighting. The predator talks the mortal out of taking action that
would improve her life.
i '. ;," ; : :
Destroy Love: The character no longer has illusions
of love, and gains strength from preventing others from
finding it or trusting in it. She typically has a repertoire of
techniques for "breaking people up," such as seducing
someone's significant other, providing photographic evidence of infidelity (real or fabricated), and sending flowers
with a note that says "Good-bye...." The Ravaging succeeds
as long as the prey's attempts to fall in love fail.
Create Anger: The character prides herself on maintaining her composure, and delights in driving others to
anger. By wearing down an individual's self-control, she
drives him to self-destructive acts of violence.
Break Trust: The character must break the trust
that exists between two people. The character has had his
trust broken, and now others must suffer as he has. The
character's prey ultimately trust no one, becoming isolated from the world.
Exploit Dependence: The character prides herself on
her self-sufficiency, and she flaunts it by making others dependent upon her. Victims might be neglected children, teenagers
supplied witii a steady diet of cheap video games and bad food,
or kept lovers who worry about satisfying her needs. The
character destroys anyone who becomes dependent upon her,
and is fulfilled as they waste away.
Destroy Illusions: The character is jaded, and the
sight of innocence disgusts him. This type of Ravaging is
often performed by childlings, who have been known to get

"good kids" in trouble and spread the "truth" about Santa

Claus and the Easter Bunny.
In either case, a normal Ravaging roll is made to determine how
much Glamour is gained in the story, whether throughout it or in a
few particular scenes. However, if roleplaying of a Ravaging Threshold is extremely compelling, the Storytelling may allow the player to

forego Ravaging rolls and may award Glamour automatically.

Rhapsody
This is an Unseelie means of epiphany that is strictly forbidden

by the Kithain. A changeling can imbue so much raw Glamour into

a mortal that he burns like a Roman candle; all his creativity goes
into one, final, glorious masterpiece. This is the last creation the
artist or Dreamer is capable of as he is left drained forever after.
All Kithain, Seelie and Unseelie, forbid this form of epiphany

because it destroys any possibility for more Glamour in the future. It also
destroys the mortal's life so thoroughly that he may become an enemy

ChapceR Seven: QlamouR Syscems

215

of changelings subconsciously, if he survives. Many Rhapsodized

mortals succumb to exhaustion, suicide or stress-related ailments.
The work of art that results from Rhapsody contains copious
amounts of Glamour (the item is considered to be a special form of

Types oF DROSS
Dross can take the form of many different things, in varying
sizes and shapes. The following is a list of sample items.

Dream Stones: Dream stones are beautiful natural objects.

dross see below). When the work is destroyed, the Glamour is

released.(And this is added insult to injury for the artistnot even
his greatest creation is allowed to live on.)

Although these items are named dream stones, the majority of them
aren't stones at all they might be anything from a small clump of

System: One to five points of Glamour are invested into the

victim. (Members of a group can each donate some Glamour to the

stones are distinguishable from their ordinary counterparts the

victim, and reap shares of the Rhapsody.) The mortal makes a

Manipulation + Expression roll (or another appropriate roll, difficulty

7) to create his masterpiece. A number of dice is added to this pool
equal to the number of Glamour points invested by the changeling(s).
For each success rolled in creating the work, a Seelie changeling
gains one point of Glamour, while an Unseelie changeling gains two

points when the object is destroyed. If a group donated Glamour to the

Rhapsody, each contributor regains the Glamour that he invested (if
there is enough to go around), and any remaining points are distributed on a point-by-point basis (single points awarded to Unseelie
contributors become two points automatically).
However, for every "one" rolled on a botch during the work's
creation, the artist gains a point of permanent Banality, and no one
gains any Glamour.

DROSS
While epiphanies are used to glean Glamour from mortals,
there are other ways of obtaining Glamour in its many guises. The
raw essence of the Dreaming sometimes gets trapped in physical
form, usually through natural or magical means. This type of
Glamour is known as dross. Dross is less threatening than the

unbridled energy of the Dreaming. Indeed, many Kithain believe

that dross should protected even more so than the Dreaming itself,
because it is fragile and unique.
Dross can manifest in many natural variations forest mushrooms, geodes, fern seeds, well-worn river stones. Dross is often

contained in the possessions and relics of great people: John

Lennon's diary, Picasso's paintbrush or palette, Abraham Lincoln's
top hat, or a letter written by either Lewis Carroll or Dr. Seuss.
The Glamour gleaned from dross is more fleeting and tempo-

rary than that gathered from an epiphany. The power of dross is

measured in points, but the fragile nature of that Glamour requires
it to be used immediately once it is released. The Glamour unleashed from dross cannot replenish a changeling's own store. An
object usually contains anywhere from one to five Glamour points,
although some magnificent vessels hold 10 points or more.
In order for the Glamour trapped in dross to be released, part of
the item (and in many cases all of it) must be destroyed. A changeling
must tear, crush, bum, devour, rip or otherwise ruin the item permanently, unless only part of its Glamour can be released, in which case
only part of the object is destroyed. Once all the dross has been
released from an item, there can be no chance to repair it. Ever.
Many Kithain use dross as a form of currency. The Kenning Talent
enables a changeling to know exactly how much Glamour is contained
in an object (on a roll against difficulty 5). Many Seelie and Unseelie
believe that such treasures and mementos should be protected from
greedy Kithain out for a quick fix (although the Unseelie generally hold

a much more liberal view of what makes something a treasure).

moss from a rarely visited forest to an unusually formed crystal. Dream

moss might be an unusual color, or the crystal might glow with a

chimerical inner light. Dream stones are usually found around faerie

glens and in hidden wilderness grottos. Dream stones usually contain

only small amounts of Glamour, from one to three points.
Mementos: Mementos are items associated with a person or
an event of great inspirational significance. One of Elvis' rhine-

stone-studded jumpsuits, a pen that belonged to H. P. Lovecraft, a

moon rock from mankind's first lunar landing, or even John

Belushi's bumblebee outfit could be mementos. Mementos can
contain large amounts of Glamour, some as much as 10 points. The
more rare the item and the greater the person or event connected
with it, the more dross it holds.
Treasures: Treasures can hold as little as one or as many as
10 points of Glamour, depending on the significance of the item
and the impact it has had on creativity. The original copy of A
Midsummer Night's Dream by William Shakespeare might contain
more than 20 points of Glamour, while a canvas painting by a new
but well-respected graffiti artist might contain only two. Most
treasures are guarded zealously by the Kithain. Some treasures are
made specifically to be destroyed, to release the Glamour contained
within. Destroying a permanent and important treasure simply for

the Glamour within earns the defiler a temporary point of Banality.

Chimera: Glamour gained from destroying a chimerical

beast may be used to replenish a changeling's own depleted score.

However, one must consume the flesh of the beast in order to gain
any benefits. Doing this repeatedly can cause side effects ranging
from purgative to poisonous to Bedlam-inspiring.

Chimerical items may also release Glamour when destroyed.

The amount of Glamour gained by consuming a beast or breaking

a chimerical object is generally proportional to the power of the

creature or item.
Founts: Certain hidden places in the world have a direct

connection to the Dreaming. These places, called founts, are highly

sought after. In fact, some freeholds are built upon or near these sites,
where Glamour bubbles up naturally like a spring. The amount of
dross gained by ingesting the Glamour-laden "water" is determined by
the Storyteller, although it is usually never more than 10 points in one
draught, after which the fount must be allowed to replenish itself
before it can be drawn from again. Strange side effects can arise from

drinking from certain founts. Anything from hallucinations, nightmares, precognirion or an attack of the giggles may result, depending
on the Storyteller's discretion and the location of the fount.

Using DROSS
Each time a changeling uses dross in any way, her player must roll
a single die to see what affect the fickle nature of the Glamour
contained within the dross has on the changeling. A "one" indicates
that the Glamour has some negative side effect (anything from a
momentary lapse in the surrounding Mists to nightmares to gaining

a temporary point of Banality). A "10" might mean that some

permanent or long-term benefit is incurred (such as gaining a perma-

216

Changeling: The DReaming

nent point of Glamour to losing a permanent point of Banality). The

Storyteller decides what occurs and may not even tell a player what
the effects of using dross are until they exhibit themselves (in which

substance than Glamour, they can withstand the mildest abuses of

Banality. In fact, their physical nature results from the limited
application of Banality to the Dreaming. True Glamour is the

case the Storyteller should roll the die for the player).

ultimate antithesis of static form. Glamour touches Dreamers, who in

Chi

turn create chimera, but Banality influences those Dreamers as well.

Thus they create chimera based on their Autumn world perspective,
no matter how distorted their vision may become in the Dreaming.

Chimera are creatures and items of pure imagination, but the

unconscious minds of the Kithain and other low-Banality beings can
shape Glamour into things far more "real" than mere dreams. Chimera exist only to Kithain and enchanted beings. They can be objects
(weapons or magical treasures), creatures (often monstrous) and
places (flying castles or archways located in forests). Chimera can be
sentient or nonsentient. They can be inanimate and malleable to a
changeling's will, or "alive" and dangerous in the extreme.

Composition
The metaphysical composition of the Dreaming, and of chimera in particular, is a mystery that baffles the most learned fae. To
those who can perceive chimera, most appear as solid and as "real"
as objects in the Autumn world, or Earth. Changelings can perceive
chimera with all five senses. By definition, chimera are constructs
of Glamour energies, made manifest through the will of mortal and
fae Dreamers. More dense than mere thought, chimerical substance

physically interacts with those attuned to its presence.

Even the most ethereal chimera consist of a coarser material
than pure Glamour does. This is an advantage in some ways and a
disadvantage in others. Because chimera are of a heavier and sturdier

Inanimore ChimeRa
Inanimate chimera are the building blocks of the Dreaming.
They may be the dreams of cloth, silver or stone that appear in the

Dreaming or in the mundane world (though they are still invisible

to nonfae). Inanimate chimera may result from the dreams of
changelings or from the singular or collective dreams of humanity.

They may be the creations of chimerical creatures (webs left by

spider nervosa), or changelings may spin them from near nothingness with certain Arts and treasures. Kithain artisans may mold
these materials into clothing and weapons.
Inanimate chimera may be semi-formed raw materials or may
be fully realized pieces of art. Almost every piece of creative work
on Earth has its chimerical counterpart. Only those works imbued
with true creativity, however, maintain their integrity in the
Dreaming for long. (Thus a cathedral has far more "reality" as a
chimerical construct than does an O'Tolley's restaurant.) Inanimate chimera that have little integrity succumb to Banality quickly,
while those that spring from highly creative sources may last for

centuries. The dreams of the creators of the work are often the
strongest force behind a chimera. It is the dreams of those who

ChapreR Seven: CjlamouR Systems

217

appreciate the work, however, that keep it alive after the artists'
death. Thus even a chimerical O'Tolley's might rebuild itself

continuously as new customers come through its doors, but its

existence is always a poor one at best.

Inanimate chimera are not always art-related, but may spring
from humanity's collective unconsciousness. Thus chimerical metal
may exist in an imagined "mother-lode" near a mining community.

Chimerical food may come from the desperate dreams of a starving

child or from the dream-harvest of a successful boggan farmer.
Changelings who wish to gather dreamstuff for the creation of
chimerical items must "mine" it from the Dreaming, much in the
way that humans gather raw materials in the mundane world.
There are four types of inanimate chimera: Incidental, Dreamed,
crafted and forged.

Incidenral ChimeRa
Incidental chimera constitute the majority of chimera in the
mundane world. They are stray dreams, detached from the main

body of the Dreaming. They sprout up in an unpredictable and

hodgepodge way on Earth, but are invisible to mundane people.
Chimera that grow in the real world seem to have all the "reality"
of chimera found in the Dreaming. An Incidental tree may have the
solidity of a real tree to a changeling in the mundane world. Once
removed from its growth site (the place where it was originally
dreamed into existence), however, the Incidental chimera succumbs
to Banality quickly, breaking apart like wet cotton candy. A changeling may use an Incidental tree branch as an impromptu weapon while

in an Incidental forest, but the branch would not serve very well as a
walking stick once the changeling leaves the woods. Incidental
chimera are usually brittle and have little value as raw materials for
crafted or forged items. These chimera are born into the hostile Earth,
and Banality infects them at the root. Even if a changeling brought an
Incidental chimera into the Dreaming, it probably wouldn't last long

(though a changeling may nurture an Incidental chimera, transforming it into a Dreamed chimera with repeated transfusions of Glamour).

DReamed ChimeRa
Dreamed chimera are the most common type of chimera in the
Dreaming, but are relatively rare in the mundane world. Few changelings
know why one newborn chimera becomes an Incidental chimera and

another has a more rich and solid existence as a Dreamed chimera.

Sometimes a Dreamer's creation may take root only in the mundane
world, and sometimes only in the Dreaming. Some may exist in both
realms, creating two aspects of the same chimera that take on separate but
mysteriously connected lives. Dreamed chimera have afar more indepen-

dent and permanent existence than Incidental chimera, but they are still
susceptible to dissolution by Banality in the mundane world.
Dreamed chimera are less "infected" by Banality than their Incidental counterparts. Changelings may use Dreamed chimera as raw
materials in craftcd or forged items. Inanimate Dream chimera tend to

keep their cohesiveness as long as no one drastically changes their

original Dreamed form. Thus a changeling may use a Dreamed tree
branch as a walking stick, and may even trim a few twigs off it to make

it more serviceable. However, if the changeling tries to carve the branch

into an ornate walking stick, it is no longer a branch as envisioned by
its Dreamer and dissolves quickly unless crafted or forged.
A changeling who wishes to craft or forge a chimera usually

obtains his materials from the Dreaming instead of using Incidental

materials from Earth. The more rare the item, the deeper into the
Dreaming the changeling must usually go to find it. Truly rare items

218

Changeling: The DReaming

and materials can become the foci of major quests. The recent
opening of trods into the Near Dreaming upon the sidhe's return has
precipitated a building boom unprecedented since the Sundering.

CRaFred ChimeRa
Grafted chimera are those that have been altered from their
original form through traditional Grafting methods. A changeling

may work chimerical metal, leather, wood and more fantastic

substances (dragon scales, true silver) in the same way that human
artisans work mundane materials. To do this, the changeling must
first gather the appropriate chimerical materials (preferably Dreamed

chimera), and the player must spend a point of Glamour. A

Dexterity + Crafts roll (difficulty and number of successes needed
vary) is made to work the chimera into its desired shape.
Chimerical materials are difficult to work with, however, and

few changelings are able to do so. Of all the kith, only boggans and
nockers have much skill; the difficulties of all other kith trying to

craft Dreamed chimera are increased by one to four. (Incidental

chimera are even more difficult to work with.) Grafted chimera
are rarely manipulated beyond the level of simple mechanical
devices, and are still as vulnerable to Banality in their new forms
as they were in their old.

and FoRging
Senrienu ChimeRa
Unlike their thoughtless, unaware counterparts, sentient chimera are willful beings, which may not want to
change from their original forms. A changeling who

forges sentient metal into a sword without its consent may

find that the blade turns in her hand, or shatters at the
worst possible moment. Unwilling voile may tear in
embarrassing places when the arrogant Eiluned duke
presents himself to the queen;
; .: .! ;; j < . f / ;;' ;' , > :
To overcome this, an artisan must either convince

(cajole, wheedle or frighten) the material to cooperate, or

make it behave through force of will. (The player must spend
an additional point of Glamour, and roll the character's
Willpower against a difficulty of the chimera's Willpower. If
the roll fails, the player may try again, but each additional

attempt subtracts one die from the Willpower Dice Pool.) Of

course, the artist must still have the prerequisite Skill to
change the chimera into its finished form.

FoRped ChimeRa

ChimeRical (JJyRd Cffecrs

Forged chimera are the rarest of inanimate chimera because

only nockers can make them. The nocker Birthright (Forge Chimera) allows them to transmute chimera on a fundamental level,

Chimera may, under certain circumstances, affect the mundane world. This requires the use of Willpower and special chimerical powers called Redes. Thus, only sentient chimera may affect the

forging them into hardier forms of dreamstuff. Forged chimera are

resistant to the forces of Banality (difficulties are reduced by two on
all rolls involving Banality), and are not connected to single
changelings in the manner that voile are. Nockers can create forged
chimera that are complex mechanical devices that do not even

material world. A changeling wielding a nonsentient chimerical

sword can cause Wyrd effects with it, but must do so in the usual
manner (see "Calling Upon the Wyrd," pg. 211). A chimerical
flying carpet may carry a changeling from one place to another in
the physical world, but the risks incurred with such an enterprise are

resemble their original materials. Bigger projects (such as chimerical castles or ships) are usually assembly-line proj ects; nockers forge

real and great. Beyond the threat of suffering Banality, there are all
the dangers of crashing into airliners, meeting errant vampires or
being confronted by the Technocracy.

the materials and other fae put them together. (For more on forging

chimera, see the nocker entry in Chapter Three.)

Voile

BiRrhing ChimeRa
Chimera derive from the stuff of unformed dreams, and their
birth is a very special and magical event. Chimera may attach
themselves to a changeling during his Chrysalis or Saining. This

Voile, or faerie clothing, is the most common example of

process is something over which the changeling has little control;

Dreamed chimera, and is an integral part of a changeling's

faerie mien. A changeling may create chimera of various sorts

they are born from his subconscious dreams. Such chimera may be
inanimate voile or chimerical guides to aid the changeling in his

spontaneously during her Chrysalis. These "items" are usually

new life (if the player buys the Chimera Background).

distorted dream images from the fledge's past life or subconscious reflections of her fae nature. A new changeling's first
action is often the instinctual creation of faerie garb, seemingly
from thin air. These chimera are personal and attached to the
changeling, and are thus Dreamed, not Incidental, chimera.

Chimera also come into existence through many other means.

Kithain may create chimera subconsciously during stressful, creative
or highly emotional times. Changelings may also birth chimera when
they go into Bedlam. Chimera bom from Bedlam are often unpredictable and dangerous, sometimes staying with their creator long after his

This first suit of voile is usually an accurate indication of the

state of Bedlam subsides. Chimera may also spring from the minds of

changeling's kith and seeming. Thus a redcap may appear in

nonfae Dreamers. Some chimera are truly ancient and may visit Earth
from far into the Deep Dreaming. Chimera may even come from
places of low Banality, such as a Lost Ones' freehold (see "Freeholds,"

tattered leathers and a white cap (which turns red when he first
spills blood); a sidhe may appear in court finery.

The player may decide what this first suit of voile looks
like, but the clothing confers no special powers unless the player

pg. 224), or from places of intense mystical activity.

buys it as a Treasure Background during character creation.

Voile is typically permanent as long as its creator possesses it. A

DRcameRS and ChimeRa

suit of armor voile dreamed by a fledgling troll is a permanent

individual changelings are far more likely to do so than humans, the

vast majority of chimera (and, indeed, the Dreaming itself) are the

part of his ensemble. If the troll loses his armor, however, he

probably needs to seek out a nocker to forge him a new suit.

Kithain are not the only creatures that can spawn chimera. While

unconscious creations of humanity's dreams. The collective uncon-

ChapreR Seven: QlamouR Sysrems

219

sciousness of the human race and other denizens of the World of

Darkness creates the fantastic dream world from which the fae draw
power. Even the most Banality-sodden humans occasionally give
spark to minor and ill-formed chimera. Despite the oncoming Winter,

A changeling may determine if a chimerical creature is sentient

by talking with it and making a Perception + Gremayre roll (difficulty
varies), or can tell visually by making a Perception + Kenning roll

some beings still maintain the ability to dream. Such "Dreamers" are
individuals with low Banality ratings (4 or lower).

course, not all chimera will speak the changeling's language. The

These mortal Dreamers may include artists, children, daydreamers and the insane. Some supernatural creatures may also
birth chimera. Examples of low-Banality supernatural Dreamers
may include, but are not limited to: Fianna werewolves; Malkavian,

Ravnos and Toreador vampires; and mages such as Dreamspeakers

and the Marauders. Children add a strange quality to the Dreaming
that is both comforting and disturbing. The culture that a child
lives in heavily influences any chimera he creates. These beings
may be spring from children's books, cartoons, childlike perceptions of MTV,
the 6:00 news or from the abuses of parents.
Children often give their chimera an winsome look. (Some
child-chimera are nauseatingly cute.) Appearances can be deceiving;
children are prone to nightmares, too. That cute little bunny might
pull out a butcher knife at some inopportune moment. Some chimera
are very protective of their creators and defend them against Kithain
predators (other chimera and changelings who try to Ravage creators
for Glamour). These chimera may also interact with their creators.

Animore ChimeRa

(difficulty equals the chimera's Glamour; two successes needed). Of

Kithain would need to know German to speak with a German
chimera, or Plant Lore to communicate with an enchanted apple tree

in the queen's orchard. Sentient chimera may lose sentience over

time as Dreamers forget them, or when exposed to Banality.

building ChimeRical CRearuRes

Chimerical creatures are created with these rules for use with
the Chimera Background. All sentient chimerical creatures have

seven fundamental types of Traits: Physical, Social and Mental

Attributes, Abilities, Glamour, Willpower and Health Levels.
Nonsentient chimerical creatures have Physical Attributes, Glamour and Health Levels. Creatures of the Dreaming may also possess
chimerical powers, called Redes.

ArrRi6ure Cosr
All chimerical creatures are designed with chimera points,
which can be allocated among the chimera's Attributes in almost any
manner. Most chimera from the Near Dreaming may have anywhere

Animate chimera are simply chimera that have either life or the

from eight to 36 chimera points (see the Chimera Background, pg.

appearance of life. They may be sentient or nonsentient, but nonsentient

chimera can mimic intelligent creatures in a surprisingly sophisticated

146). Some, however, are far more powerful. Chimera can go above
the human maximum of 5 in any Attribute, though one can never

manner. Like inanimate chimera, chimerical creatures may be either

Incidental (living wholly in the mundane world) or Dreamed. Some
animate chimera, such as nocker golems, may even be forged.

have an Attribute higher than its own Glamour rating.

Physical Attributes: Most chimera have quasi-physical bodies
because of their rather crude Glamour construction. (Chimera with
the Dreamform Rede are the exception.) Chimera with physical
forms have three Physical Attributes: Strength, Dexterity and Stamina.

Nonsenrienr ChitneRa
Nonsentient chimerical creatures may have the appearance of

If an attacker disperses a chimera, but does not destroy it, the chimera's

life and intelligence, but are really little more than animated impulses

Attributes return at the rate of one point for each Attribute per week.
Cost: Each chimera point buys three points to allocate among

following a preordained series of actions. These creatures may have all

the outer aspects of sentience. They may show clever instincts while
hunting, use a sword with amazing facility, or even carry on an
intelligent conversation. All of this is illusion, however. A nonsentient
chimera merely behaves the way that the Dreamers who created it

expect it to act. It has no independent thought or will, though in some

cases a nonsentient chimera may become aware over time.

Scnrienr CRearuRes
Only Kithain or mortal Dreamers with the low Banality (rarely
over 2) give birth to sentient chimera. Inanimate chimera rarely
obtain sentience, simply because the Dreamer does not expect it to

do so. Humans may ascribe human attributes to animals or their

cars, but few toy with the thought that a toaster is alive. This is not
always the case, however. Some Dreamers anthropomorphize the
most mundane objects. A child may dream that her teddy bear is
alive, and, fueled by her dreams, it comes to life.
Similarly, a madman may imagine that dreadful disembodied
voices call from his own shadow, creating disturbing and wicked
chimerical creatures from the stuff of nightmares. The shadowchimera may even gain enough awareness to realize that a cure to
their progenitor's delirium will end their existence. They may
attempt to strengthen their creator's madness and attack those who
attempt a cure. In rare cases they may gain a mobility independent
of their creator, and commit hideous crimes in the Dreaming.

Changeling: The DReaming

a chimera's Physical Attributes. Chimera do not begin with one dot

in each Attribute as characters do.
Mental Attributes: All sentient chimera have the three
Mental Attributes: Perception, Intelligence and Wits. Nonsentient
chimera do not have Mental Attributes, though some may appeal
intelligent. Such chimera have limited behavioral patterns and
cannot grow in knowledge or make independent decisions outside
of their "original programming."
Cost: One chimera point buys three points to allocate among

the three Mental Attributes. Chimera do not begin with one dot in
each Attribute as characters do.

Social Attributes: Chimera are dream-creatures and are often

socially active. All sentient chimera have the three Social At-

tributes: Charisma, Manipulation and Appearance. (Appearance

can have a rating of zero monstrously ugly.) Nonsentient
chimera are not required to have Social Attributes, but may possess

them. A nonsentient chimera may still have a high Appearance. It

may even be charismatic or a convincing speaker, even if it is really
nothing more than an automaton.
Cost: Each chimera point buys three points to allocate among

the chimera's three Social Attributes. Chimera do not begin with

one dot in each Attribute as characters do.

A&ilities
Chimera may have almost any Ability that can be possessed by
changelings or other creatures in the World of Darkness. If a person
can dream of someone doing something, then a chimera can do it
too. A chimerical duelist may be just as good with a sword as the best
changeling warrior. A sentient chimera may be a great, original
artist. Chimerical Abilities do not usually exceed the human
maximum of 5, but potent chimera from the Dreaming may surpass
the most talented humans in skill.

Cost: One chimera point buys three Ability points.

QlamouR
All chimera have some Glamour, or they would cease to exist.
Most have only a few points, while legendary creatures from the Far
Dreaming and Deep Dreaming may have almost limitless dream power.

Chimera cannot regain Glamour while in the mundane world unless

they visit a freehold, are given it by a changeling, or have the Steal
Glamour Rede. Chimera regain one Glamour an hour in the Dreaming,

Cost: One chimera point buys one point of Glamour.

(JJillpOLUCR
Willpower suffuses a sentient chimera's Glamour, giving it independent purpose and direction. Sentient chimera need Willpower to

fuel certain Redes. Nonsentient chimera do not have Willpower.

Chimera regain Willpower at the rate of one point per day.

Cost: Three chimera points buys one point of Willpower.

Health Levels
Physical chimera have a very real substance to those in, and of,
the Dreaming. Kithain can destroy chimera through "physical"

chimerical means. A chimerical sword draws blood, and a chimerical fire burns chimera and changeling alike. This damage may force
changelings into their mortal seemings, but it destroys chimera.
The penalties applied for losing Wound Levels is exactly the
same as for changelings until the chimera exceeds seven Health
Levels. Once past this point the Storyteller may decide the affects
of additional Health Levels.
Cost: One chimera point buys two Health Levels. The limit to
Health Levels is five times the chimera's Stamina score.

Attack
All physical chimera can inflict Strength + 1 chimerical

damage, unless they use weapons or Redes.

Redes
These strange powers are displayed by many chimera. The

variety of these powers is seemingly endless; a few examples follow. A

chimera uses Glamour to power most of its Redes, but needs Willpower to affect the mundane world. Not all chimera have Redes.
Chimera Point Cost: This is the number of chimera points
that must be spent for a chimera to possess a Rede.
Use Cost: This is the number of Glamour points that must be
spent for a chimera to use a Rede.

C;cample Redes
Aggravated Damage Chimera may use this Rede in
tandem with the Wyrd Rede see below) to cause aggravated,

real-world damage.

Chimera Point Cost: 3

Use Cost: None

Armor The chimera may grow armor to protect its
physical form. Types of armor include tough skin, metal plating,

dragon scales and chitinous exoskeletons.

Chimera Point Cost: 1 (per point of armor)

Use Cost: None
Befuddle This power confuses its target, making it
difficult to perform any action. Roll Glamour with a difficulty
equal to its target's Willpower. The target loses one die from all

Dice Pools for every success that the chimera achieves in excess
of the victim. The effect lasts as long as the chimera remains in
the victim's presence.
Chimera Point Cost: 3
Use Cost: 1

Dreamform The chimera is composed of a more rarefied,

purer Glamour than most chimera arc. It does not have a physical
form. (It is still visible, however, unless it has the Rede Hide.) Kithain

must use Arts or treasures if they wish to affect it, as normal chimerical
means will do no good. A chimera with this Rede does not need to
possess Physical Attributes, but must still have Health Levels. (If this
Rede is purchased, the Stamina limit on Health Levels is ignored.)
This Rede is permanent, unless the chimera is exposed to high
levels of Banality (it touches an Autumn Person, for example). In such
instances, the chimera's current Glamour is rolled (difficulty equals
the source's Banality). If the roll fails, the chimera loses its Dreamform

instantly and gains two chimera points to be allocated among Physical

Attributes that it develops suddenly. The chimera remains in this

physical form as long as it remains in contact with the Banality that
changed it. If the Glamour roll botches, the change is permanent.
Chimera Point Cost: 5

Use Cost: None

Enchantment This Rede allows a chimera to affect
nonfae, and allows them to affect it. The chimera may interact with
a human, chat amiably with him, or attack him. All damage is still
chimerical, and the human forgets the encounter quickly. (Refer to

the Mists Chart, pg. 208.) The chimera would need the Wyrd
Rede to affect the physical world.
Chimera Point Cost: 3
Use Cost: This Rede costs one Glamour per turn to use, or one
per hour in a freehold or the Dreaming.

Ensnare The chimera can attempt to physically restrain

its target in some manner. The ways in which chimera do this vary
widely (a spider's web, a net, sticky foam). An appropriate attack
roll is made, or the Ensnare is set in advance in hopes that someone
will blunder into it. Ensnare has Strength 2 and two points of armor
for every three points of permanent Glamour possessed by the

chimera. Chimera with less than three points of permanent Glam-

our have an Ensnare with Strength 1 and one point of armor.

Chimera Point Cost: 2
Use Cost: 1 to capture one human-sized object
FearChimera with this Rede can cause a subj ect to freeze
with fear or retreat in stark terror. Fear persists for one to 10 turns.
The victim may make a Willpower roll (difficulty 6); each success
reduces the Rede's duration by one turn. This fear can be generated
by any number of means; some chimera frighten their targets by
their mere appearance.

Chimera Point Cost: 2

Use Cost: 1

ChapreR Seven: QlamouR Sysrems

221

 Fester This Rede causes a victim to manifest the symptoms

of a particular disease. The Storyteller decides at what rate the
disease progresses, but it is often extremely fast. A disease that
normally would take years to manifest may do so in hours. A victim
may cure the effects of this Rede by making an opposed Willpower
roll and gaining more successes than the chimera does, although the
victim must be aware of the chimera's presence to resist. Primal

Chimera Point Cost: 5 (for hiding self only); 7 (for ability to

affect others)

Use Cost: 1 (and 1 per person or item affected)

PossessionThe chimera must touch the target. An opposed
roll is made of the chimera's Glamour and the target's Willpower
(difficulties are the opponents' scores). If the chimera rolls more

successes, it possesses the victim for one turn per success in excess of

(Heather Balm) may heal damage inflicted by this Rede, but the opponent's roll. If the target has a higher permanent Banality

will not cure the disease.

Chimera Point Cost: 5
Use Cost: 1 per Health Level of damage inflicted by the
disease
FlightThe chimera can fly under its own power. Changelings seek chimera with this Rede for flying carpets and the like. The
chimera can fly 25 feet per turn per point of Dexterity that it has.

Chimera Point Cost: 3

Use Cost: 1 per hour
Gulp Chimera with this power may unhinge their jaws
wide enough to swallow victims. If a chimera gains five or more
successes on an attack roll, it swallows the victim whole. Damage
is automatic each turn thereafter, if the chimera chooses to inflict
it. Some chimera may hold their victims inside themselves just long
enough to terrify them, and then spit them out again. Victims
swallowed by redcap-inspired chimera are rarely so lucky.
Chimera Point Cost: 3
Use Cost: 2
Glamour Pact The chimera can protect itself from being
crafted, forged or trapped in a treasure against its will. The difficulty
of any attempt to do so by changeling artisans is increased by two,
and the chimera may be even more difficult to control than the
average unwilling chimera. Changelings consider most Glamour
Pact items to be "cursed," and the chimera in one may still use any
Redes that are not based on Physical Attributes. Chimera with
Glamour Pact that are trapped in items retain their Glamour and
Willpower scores. Their new forms dictate their physical characteristics. Some chimera use this power to force an artisan to change

them back to their true forms (often a difficult task). Some,

however, retain their imposed forms for years, relishing their status
as cursed objects. Only the greatest or most insane changeling
artisans work with chimera that possess this Rede.
Chimera Point Cost: 5
Use Cost: 1 permanent Glamour
Healing The chimera can heal its own wounds or those
of others. The chimera must have the Wyrd Rede to heal

nonchimerical injuries.
Chimera Point Cost: 5

Use Cost: 1 point of Glamour heals one Health Level of

damage
HideThis Rede allows a chimera to become invisible to all
changelings and enchanted beings. A Perception + Kenning roll
(difficulty 8) must be made for a changeling trying to determine the
location of a chimera that is using this Rede, and at least two successes
must be achieved. (One success indicates the genera! location of the
chimera.) This effect lasts for the duration of a scene (up to one hour).
Some chimera can use this Rede to hide changelings or even
unenchanted beings. Hiding a changeling from another changeling
functions just as described above. Hiding a changeling from the
unenchanted, or hiding a unenchanted item or person requires that
the chimera possess the Wyrd Rede.

222

Changeling: The DReaming

score than the chimera has permanent Glamour, the chimera loses a
point of Glamour for each point of the difference. This Rede worb
only on Kithain unless the chimera has the Rede Enchantment.
Chimera Point Cost: 7
Use Cost: 2 Willpower

Scuttle Chimera with this Rede may move at truly

amazing speeds.

Chimera Point Cost: 3

Use Cost: A chimera may take one extra action per Glamour
point spent.

Sense BanalityThe chimera can tell how much Banality

is in a person, object or place.
Chimera Point Cost: 2
Use Cost: 1 Willpower
Shapeshift A chimera with this power can change its
appearance in almost any way it desires. It may appear to grow larger
or smaller. It may turn into a creature of dazzling beauty or a
monstrosity from the Nightmare Realms. This image is completely
illusionary, and the chimera gains no additional abilities from this

Rede. This power affects all five senses, but cannot be used to cause
damage with illusionary weapons.
Chimera Point Cost: 5
Use Cost: 1 per shape change

Steal Glamour This Rede allows the chimera to actually

steal Glamour from a changeling or even another chimera. A Willpower roll wif_h a difficulty equal to the target's Glamour must be made
for a chimera to use this Rede successfully. The number of successes
rolled determines how many points of temporary Glamour are stolen.

Chimera Point Cost: 3

Use Cost: 1 Willpower
Traverse Dreaming This Rede allows chimera to travel
to the mortal world from the Dreaming, or to enter the Dreaming
from the mortal world. Chimera can travel only through estab-

lished trods and portals, though some travel chimerical trods

known only to their kind.
Chimera Point Cost: 5

Use Cost: 1

Venom Chimerical venom can cause paralysis or even

"death" to changelings. The victim may suffer damage, and a successful Stamina roll (difficulty 8) must be made, or the victim may be
paralyzed for one minute per Glamour point invested by the chimera.
Chimera Point Cost: 3

Use Cost: Chimera usually deliver their venom in tandem

with a physical attack (bite, stinger, claw). This Rede causes one
additional Health Level of damage per point of Glamour that the
chimera chooses to invest (assuming that the chimera seeks to do
harm with its venom).

WeaponryThe chimera may create physical (non-ranged)

weapons from its chimerical substance. These may include swords,
horns or lashing tails. If a chimera loses its physical form, its weapon

disappears with it, but the weapon may stay behind in some cases.

Chimera Point Cost: The chimera inflicts +1 damage for

every two chimera points spent.
Use Cost: None

Wyrd A chimera that invokes this Rede becomes a solid

creature in the real world and can cause physical damage. This is
one of ihe rarest chimerical powers.
Chimera Point Cost: 5

Use Cost: 1 Willpower per scene

Killing ChimeRa
If a chimera loses all its Health Levels, its current Willpower
must be rolled successfully (difficulty 7) to maintain its integrity. If
the roll fails, it dies instantly. If the roll succeeds, the chimera

becomes incorporeal (as though in Dreamform), and its wounds

heal at the rate of one Health Level per week, unless it has the Rede
Healing. When a chimera has been reduced to noncorporeal form,

it may retreat from its pursuers and be intangible but still visible. A
chimera in this form can still be affected by Arts, but is immune to

Sample ChimeRa
Mary's sluagh character Tatania has the Chimera Back
ground. Mary wants to create a guardian spider for her charac-

ter to protect her freehold from intruders, and to keep Tatania

company. Mary put three freebie points in her Chimera

Background during character creation. That entitles her to 20

chimera points with which to design Tatania's chimera. At
least one chimera point must be assigned to each of the seven
Trait categories Physical, Social, Mental, Abilities, Glamour, Willpower and Health Levels for a sentient chimera,
unless the spider has the Dreamform Rede. (Mary could also
make the chimera nonsentient, and wouldn't have to buy
Social Attributes, Mental Attributes, Abilities or Willpower.)
Mary decides to assign three chimera points to each of the

Physical and Mental categories. This gives her nine dots to

allocated within each group. She assigns only one chimera
point to the spider's Social Attributes, giving her three dots to
spend in that category.
Mary assigns the spider's nine Physical Attributes
(Strength 3, Dexterity 4 and Stamina 2) and nine Mental

Attribute dots (Perception 3, Intelligence 2 and Wits 4).

She assigns the three Social dots (Charisma 2 and Manipulation 1). As a sluagh, Tatania understands that
beauty is in the eye of the beholder, so Mary gives the
spider a zero Appearance.

Mary then decides to put two chimera points in the

spider's Abilities. This grants her six points to distribute
among them. She gives the spider Alertness 1, Brawl 3
and

Stealth 2 , } :':! : :; '; i ;:';' : : : i , ;; , . .;' . :' : . , : : v

:
:

; . ':

Mary has spent nine chimera points so far and has 11 left.
Of these she puts two into Glamour (giving the spider 2

Glamour), three into Willpower (giving the spider 1 Willpower), and spends three chimera points on Health Levels
(giving the creature a total of six levels). This leaves Mary with
three chimera points. She uses these to buy the Redes Ensnare
(webbing) and Armor (one point's worth).

ChapreR Seven: QlamouR Sysrems

223

the effects of chimerical weapons. If the chimera can be slain again

(it loses all of its Health Levels), it becomes corporeal and is subject
to the effects of Banality (see below).
If a chimera is destroyed (i.e., it loses all of its Health Levels,

These rules on disbelief do not usually apply to inanimate or

nonsentient chimera. Such items are usually either too "mundane"
to be affected by humans' skepticism, or are protected as part of a

and its Willpower roll fails) in the mundane world, one of two
things happens. If the Banality of anyone present, or of the location

unenchanted being with a chimerical blade without fear of losing

it, but the blade causes no damage unless the changeling enchants
the person or calls upon the Wyrd.
y
|~ R.CCl)OiCj8

itself, is higher than the chimera's permanent Glamour, the chimera melts away into nothing in seconds. Nothing can be harvested
from it. If the Banality of everyone present, or of the location, is
lower than the chimera's permanent Glamour, this decomposition
is slower and changelings may "harvest" the chimera's Glamour as
dross. Changelings may also use the chimera as physical parts for
crafts (using a chimerical dragonhide for armor, for example).
Any chimera that dies in the Dreaming is not dissolved by
Banality, but is absorbed by the Dreaming. (The chimerical dragon rots

or chimerical insects eat it, recycling its Glamour into other forms.)

changeling's personal effects. Thus a changeling could hit an

Most of the ancient faerie glens, isles and hillocks disappeared

long ago; their pathways to Arcadia closed when humanity's
disbelief became too strong for them to remain open. Nonetheless,
a few of these spots, called freeholds, remain. Such places have close
connections with the Dreaming. Changelings draw power from
these refuges and find peace there as well. They are places where

Banality is, temporarily at least, at bay.

ChimeRa and Banaliry

Humans and unenchanted supernatural beings with high Banality ratings can dispel chimera by their mere proximity. Since most
mortals cannot see chimera, this is usually not a problem. If a
changeling interacts with a chimera in a way that normal humans
cannot readily explain (the changeling wields a chimerical blade or
talks to a chimerical friend), most humans will merely consider her to
be playacting or insane. Chimerical effects become an issue, however,
if a human sees the chimera perform a "real-world" feat, such as flying

Freeholds are so valuable to changelings that they are the

center of the Kithain feudal system. They are sources of power and

influence for nobles and commoners alike. Freeholds are the foci of
many changelings' faerie lives. Most consider a freehold to be their
home, though few changelings actually live in them. Changelings
have loyalty and affection for their refuges, no matter how small or
humble those places are.

DReam NOTURC

Freeholds are protrusions of the Dreaming into the mundane

with a changeling on its back. The chimera will usually remain
invisible, but the flying changeling may not. If the changeling or world, but the opposite is also true. Freeholds feed the Dreaming
chimera does not take pains to disguise their flight (through Chicanery Glamour, but Banality leaks into the Dreamrealms through freeor the Rede Hide), humans' skepticism may shunt the Kithain and holds, trods and other such sites. This is not necessarily a bad thing;
chimera (and anyone or anything in contact with them) into a random the "mundane" world gives the Dreaming form and variety. In its
part of the Dreaming (Storyteller's option). If this happens, the purest form, Glamour is ceaselessly chaotic. Freeholds are, by
changeling may have a difficult time returning to the mundane world. necessity, more banal than the Dreaming around them.
Most known freeholds are protrusions between the Autumn
A sentient chimera may resist this effect by rolling its Willpower
versus the observing human's Banality (two successes are needed). If world and the Near Dreaming. Some may exist between two
the roll succeeds, the chimera is immune to that particular viewer's Dreamrealms, such as the Near and Far Dreaming. These are usually
skepticism for the remainder of the scene. If a group witnesses the shadows of old Earthly freeholds that have migrated (willingly or
flying changeling, the chimera's roll is made against a difficulty equal unwillingly) deeper into the Dreaming. Changelings call a portal
to that of the highest Banality rating in the crowd. The Mists will

usually cover up any memory of the event after the fact.

Even more dangerous are the risks a chimera faces if it gets too

between realms in any kind of freehold a rath,

Rorhs

close to or, worse, touches a person with a high Banality. Most

"Rath" is the Irish name for circular earthworks left by the fae;

chimera can recognize such people and take great pains to avoid them.

even humans know these are gateways into the faerie lands (though

Even if a human cannot see a chimera, the force of his or her doubt
is enough to erode the chimera's fragile form. Sentient chimera take

few humans really believe such "fairy tales."). This folklore is true,
however, though not all raths are circular earthworks. Raths vary

one Health Level of damage for every turn spent in close proximity to

widely from a silver archway for the sidhe, to a hole under an

upturned tree root for a forest-dwelling pooka, to a gauntlet of
whirling saw blades in a nocker freehold. A rath may be any kind of
portal that is large enough for a changeling to pass through, though

an unenchanted person who has a Banality rating of two or more in

excess of the chimera's own permanent Glamour score. The actual
proximity at which a chimera suffers this damage is determined by the
Storyteller, though the greater the person's Banality, the farther his
aura extends (generally about a foot per point of Banality, though this

may be greater with some Autumn People). A chimera reduced to

zero Health Levels in this manner is destroyed forever.
Ironically, if a changeling or chimera enchants a human
successfully, and that person sees the chimera or the results of its
actions, the human's skepticism has no effect on the chimera. The
human believes in or doesn't question what she sees, at least for that

moment. (This tactic has little effect on Dauntain, who can see
chimera on their own.)

not all are big enough to allow humans passage. The size of these
archways varies, but is usually proportional to a freehold's power.
The freehold on the Dreaming side of a rath usually appears

similar to its mundane aspect, yet there are startling differences.

Perhaps north is south here, or mirrors do not reverse images in the
usual manner. Banal objects disappear completely, while others are
barely visible but drift away like cobwebs in the breeze when
touched. The air seems crisper, and colors are more bold. Minor

chimera are ubiquitous in the Dreaming aspect of most freeholds.

Attracted to freeholds like fish to a coral reef, most are mindless and

do little to endanger the freehold or its inhabitants. More daring

Changeling: The DReaming

chimera may use the rath to jump between realms, though they
must have the Rede Traverse Dreaming to do so. Homesteads (see
below) are freeholds that exist wholly in one Dreamrealm, and they
have no raths that lead to another realm.

a rath varies greatly, depending on the circumstances. The sidhe are

more adept at traveling the Dreaming than other kith, and their
difficulties to open raths are reduced by two. The changeling who

A freehold is more "static" than the Dreaming that it connects

to or surrounds it. Thus, a freehold situated between the Near and Far

owns the freehold has a difficulty of 5 and requires only one success.
She may then enter the freehold's Dreaming aspect on the other side
of the rath, taking any other changelings (or even enchanted hu-

Dreaming has two aspects. The Far Dreaming aspect is less "mundane" than the freehold's Near Dreaming aspect, but still more stable

mans) with her. Any changeling with the appropriate Art and Realm
may attempt to use another changeling's rath, but the attempt is

than the rest of the Far Dreaming. If a changeling leaves the

immediate vicinity of this island of stability and enters the Dreaming,
she may become lost quickly and may never find her way back to the
human world (Intelligence + Dream Lore roll to find her way,
difficulty increases with distance from the freehold), unless she travels
by way of an established trod. Few changelings dare to wander more
than a few city blocks from their freeholds in the Dreaming. Only
changelings with Dream Lore may navigate the Dreaming reliably.

challenging (difficulty 7, two successes needed). Some changelings

use their Arts to make their raths inhospitable to uninvited guests.

Opening a Rarh

be creator must light a torch from another freehold's balefire and

CReorion of a pReehold
Creating a freehold in the mundane world is not a simple
matter, though not impossible. One must find a place with a certain
amount of natural Glamour. Such locations are rare, and usually

discovered only by luck or chance. Indeed, some Kithain spend

years searching for one. With the location determined, the would-

Raths are usually easier to open than trods are (see below), bear it to the newly established haven. She must light a new fire
though this is not always the case. To open a rath, a character must with this torch, investing a certain amount of her Glamour.
possess the Wayfare (Portal Passage) Art and the Fae
This fire becomes the balefire for the new freehold. The
(Manifold Chimera) Realm. The number of successes needed to open amount of Glamour invested determines the freehold's level (never

Types of pReeholds
GladeGlades are sylvan glens, typically located deep in a forest. Changelings favor glades as sites for many of their festivals. Unlike
most freeholds, glades are naturally occurring wellsprings of Glamour. Glades have a sacred stone instead of a balefire as their heart.
Hearth A faerie tavern, bar or coffee house, usually with a back-alley entrance. Many speakeasies from the 1920s are now hearths.
All changelings are welcome, as long as they have something to trade.
;
;
.
:

Lodge Cottages, houses and mansions, collectively considered lodges, can be freeholds. Lodges are typically the strongholds;of
nobles, who spend much of their time in residence.

Manor A manor is a small faerie glen surrounding a cabin or other building, and is usually located in the wilderness.
Eyrie Eyries are high mountain freeholds, and are typically the refuges of outcasts.
Grotto Grottos are often overgrown sylvan glades or abandoned mines. Sluagh and nockers often gather in such out-of-the-way
freeholds, though others use them as well.
;
Faerie RingA very small glen found deep in the forest. These naturally occurring freeholds grow increasingly rare as the wild places
of the world dwindle.
. ' : :
;' .-',:,.
Isle These enchanted islands are rarely on maps or sullied by mortal feet. Isles are private refuges, and are among the most
prized freeholds.

Thorpe Thorpes are faerie towns. They are rare these days. One of the most famous is a mining ghost town known as Mother Lode,
located somewhere in Nevada, while Ireland boasts the village of Glenlea.

Urban Only the hardiest Kithain dare to live in the World of Darkness' choking urban sprawls. Banality is at its highest here, and
untainted Glamour is scarce. These freeholds are on the edge of the coming Winter.
::
Market Faerie markets are places, often freeholds, where changelings come to buy, sell and trade strange treasures from a thousand
realms. These places often share space with human markets covertly, though some may exist wholly in the Dreaming. A human may
purchase a piece of faerie craft "accidentally" on occasion. Such transactions may be lucky or disastrous for the unwary human. :
Lost One Freehold Most sidhe left Earth for Arcadia during the Shattering and stayed away for over 600 years. Some stayed

behind, however, immersing themselves in their freeholds. These freeholds are rich in Glamour, but dangerous because of their Bedlaminspiring qualities.

. : ' : . : : : , ; v..,; . . ; . . .

Homestead Homesteads are freeholds that are wholly in the Dreaming, yet without access to a rath. They do not have the dual nature
of most freeholds; their prime virtue is stability. The Kithain build homesteads to withstand the rigors of the Dreaming. Homesteaders are few,
but fiercely independent. Some changelings from every kith set up homesteads (even small villages) in the Near Dreaming. There is currently
some tension between long-term homesteaders and changelings who entered the Dreaming after the Resurgence.

Nunnehi Freeholds Nunnehi freeholds are inherently different from any other kind, and are misunderstood by European fae.
Severed from the Higher Hunting Grounds (their aspect of the Dreaming), Nunnehi freeholds may nevertheless have access to the "Upper"
and "Lower" Worlds. They share many characteristics of werewolf caerns and mage nodes; some Nunnehi find themselves in conflict with

Garou or mages who covet their freeholds for their spiritual energies. Nunnehi freeholds vary widely in appearance, and conform to the
cultural conventions of the local tribe.

ChapreR Seven: QlamouR Sysrems

225

over five). The player subtracts the points from his character's
Glamour rating permanently, unless he bought the freehold with
the Holdings Background during character creation. Sometimes
several changelings may hold a freehold, going so far as to use a
common balefire. (The difficulties to resist Banality are reduced by
one for shared freeholds.) Each can withdraw what she initially

his permanent Glamour rating. Glades function slightly differently;

the first person to dream within the glade in a night is the one who
gains Glamour. Changelings rarely share glades.

invested in the freehold. Thus a changeling who invested three

the owner or does not have permission, through Reaving. It risks

points of Glamour draws from the freehold at a higher level than the
changeling who invested one point does.
Creating freeholds in the Deep Dreaming is far more complex
and requires special Arts known only to a few.

causing permanent damage to a freehold, though. The owner may also

Reave his own freehold in an attempt to gain more than the daily
allowance of Glamour. To do this, the character stands in the
presence of the balefire or sacred stone and wills the Glamour to come
forth. The player rolls the character's Banality rating (difficulty 7).
The number of successes determines the amount of Glamour gained.
If this number is higher than the level of the freehold, the character
still gains that amount of Glamour. The freehold loses one level for
every two successes over its rating. Most changeling rulers (Seelie and
Unseelie) have outlawed Reaving; destroying a freehold is one of the
most horrible crimes a Kithain can commit.

OiuneRship of a pReehold
A changeling may acquire a freehold in one of four ways. She
may create the freehold, gain it as a gift or inheritance, discover it by
chance or as the result of a quest, or she may steal it from another
changeling. If the character discovers or inherits a pre-existing
freehold or glade, she must swear an oath to protect it if she wishes to

Reaving
It is possible to gain Glamour from a freehold, even if one is not

stake her claim. The character must also invest an amount of

temporary Glamour equal to the level of the freehold. If something
destroys a changeling's freehold, the owner gains a number of temporary Banality points equal to the level of the freehold. If she created

While freeholds are often created (and hence artificial sources

of Glamour), glades are naturally occurring wellsprings. They are

the freehold, she also regains any Glamour that she invested.
Changeling tradition holds that once a changeling claims a
freehold, no other may claim it until the owner's death unless he
chooses to give it away. The full force of the Dreaming backs this
law, making "claim jumping" rare. There are exceptions, though.

extremely rare and, when discovered, become carefully guarded

secrets. A glade has a sacred stone, which is similar to a freehold's
balefire. Sacred stones can take many forms. Some are tall standing
stones left as chimerical glacial till, while others are sacred gems or
smooth stones rounded by mountain streams. They may sit in a

A noble with a pennon treasure (a count or higher-ranking

lord) can use it to take a freehold against a commoner's will, though

place of high honor or rest unnoticed by a tree root. Regardless of

she must invoke a formal fior to do so. A "neutral" noble, mutually

agreed upon by the contestants, chooses and administers the fior. If

the commoner refuses the fior, the freehold becomes the legal and
mystical property of the noble and it responds to only her commands. The returning sidhe used this age-old power to take over a
number of commoner freeholds, but this practice has slowed considerably since the Treaty of Concord. Nobles who use this power
too freely are understandably unpopular among commoners, and
occasionally meet nasty ends.
If a changeling becomes Undone by Banality, his freehold's
balefire gains a bluish tint and the freehold "dries up" at the rate of

one Glamour point per year. If the changeling's Undoing is temporary, the owner may rekindle her freehold by spending a temporary
point of Glamour. Another changeling may claim an "abandoned"
freehold on the basis that it is better to rescue a freehold than to lose

Qades

its form, the stone is the source of a glade's power. Removing or

destroying a sacred stone strips a glade of its magical energies.
Nunnehi still control most natural glades, but many European fae
covet them. This has lead to numerous fights over the years.

TROC!S
If Glamour is the Dreaming's life-blood, then trods are the
arteries through which Glamour flows. Trods are the fae's nearest
connection to the Dreaming and Arcadia beyond. They are also
power. The sidhe realized this during the Resurgence, and rushed to
reclaim most of the recently re-opened trods. Those who control the

trods have considerable control over Kithain society. Changelings

may move troops and secret missives through them in times of war.
They are ideal trade routes and vital connections to the Dreaming in
times of peace. Most trods closed during the centuries of the Interreg-

it to Banality. Seelie tradition dictates that the original owner has

the truest claim to her freehold, and that a new owner should return
the freehold without protest. The original owner typically thanks
the freehold's "caretaker" with a small gift for protecting the
freehold while she was away. Unseelie tradition holds more to a

num, but reopened spectacularly with the sidhe's return.

When a changeling enters a trod, she disappears from the
mundane world. Trods may lead to a number of places. Most follow
a path leading from one earthly location, through the Near Dream-

tradition of ownership by the strong; a changeling who becomes

Undone is obviously unfit to maintain a freehold. A returning

within the Dreaming. Time and location shift constantly in the

changeling must often invoke a fior to regain her lost property.

ing, most commoners are not adept at traveling through it. Few
Earth-bound changelings used trods, but now travel them in grow-

Qaining QlamouR
he can grant this power to another as a favor instead. To obtain
Glamour from a freehold, the character must sleep and dream in the

ing numbers. (This is especially true of the sidhe and eshu.)

Few changelings live directly in the Dreaming due to its
hostility and restless nature. Those who leave the safety of a trod's
Silver Path (see below) risk becoming lost forever in a constantly

balefire's light, or near the secret stone of a glade. Upon awakening,

he recovers a number of Glamour equal to the amount he initially

shifting wilderness, with only monstrous chimera for companionship. However, some changelings manage to set up homesteads

invested. Of course, the changeling may never gain Glamour above

along trods, in the Dreaming. These are scattered throughout the

The owner of a freehold may use it to renew his Glamour, though

226

Changeling: The DReaming

ing, to another earthly location. Others end at specific locations

Dreaming. After over 600 years of being severed from the Dream-

Near Dreaming, providing shelter to those who travel these roads.

Travelers may travel both ways on trods, and may reverse

direction in mid-journey when they choose to. A trod's physical
appearance varies greatly, depending on its nature and on the Dreaming that surrounds it. Some have openings in the mundane world,
while others thread only through the Dreaming. Trods may intersect
each other, though a traveler must open the new trod to change paths.

The SilveR Path

The Silver Path is literally that, a path that leads from one end
of a trod to the other. Its physical form varies from trod to trod,
depending on the type of trod it runs, but it always has a slight silver
cast to it. If travelers on a trod do not deviate from the Silver Path, they
greatly increase their chances of reaching their destination unharmed. The Silver Path not only acts as a guide, but as a protector as
well. Chimerical monsters must expend Glamour to attack those on
the path. The difficulties of all chimerical attacks staged on travelers
of a Silver Path increase by one to three, depending on the path's
strength in the area. Some crafty chimera try to trick unwary changelings from the path, and many have gotten quite good at it. (Chimera
may use trods that are protected by the Silver Path, but only if they
travel under a changeling's protection.)
No one knows the Silver Path's true nature, though it was clearly
a creation of the changelings' progenitors, the Tuatha de Danaan.
The Silver Path protects most Near Dreaming trods, though there are
long stretches where it fades or disappears completely. The path fell
into disrepair after the sidhe left during the Shattering, and many
maps of trods and paths were lost. High King David and other
monarchs have made it a priority to strengthen the Silver Path, but
no one knows how to do it. Many changelings seek this secret.

Opening a TROC!
To open a trod, a character must possess the Wayfare
(Portal Passage) Art and the Fae (Dweomer of Glamour)
Realm. Eshu and sidhe are particularly adept at traveling trods, and
gain an extra die to their Dice Pools when opening them. The
number of successes needed to open a given trod varies greatly,
depending on the circumstances. If all the conditions for opening
a trod have been met proper season, riddle answered, sacrifices
made only one success is necessary. If a changeling fails to meet
these conditions, she may need as many as 10 successes.

The Passage oF Time

Time does not flow in a trod as it does in the mundane world. A
great deal of time may pass for a changeling on the trod, while almost
none has passed in the mundane world. A journey's duration on the
trod is often, though not always, a close approximation of the time it
would take to traverse the distance in the mortal world. (A changeling who flies along a sun or moon trod in his chimerical balloon will

have a faster journey than one who chooses to walk to the same
destination along a land trod.) In the mundane world, however, both
arrive at approximately the same time. A changeling may enter a trod
inNew York and exit in Paris with only a few minutes or even seconds
passing in the mundane world. While this can be very useful if a
changeling is in a hurry, the difficulty and risks of traveling a trod may
not be worth the savings in time. If a changeling is not in a hurry, she

Types oF TROC!S
Trods vary as vastly as the Dreaming itself does. Most
in the Near Dreaming are recognizable as paths of some sort,
but are more esoteric in the farther Dreamrealms. Land and
water trods are the most common.
Land: Land trods may be anything from a wide super-

highway to a narrow path along a precipice. They may pass

through idyllic faerie towns, by literally burning deserts or
through forests of mists and moaning trees. A changeling
may walk, ride or drive along these trods; mode of travel is
limited only by terrain.
Water: These trods may be small as a mountain stream
or as vast as a thousand oceans. Due of the lack of recogniz-

able landmarks, travelers on this type of trod must rely on

charts and other navigational treasures to travel these
watery paths safely.

Sun: Sun trods are sky trods that are open during the
day. Only those changelings who can fly (even in a balloon)
may travel these ethereal highways. Sun trods may appear as
shafts of focused sunlight or as paths along sun-lit clouds. A
changeling traveling a sun trod must find a moon trod to
continue his journey after dark.

Moon: Moon trods are sky trods that are open only
at night. Only those changelings who can fly may travel
these lunar phantom trails. Moon trods may appear as

dust motes dancing in shafts of pale moonlight or as paths

along night-sky clouds.
Cursed; Cursed trods have been corrupted by some
means. Perhaps a powerful chimera, changeling brigands
or a wicked monarch has taken up residence beside it, and

kills all who travel it. Banality may block or sever some
trods, trapping travelers in gray pitfalls where their Arts
are of little use. These areas of the Dreaming are often
home to feral chimera and other monstrosities. Any type
of trod may become cursed.
Chimerical: Chimerical trods are far too ethereal for
material creatures such as the fae to travel, but chimera
have little trouble using these Glamour-rich roads. Some

arcane Arts may allow changelings entry to these alien

trods. Such paths are extraordinarily dangerous, even to
the most potent Kithain. The Silver Path does not
extend into these trods.

Nightmare: The Nightmare Realms fester in the Deep

Dreaming like an insatiable cancer. Dark and twisted trods
spiral from them, touching almost every other part of the
Dreaming. Malignant chimera and even darker creatures
travel these fearsome roads. Some Unseelie changelings use
these trods on secret errands, but these paths are dangerous
even to them. The Silver Path exists along some of these
trods. Most believe the Tuatha de Danaan built the path

there during their wars in the Nightmare Realms. In recent

decades, these trods have disgorged increasing numbers of
malign chimera into the Near Dreaming and the mundane

may take a scheduled airliner like everyone else.

ChapteR Seven: QlamouR Sysrems

227

In well-devised battftain
They march amid blue spears,
Pale-visaged, curly-headed bands.
They scatter the battalions of the foe,

They ravage every land they attack,

Splendidly they march to combat,
A swift, distinguished, avenging host!
Kuno Meyer (trans. from Irish), The Hosts of Faery

This chapter presents guidelines for handling the dramatic

elements of a Changeling chronicle when story and system
converge, and sometimes conflict. The rules presented here are
as much for the players as for the Storyteller. These systems add
flavor and continuity to a chronicle they are the link the
players have to the reality the Storyteller is weaving. A Storyteller who arbitrarily changes the rules on the players risks
pulling the "rug" of reality out from under them.
However, the story cannot be dictated by mere rules systems. Try these systems, but if they don't work for your chronicle,
adapt them or create your own. As always, our advice for the

she waits for her turn to come again. To keep things moving,
and to give everyone an opportunity to act, all action turns

consist of four stages.

DescRi&ing rhe Scene

Before the characters can act, the players must have a
detailed description of their surroundings. Good descriptions,
updated as the turns flow, prevent confusion and give the
characters options beyond Dice Pools and dots. Springing
surprises on the characters ("Didn't I mention there was an
antique blunderbuss on the wall behind him?") or not giving

Storyteller is to err on the side of the story.

them enough information about a scene is a recipe for chaos.

Acrion Scenes

The characters should always know where they are in relation

to each other and anything else of importance.

During scenes of combat and derring-do, time is broken

into turns because the effects of the characters' actions can be
critical in determining what comes next.

ORgonuing an Action
Action turns are a mixture of brief moments of tension
when a player gets to act, and long sessions of boredom while

Iniriarive Srage
Once the players understand where their characters are,
they may want to do things. However, everyone can't shout
out at once what they're going to do again, the makings for
chaos. One way to decide the order that players go in is to roll
initiative. Each player makes a Wits + Alertness roll (difficulty 4). The person with the least successes acts first. Those

ChapreR Gighr: DRamaric Sysrems

229

players with more successes may interrupt this with their own
characters' actions.
If the characters are not in a combat situation, any convenient way may be used to decide who acts first, perhaps just going
around the table.

Decision Sragc
This is when all the characters, including those played by
the Storyteller, make their moves, with the player with the least
amount of successes going first. By working things this way,
those players with higher initiatives (those characters who are
thinking faster this turn) have the advantage of seeing what's
going on around them and reacting more quickly as well.
As the players describe their actions, the Storyteller
decides how she wants their actions to be resolved what

rolls are necessary, difficulty numbers, the number of successes necessary, etc.

Resolution Srage
At this point the players begin making rolls, and the
conflicting intents get resolved. The players roll their dice and
see what Lady Luck has brought them.

By the end of this stage, the rolls need to be interpreted into

plot, action and consequence. Try to stay away from number
chatter: "You get three 8s the chimerical serpent's lost his last
two Health Levels." This is a storytelling game, after all, and
stories are about action and reaction, not numbers: "Your dagger

slides under the serpent's emerald scales and into the cold meat
beneath. Green ichor spills over your hands as the creature
thrashes in death throes, finally collapsing at your feet."

Taking Actions
There are two basic actions a character can take without
the need for rolls:

Yielding: The character allows the person with next highest initiative to perform his action, thereby yielding her turn.

She can still take her action at the end of the turn or may
interupt a character with a lower initiative at any time.
Moving: The character may move by walking, jogging or
running. If she walks, she may move seven yards. If she jogs, she
may move 12 yards + Dexterity. If she runs, she may move 20
yards + (3 x Dexterity).
Movement does not have to be rolled for if it is the only
action allowed to the character during a turn. In some situations, however, it can be hazardous to jog or run, and the
character might need to make a Dexterity roll to maintain her
balance. It's also best to dodge if the character is running from

a conflict or encounter, so splitting the character's Dice Pool

will be necessary.
Most actions in an action turn require rolls to succeed.
Don't forget the automatic success rule, though.

Attack: A character may decide to fire his weapon or

strike someone. The player rolls Dexterity + the appropriate combat skill.

230

Changeling: The DReaming

Climb: This action requires a Dexterity + Athletics roll.

Dodge: Dodging not only allows a character to avoid
damage, but to avoid an attack altogether.
Get to Feet: It takes a turn to get up from the ground
without the need for a roll. If a character wants to get to her feet
and still take other actions, the player can take dice from her
announced action and attempt to score at least one success on
a Dexterity + Athletics roll (difficulty at least 4).
Leadership: A character may give commands to followers

by making an appropriate Charisma (or Manipulation) +

Leadership roll.
Reload Gun: Reloading a gun in a turn takes a single action
as long as the character has a preloaded clip. Revolvers take a
complete turn to completely reload, no matter how many
actions a character has.
Research: A character may try to locate vital information
in a book. Research generally employs the Investigation Ability.
Though this would likely take longer than three seconds, you
may wish to suspend reality a bit for dramatic purposes.
Start a Car: The action doesn't require a roll at all unless
the character is hot-wiring the car.

Sneak up on Enemy: This action usually requires a

Dexterity + Stealth roll.

Unjam Gun: Make a Wits + Firearms roll (difficulty 7) to

unjam a gun in a single turn.

DRainaric Sysrans
This section includes a variety of suggested systems to

resolve actions, or, to put it simply, a bunch of ways to make rolls.

There are more examples of Physical dramatic systems than any
other kind; these actions are impossible to resolve purely through
roleplaying. Situations in which Social and Mental contests

come up can be roleplayed out without the use of dice.

Physical
These systems describe dramatic situations in which Physical Attributes come into play.

Clim6ing
When a character attempts to climb anything (a tree, cliff
or building), the player must roll the character's Dexterity +
Athletics. The difficulty depends on the type and sheerness of

the surface and, to a lesser extent, the weather conditions. Each

success indicates that the character has climbed five feet. Once

the player accumulates enough successes to get to where the

character wants to go, he can stop rolling.

For example, Bartolome the nocker is trying to climb a 25foot wall into his rivals' lab; five successes are needed to get to
the top. A failure indicates that Bartolome is unable to make any
progress during the turn. A botch indicates that he falls and

cannot attempt to climb again without expending a Willpower

point. Of course if he falls too far....

2
4
6
8
10

Easy climb: a tree with many stout branches.

Simple climb: a cliff with many handholds.
Straightforward: a tree with thin branches.
Treacherous: very few handholds.
Extremely difficult: a nearly sheer surface.

Fears oF SrRengrh
A character's Strength is often rolled alone, without an
Ability, when brute force is all that matters. If the character's
Strength equals or exceeds the difficulty of the task she is
attempting, she succeeds automatically. She need only roll if the
difficulty is higher than her Dice Pool.
When the player makes the roll, however, it is based on
Willpower, not Strength. This is a pretty simple roll, so she gets

only one chance to make it. The difficulty is almost always 9,

though it can vary according to the surface conditions, the
object being lifted and Storyteller whim. Each success pushes
the character's effective Strength up one step on the chart below
(to a maximum of 5). Thus, if the character has Strength 4, but
wants to flip over a car, she needs three successes on the
Willpower roll to do it.
Dice Pool Feats
Lift
1
Crush a beer can
40 Ibs.
2
Break a chair
100 Ibs.

3
4
5
6
7
8
9
10
11
12
13

14
15

Break down a wooden door

250 Ibs.

Break a 2" x 4"

Break open a metal fire door

400 Ibs.
650 Ibs.

Throw a motorcycle
Flip over a small car
Break a three-inch lead pipe
Punch through a cement wall
Rip open a steel drum
Punch through 1" sheet metal
Break a metal lamp post
Throw a car
Throw a van
Throw a truck

800 Ibs.
900 Ibs.
1000 Ibs.
1200 Ibs.
1500 Ibs.
2000 Ibs.
3000 Ibs.
4000 Ibs.
5000 Ibs.
6000 Ibs.

jumping

Type of Jump
Vertical (up)
Horizontal (across)

Feet per Success

2
4

PuRsuir
Use this simple system if one character is trying to catch
another. One opponent starts with a certain number of
successes; say two for every turn's worth of head start, or one
for every success on a Dexterity + Athletics roll (difficulty 6).
The pursuing character has to match or beat these successes

before he can catch up. Once he does, he can try to grapple

the fleeing person (see "Grapple," pg. 239). The pursuer
might only want to catch up halfway, just to get a better shot
at the fleeing character.

RepaiR
Sometimes you can't just take something to the garage to be
fixed; you have to do it yourself. When a character wishes to fix
any sort of mechanical implement, the player must roll Dexterity + Repair. The difficulty is determined by the complexity of
the task (see the chart below). Before the job is complete, the
player must roll a certain number of successes, usually between
two and 20. Each roll means that a certain amount of time passes
whatever the demands of the story require. A botch indicates
that the device is somehow damaged in the attempt.
Chimerical devices are usually twice as difficult to repair
outside a freehold or source of Glamour. Nocker-made devices
are notoriously hard for non-nockers to repair (+2 to difficulty).
Job
Difficulty
# of Successes
Simple mechanical repair
4
3
Soldering job
5
2
Electronic malfunction
5
5
Fitting in new part
6
10

Repair stalled car

Tough auto repair
System overhaul
Technical glitch

6
7
8
9

5
10
20
2

Shadoaiing

Jumping requires a Strength roll for a vertical or standing

broad jump, or a Strength + Athletics roll for a horizontal jump
with a decent running start. The difficulty for a jump is almost
always 3 (prohibitive weather conditions or a narrow landing
space may modifiy this). The Storyteller calculates how many
successes the character needs to make the jump. There are no
partial successes in jumping; the character either succeeds or
falls in one roll. A Storyteller may influence the difficulty based
on a changeling's form. A pooka who can turn into a jackrabbit
might make jump rolls at difficulty 2.
You can use the chart below, if necessary. The number

Sometimes a character will want to "shadow" someone

to follow him as discreetly as possible without being noticed.
A character can shadow someone on foot or in a vehicle; he
can try even if someone else, like a taxi driver, is driving:
"Follow that car carefully!"
The player in question makes a Perception + Stealth (or
possibly Streetwise) roll. The difficulty is normally 6, but can
vary from 5 to 9, depending on the thickness of a crowd or bad
weather conditions. Each success indicates that the target has
been followed for a turn. The Storyteller determines how many
successes are needed to follow the subject all the way to his
destination. The first failure indicates that the character has

of successes required is based on the number of feet that

must be jumped and whether the character is jumping
horizontally or vertically.

temporarily lost her subject, but can try to locate him again on
the following turn. A second failure means she has lost him
completely and the chase is off (unless she comes up with a new

ChapreR Gighr: DRamatic Syscems

231

approach). Should the player botch, the character not only loses
her subject, but she stumbles into some new problem of her own
a hostile street gang, foraging vampire, lost child.

signal. If the pair switches off, the subject cannot continue to

accumulate successes for very long, making it that much harder
to notice his pursuers.

If the subject looks to see if he is being followed (out of

habit, perhaps), roll his Perception + Investigation (or
Streetwise). The difficulty is the shadowing character's Stealth
rating + 5. Each success on this roll indicates a higher degree of
suspicion; however, the subject's succesesses are lowered by one
for each success earned by the shadower. Successes can be

on a guard, the player must roll Dexterity + Stealth. The

difficulty is the guard's Perception + Alertness. Anyone actively
looking for intruders can be considered a guard.

accumulated from turn to turn; see the chart below to see how

The player needs to collect a certain number of successes for

Sneaking
When a character attempts to hide in shadows or sneak up

aware the subject is that he is being followed. A failure in the the sneaking character to make it where she wants to go. A
target's roll means that he hasn't seen anything and relaxes his Perception + Stealth roll can be made if the player wants to
guard, dropping his suspicion to zero. If he botches, he's con- estimate how many successes will be needed for the Stealth roll
vinced he isn't being followed and no longer looks behind him. itself; the difficulty for this is usually 7.
Failure of any sort on a Stealth roll indicates detection.
Successes Suspicion

1
Hunch
2
Suspicion
3
Near-certainty
4
Positive knowledge
5
The shadower has been spotted
Buddy System: Two or more characters can shadow one
target by trading off. However, they must have worked or

trained together in this technique previously, or the difficulty

on all rolls for the pair is +1 higher. One character shadows for
a turn or more, then trades off whenever her partner gives the

232

Changeling: The DReaming

Srunr Droving
This system determines the outcome of nearly any type of
automobile chase or maneuver. Dice rolls are made not to see
how fast a driver can go, but to see if she stays on the road. Each
vehicle is rated for its maximum safe driving speed as well as its
maneuverability. One vehicle is not always as fast or maneuverable as another, so the details of the chase often depend on the
make of the vehicles (see the chart below).

A character can perform special maneuvers to catch or lose

another vehicle, such as spinning around a tight corner, doing

a 180 turn or wheeling about to block a road. Essentially, if one

character makes a special maneuver, the other character must
copy that maneuver through a similar roll.
The player rolls Dexterity (or perhaps Perception) + Drive;
I her Dice Pool cannot exceed the maneuverability rating of the
vehicle. Each maneuver is assigned a basic difficulty from 2 to 7,
and then the Storyteller decides the maximum sate speed that

I the maneuver can be perfomed at. If the vehicle is going over

f that speed, the difficulty is raised (by one for every additional
f 10 mph), or the character fails outright.
Cruise Speed: The vehicle's standard comfortable cruising speed.
Maximum Speed: The vehicle's maximum speed.
Maneuverability: The difficulty to perform a maneuver
when driving the vehicle at cruising speed.
Max Speed Maneuverability
Vehicle
Cruise Speed
6-wheel truck
60
90
3
Bus
100
3
50
18-wheeler
110
60
4
Sedan
120
70
5
Mini-van
120
6
70
Compact
70
130
6
Sporty compact
70
140
7
Sport coupe

Sports car
Formula One race car

100
100
140

150
170
240

8
9
10

Social
Social interactions are best handled by roleplaying; that's
half the fun of such things. When there isn't time to play out a
witty court repartee or an eight-hour jam session, or when a

player doesn't share her redcap character's street smarts or her

sidhe's smooth manners, these systems may come in handy.

CouRrly Griquerce
Roleplaying is essential to explore the nuances and stratagems of polite changeling and human society. The Storyteller
can use the Etiquette Skill to help a player learn the ways of court
and ballroom, to speed up a scene, or to judge the depth of a
character's skill at evaluating her peers.
If time is a constraint, the Storyteller may ask the player to
make a Perception + Etiquette roll to point out the subtleties of
others' actions. Characters may also be able to inflict subtle
unanswerable insults upon their foes at court with a Manipulation + Etiquette roll.
Successes Etiquette
1
A slight barb: "Ah, that's what they are wearing in
Newark!"
2
Can distinguish the old money from the new
pretenders
3
Spot the best court gossip at first glance

CRedi&iliuy
Use this system if a character attempts to convince someone she's telling the truth, such as persuading a jury that she's
not lying, or convincing a police officer of her identity. The
player makes a Manipulation + Leadership roll, with a difficulty of the other subject's Intelligence + Subterfuge. Lower
the difficulty by one to three if the character is telling the truth
(it does make a difference). Each success indicates a higher
degree of believability. The subject is completely convinced at
five successes. A failure indicates disbelief, and a botch means
the character is caught in a lie (or the subject thinks he has

caught her in a lie).

FacedoLun
This system comes in handy when two characters are
engaged in a duel of willpower and neither wants to be the first
to back down. No words are exchanged the opponents just
glare at one another. Sidhe do this sort of thing often, although

trolls can certainly give back as good as they get.

Both opponents roll Charisma + Intimidation; the difficulty is the opponent's Willpower. The one who accumulates
his opponent's Wits + 5 in successes first wins; the other one
looks away. A player can spend a Willpower point each turn to

avoid giving up until the characer runs out of Willpower.

Fosr-TalH
With this system, a character browbeats and bamboozles

someone into submission. The player usually rolls Manipulation + Subterfuge, though Charisma or Appearance could be
used with Expression, Intimidation or any number of
Knowledges, depending on the character's approach. The
difficulty is the target's Willpower. Success indicates that the

target becomes confused.

The target of the fast-talk can make a resisted Wits +
Streetwise roll. He can also expend Willpower points to resist
the effects of fast-talk. If the offending character fails his roll, his

attempt has faltered, and the target can try to explain himself or
even fast-talk back. This rebuttal continues until the target fails
or botches. A fast-talker's botch indicates that his target doesn't

get confused, only angry. Fast-talk attempts by that character

will never work on that particular target again.

Repeated rolls might be necessary to truly confuse

the target.

InrcRRogorion
Interrogation is a favorite tactic of the sidhe, sluagh and
redcaps. This system reflects a form of questioning, not torture,
though intimidation (a redcap specialty) is certainly employed.
You'll have to develop your own rules for torture if you wish to
include it in your chronicle.

The player makes a Manipulation + Intimidation roll; the

Insult master

difficulty is the victim's Willpower. The number of successes

indicates the amount of information obtained. A failure indicates that the character learns nothing of value. A botch

Dr. Samuel Johnson

indicates the subject tells the character nothing, and will

ChapreR Gighr: DRamaric Sysrems

233

never tell him anything or worse, the subject lies. To

conceal the truth, the Storyteller, not the player, should make
Interrogation rolls.
A victim's player may spend Willpower points to resist the
effects of interrogation, but the very best (or worst) interroga-

tors know they need only wait for their victims to overextend
themselves.
Successes
1
2

Interrogation
Only a few mumbled facts.
Some relevant facts.

Much interesting information.

The subject talks on and on.

Everything of import is revealed.

The number of successes rolled indicates how moved the

audience is.
Successes
1

Performance

Reaction

Mediocre

Polite applause

2
3
4
5
6

Average
Good
Superior
Exceptional

Approval

Superb

Ecstatic reaction
Immediate sensation

Brilliant

Miracle, magnum opus

Genuine appreciation

Vigorous applause

Seduction
Seductions are tricky; the seducer woos her target in stages,

from clever lines to intimacies. Not all seductions are sexual

ORarion
If a player wants her character to give a speech, but doesn't
want to actually perform it, you can use this system. To simulate
the speech, the player should describe what her character says
and maybe come up with a memorable phrase that she uses
that might even get the player started roleplaying the scene out.
The player makes a Charisma + Leadership roll. The mood
of the crowd, its willingness to hear what the orator says and its
penchant for throwing rotten vegetables determines the difficulty (usually 7). If the orator has any sort of reputation, it may
modify the difficulty accordingly. The number of successes
indicates how impressed the crowd is (see the following chart).
The player has only one attempt at the roll. A failure indicates
the crowd ignores the character. A botch gets the character
booed (or possibly even lynched).
Successes Crowd Reaction

They listen, but aren't excited,

2
3

The character convinces them somewhat.

The crowd is won over.

The crowd is completely enthralled.

5
The crowd is in the palm of the character's hand.
If the speech is vital to the story, the player may make
several rolls. If you want to spend some time on it, you can
make it an extended action, interspersing rolls with roleplaying.
The character can spend as many turns as she would like on the
speech, but the difficulty goes up by one each turn after the

they may range from intellectual diversions to changes of faith.

No matter the goal, a seducer uses false pretenses to gain some
form of intimacy with her quarry, who usually assumes that the
seducer's feelings are real.
A seduction occurs in stages, and unless the seducing
character succeeds at each stage, she will not be successful in
the long run. This system simulates misdirection; if the
seducer's emotions and motives are real, ignore the system
and roleplay it out. Even if you use the system, play it out
anyway it can be fun, and may make all the difference to
the characters' later relationship.
Some characters, depending on their Legacies, regain Willpower from successful seductions. This skill is a stock-in-trade of
the Shadow Court, who use it to sway others into corruption.
Whatever the goal, the seducer will gain something of value
from her target if everything goes as planned....
The following are the stages one needs to go through to
conduct a successful seduction. A roll is required at each of
these stages.
Opening Line: The player rolls Appearance + Subterfuge
(or another combination, if applicable Manipulation +
Subterfuge, Expression, Lore, etc.). The difficulty is the subject's

Wits + 3, although good roleplaying may adjust this for better or

worse. Each success after the first adds an extra die to the roll of
the next stage.
Witty exchange: The player rolls Wits + Subterfuge (difficulty
is the target's Intelligence + 3). Give bonuses and
third. It might take more than five successes to completely win
penalties
for roleplaying. Each additional success adds an extra
the crowd over.
die to the roll of the next stage.
PeRFoRmonce
Conversation: The player rolls Charisma + Empathy
(difficulty
is Perception + 3). Again, add roleplaying bonuses
This system is used whenever a character gives any type of
if
they
are
merited.
performance, whether it is comedy, music, acting or storytelling.
It can be on a stage or in a nightclub, formal or informal.
Intimacies: At this point the couple moves on to activities
The player rolls Attribute + Expression (or Subterfuge, best left without systems. If the seducer is trying to convert her
Etiquette or some other performance-oriented Trait). The dif- target change his beliefs, swing his support from one person
ficulty is based on how receptive the audience is, according to to another, talk him into some undesirable activity or to reveal
the Storyteller. A failure indicates a lackluster, forgettable a secret her successes show how thorough a job she does, as
performance. A botch indicates a miserable performance that determined by the Storyteller.

cannot even be finished the dancer trips or the musician

breaks his instrument.

234

Chantjelintj: The DReaming

OOenral

or gossip they may need to proceed. A sluagh detective may have

to investigate matters in a library, bar, newspaper office and

Mental tasks often lend themselves to "downtime" scenes

between the Storyteller and one of her players. Encourage the
players to be detailed in describing their characters' efforts,
whether it is an eshu scholar prowling the restricted stacks of a

computer archive in order to obtain the information he needs.

university library, or a boggan bartender offering her interpreta-

tion of another character's dreams.

DReam InreRpRerarion
Most Kithain believe dreams reveal important informa-

tion. Unfortunately, it is often shrouded in mysterious symbolism and obscure references. Thus it is very difficult for a
changeling to decipher his dreams.
The Storyteller must first craft the dream sequence, perhaps even roleplay it though with the player. It should be replete
with bizarre occurrences and mythological symbols that relate
to the character's concerns. The character may attempt to
explain his dream, with a Perception + Enigmas roll tacked on

(difficulty 7). For each success rolled, the Storyteller may

correct one of the player's misconceptions. Other characters
may try to interpret the same dream, but the difficulty will be
higher, depending on how well they know the dreamer.

Research
Information is an important commodity. In many stories,
research is the only way for the characters to uncover clues, lore

General research is a great way to let a character with high

Intelligence show off, while back-alley or ballroom research
allows a streetwise character to do what he does best.
For general research, the player rolls Intelligence + Research (or an appropriate Knowledge, like Computers or Investigation, after a place to research has been found). Street or
social research goes on in the appropriate places bars, jails,

costume balls, social events. A character gathers this kind of

information by seeking out people who might know the answers
he wants and asking the right questions. While such research
may involve Social interactions (see "Seduction"), the charac-

ter uses his wits more than his looks. With a little luck, his
Intelligence + Streetwise, Etiquette, Investigation or Subter-

fuge will usually get him what he needs to know.

Research difficulty is based upon the obscurity of the
information:
Difficulty
Accessibility of Information
2
Generally available
4
Widely documented
6
Accessible
8
Difficult to find
10
Incredibly well-concealed

ChapreR Gighc: DRamaric Sysrerns

235

The number of successes rolled determines how much the

character discovers. One success might mean that he uncovers
the most obvious facts, while five successes might mean that he
learns the full (and maybe truthful) story. Depending on the

precise information the character seeks, 10 or 20 successes

might be required to find all the available data.
The player might want his character to continue his research
after only partial success. Continued research, however, takes
longer than the initial search. Basic research usually takes only an
hour that's the first roll. More in-depth research (and a second
roll) takes one complete day. If the player wants a third roll, further
research takes a week; a fourth roll takes a month, a fifth roll takes
a year. After that, use your imagination. It's easy to see how some
research projects can take years or even decades to complete.

SeaRch
This system enables a character to search for something in
a confined area, like a room. Have the player roll Perception +
Investigation; the difficulty depends on how well-concealed the

object is (usually between 7 and 10). Each success indicates

more is found. Sometimes a certain number of successes are
required to find something hidden well. A lower number of

successes could warrant a hint or clue from the Storyteller about

where to look, thus encouraging roleplaying and a degree of

puzzle-solving. The player should go through the search step-bystep as much as possible, describing where she looks to the
Storyteller. If the player's search is going down the wrong trail,

then the character can't find the object in question. The

Storyteller may let the player succeed automatically if her

description is detailed enough.

Changelings can often track people and things by following

their physical trails. A player rolls Perception + Survival (or
Investigation in the city tracks are rarely left on sidewalks and
pavement, but people leave other impressions on their surroundings). The difficulty is based on weather conditions, terrain and the

age of the tracks, but averages around 8. Each success beyond the
first lowers the difficulty of the next roll by one.

The character needs to succeed for a certain number of

turns; the exact number depends on the length of the trail, as
determined by the Storyteller. Each turn is considered about
five minutes long when tracking. If the player misses a roll, the
character can try again; this time, however, the difficulty is +1

higher. Once it goes above 10, the character loses the trail. If the
trail is Isot, the character must start over from scratch.

CoTn6ar
There are three basic types of combat: firefight, melee and
brawl. Each uses the same basic system, yet they have some
minor differences.

A firefight is any type of armed combat using projectile

weapons, things like crossbows and sawed-off shotguns. Opponents normally need to be within sight of each other in order to
engage in a firefight.

236

Changeling: The DReaming

 Melee refers to fighting with hand weapons anything from broken bottles to chimerical swords. Opponents
need to be within one or two yards of each other in order to

This stage organizes the turn. The players declare their

characters' actions leaping behind a wall, shouting a warning,
swinging a sledgehammer, whatever. Each player, in turn, must

Any time a character is attacked, he has the option of

dodging. In fact, a player may announce at any time that her
character is using an action (or part of it, by dividing her Dice
Pool) to dodge, simply by declaring "Dodge!" before the opponent makes an attack roll. A dodge may not be allowed in some
cases, such as in confined quarters or when the character has
been surprised. The required roll is Dexterity + Dodge; each
success subtracts one success from the attacker's roll.
The difficulty to dodge melee or brawling attacks is a base
6, +1 for every opponent after the first.
In firefights, the difficulty depends on the availability of

describe what his character is doing and with what, in as much

nearby cover. Each success removes one of the opponent's

detail as the Storyteller requires.

successes. A character can even take away successes from

engage in melee.

A brawl describes a hand-to-hand battle fought with bare

hands unarmed combat. Opponents need to be within
touching distance to engage in a brawl.

Stage One: Initiative

Players make initiative rolls using Wits + Alertness (dif-

different opponents, though this means splitting successes be-

ficulty 4). Everyone takes their actions in descending order of

successes the character with the least successes goes first.
For simplicity, Storytellers may call for initiative only once per
fight scene and use that order for the whole battle. Those who
botch go last something disastrous happens at the beginning of the fight which slows them for the whole scene
though they can still act.
Players must declare their characters' actions before going
to the Attack Stage. A player splitting her Dice Pool (e.g., for
her character to dodge and attack) must also declare how many
dice to allocate to each action. The only action a character may
take out of turn is a dodge, which she can perform at any time
as long as she has dice left in her pool. Keeping a die or two in
reserve is always a good idea.
Optionally, during melee combat, the Storyteller may
choose to grant initiative to the participant with the greatest
reach. The size and shape of melee weapons greatly influences
their usefulness. Alternately, a person with a spear is not going
to win initiative against a foe with a knife during a fight in a

tween them. After such an attempt, the character usually ends

up behind some sort of cover or, at the very least, lying on the
ground (if there was no cover to be found).
Difficulty
Terrain

thicket. Use common sense.

Stage laio: Attack

The attack is the meat of the combat turn. It's where success
or failure are determined, as well as any impact on the targets.

The Roll: There are three different types of attack rolls; the
type of combat determines which one to use.
For firefights, roll Dexterity + Firearms or Dexterity + Archery
For melee (with weapons) combat, roll Dexterity + Melee.

For hand-to-hand (without weapons) combat, roll Dexterity + Brawl,

The weapon or attack determines the base difficulty of the
attacker's roll. The number of dice might be modified by a gun's
rate of fire or the use of a scope.
If the player does not gain any successes, the character has
failed his attack, and no damage is inflicted. If the player rolls a

By moving back half a step, the character is back

under full cover.

Full cover within diving distance (one yard).

6
7

Full cover within running distance (three yards).

Partial cover within running distance (threeyards).

Flat and featureless, no cover (the character dives

to the ground).

Stage ThRee: Resolution

In this stage, players determine the damage inflicted by
their attacks and the Storyteller describes what occurs in the
turn. It's a mixture of game and story; though the dice never lie,
the Storyteller must interpret what luck has decreed.
Damage: Each weapon or attack allows the wielder to roll

a certain number of damage dice (difficulty 6). Each success

removes one Health Level from the target. Additionally, each
success scored on the attack roll with a firearm (after any dodge)

adds one die to this damage roll. Melee and brawling successes
do not add to damage rolls.
Soak: A target may make a roll to see how much damage she

"soaks up" because of her natural hardiness. The target rolls

Stamina (difficulty 6); each success reduces the damage by one.
Exception: Damage and soak rolls are two rolls in Change'
ling that cannot be botched.

Complications
A number of factors determine whether an attack hits or

not. Smart combatants head for cover as soon as bullets and bolts
start flying. Others find that ganging up on one foe in a brawl
never hurts. The following modifiers delineate many of the

variables that affect combat (see also the chart on pg. 250)

botch, the attack fails and something nasty happens as well.

ChapteR Gighr: DRamaric Sysrems

237

QeneRal Complications

exposed. Though cover protects, it can also hamper return fire,

Changing Actions: If a character changes her declared

action after the turn has started, the difficulty for the new action
increases by one. Generally, the Storyteller should allow the
character to change her declared action only if events have

and in some rare instances it can completely prevent any return

fire. Ducking out from around a corner to shoot may increase the
difficulty by one, while watching a shoot-out through the cracks

made it impossible to perform. "Yes, I know I said my character

would jump onto the bicycle seat, but that redcap just ate it!"
Immobilization: If a target is immobilized (e.g., held
down by someone), but still struggles, the difficulty for attack

rolls against the target is lowered by two. However, if the target

is completely immobilized (e.g., is tied up), no roll is required to

hit and the attack succeeds automatically.

FiRefighr Complications
Range: Getting close to one's foe is a good idea if a character
doesn't mind taking a few shots in return. The range given on the
Firearms Chart or the Range Weapons Chart is a weapon's

medium range. The character receives no modifier for shooting at

this range. Twice that range is the farthest the weapon can shoot.
The difficulties of shots within this range increased by one. On the
other hand, shots made at targets within a yard of the attacker are
considered "point-blank"; the difficulty of a point-blank shot is 4 Cover: Intelligent characters use cover to protect themselves from enemy fire. Cover increases the difficulty of an

attack, depending on how much of the character's body is still

238

Changeling: The DReaming

in a battered wall prevents a character from firing back at all.

Cover
Difficulty
Lying flat
+1
Behind pole
+2
Behind wall
+3
Only head exposed
+4
Movement: Shooting at a moving target increases the
difficulty by one (or even more), as does shooting while moving
at any speed faster than a walk (such as firing out the window of
a speeding car).
Aiming: A character may add her Perception rating to
her Dexterity + Firearms Dice Pool if she spends time aiming.
However, it takes one turn for each die added, and during this
time the character can do nothing but aim it takes time and
patience. Additionally, the target may not be moving at a speed

faster than a walk. Shotguns and SMGs cannot be aimed.

If the gun has a scope, the character may add two dice to her
pool in addition to the dice added for Perception. The scope

bonus can only be used once per shot after the initial three

dice added in the first turn (two for the scope and one for
Perception), the character continues aiming as outlined above.

 Targeting: Aiming for a specific location (gun hand, the

heart) increases the difficulty of the shot by two, but if the

If the attack succeeds, the opponent is thrown off balance,

and the difficulties for the rest of her actions for this turn are

changeling hits an unarmored spot the victim does not get the

increased by two. Also, if the opponent does not succeed in a

benefit of the armor's soak dice.

Dexterity + Athletics roll (difficulty of the successes + 3), she

Multiple Shots: If a character wants to take more than one

shot in a turn, he must divide his Dice Pool into two or more
actions. Also, for every additional shot after the first, the difficulty
increases by one; 10 is the maximum difficulty. A character can

falls to the ground. The base damage done by the attacker equals
his Strength; each success scored on the attack roll above the
minimum adds one to this base. If the attacker does not roll at

only take as many shots as allowed by the rate of the firearm.

and is treated as though he had no dice left in his pool.

least three successes, this maneuver fails; he falls to the ground

The multiple shot penalty is cumulative. Thus a character

Flank and Rear Attacks: The difficulty of a flank attack

adds two to her difficulty on the third shot and three on the
fourth. It is not usually wise to snap shots off blindly; the recoil
always catches up with the gunman. It is permissible to fire two
or more three-round bursts in a single turn using these rules.
Full-Auto: The full-auto option is the most damaging
attack a firearm can make, as the attacker unloads the full
contents of a gun's ammunition clip within a very short time

is lowered by one, while that of a rear attack is lowered by two.

Grapple: An attacker can try to grab a foe, hoping to

span. However, the gun becomes a bucking bronco, difficult to

control and even harder to aim.

A character gets 10 additional dice to roll on the attack,
thus increasing the chance to hit and cause damage. However,
the difficulty goes up two from the recoil.

Full-auto fire can only be done when a weapon has more

than half its clip remaining. Whenever a character uses the fullauto option, he uses up the entire clip of the weapon. Reloading
takes one full action and requires the character's full concentra-

tion (and Dice Pool). A character can only fire on full-auto once
per turn (and must reload to do it again).
Three-Round Burst: The semi-auto option is the middle
ground between the full-auto and the single-shot options, and
has some of the strengths and weaknesses of both. A burst gives
the attacker three additional dice on the attack roll. However,
the recoil increases the difficulty by one.
Spray: When using full-auto, a gunman can decide to

spray across an area instead of focusing on one foe. A spray uses

the extra 10 dice given by full-auto fire, but the attack has a base
difficulty of 5, increased by one for every yard covered by the
spray, in addition to other modifiers.
The player divides any successes gained on the attack roll

immobilize and subsequently crush him. If the attacker scores

more successes than the opponent's Strength, the attacker

pins the target. She can begin to inflict harm in the next
round. Any character struck by this attack loses his attacks for

the current turn. If the attacker misses altogether (by failing

the Dexterity + Brawl roll), she falls down and must spend an
action getting to her feet.
Continuing to grapple during each turn after the first
requires the combatants to make opposed Strength + Brawl
rolls. Whoever accumulates more successes may immobilize the
other. If both score the same number of successes, neither gains

the upper hand that turn.

Joint Break: A favorite of the Unseelie and many
redcaps, this maneuver merely requires some knowledge of how
arms and legs are not supposed to bend. If the victim takes any

Health Levels in damage from this maneuver, her limb is broken

and useless until it heals. A character must have Brawl 4 and

Strength 2 to perform this maneuver. (Of course, joint break has

no crippling effects on sluagh!)
Roll: Dexterity + Brawl

Difficulty: 8
Damage: Strength + 2
Actions: 1
Multiple Opponents: If a character is battling multiple
opponents in close combat, that character's attack and dodge
difficulties are increased by one for each opponent (to a maximum of 10).
Neck Snap: Directions Grab your opponent's head,
and twist hard and quick. If this brutal maneuver is successful,

evenly between all targets in the covered area. However, if only

the victim may add his Strength to his Stamina for soak

one target is in the sprayed area, only half the successes affect
him. The player then assigns any leftover successes as she
desires. If the attacker rolls fewer successes than there are
targets, the player may only assign one to a target until they are
used up. This attack also empties the clip.

purposes. If any Health Levels are unsoaked, his neck is

broken. For most it means death, but some are paralyzed from
the neck down (Incapacitated). Unfortunate Kithain who fall
victim to this will need expert care and a visit to a freehold to
recover. A character must have a least Brawl 5 and Strength 2
to perform this maneuver.
Roll: Dexterity + Brawl
Difficulty: 9
Damage: Strength + 3
Actions: 1
Parry: As with dodge, a character can perform a parry as
long as dice are left in his Dice Pool and he has a suitable

The difficulty of a dodge roll against a spray is increased by two.

CDelee and r?>Rauj1ing Complications

Body Slam: A character may try to charge forward,
hurling his weight into his opponent in an attempt to damage
her. It's possible to hurt oneself with this attack, as bodies were

not meant to be used as battering rams. A character needs three

successes to unbalance an opponent and does one Health Level
of damage to himself for every success fewer than three.

weapon. Any weapon larger than a knife will do in a pinch. Each

success on a Dexterity + Melee roll subtracts one from the

opponent's number of attack successes.
A botched parry roll usually means the character's weapon
is knocked from his hands.

ChapreR Gighr: DRamatic Syscems

239

Roll: Dexterity + Melee

Difficulty: 6

Damage: None
Actions: Special (as Dodge)
Riposte: A changeling can execute a blindingly fast
attack, the riposte, following a successful parry. No other action
can follow the parry; if the character is forced to dodge another
opponent, for example, the opportunity for a riposte is lost. If the
character chooses to riposte in the next turn, the player rolls two
extra initiative dice.

Roll: Dexterity + Melee

Difficulty: 6

Damage: As per weapon

Actions: 1
Shield Parry: A shield's inherent defenses (see below)
always add to the attacker's difficulty. This assumes that the
defender is catching her opponent's blows on her shield. If the
character is desperate and really needs to hide behind the shield,

this maneuver is used. Unlike parry (above), shield parry is

considered an action that must be declared at the beginning of
an action. Each success on the character's Dexterity + Melee roll

subtracts one from the opponent's number of attack successes.

A botched shield parry roll usually means the changeling's
shield is knocked from her hands or destroyed.
Roll: Dexterity + Melee
Difficulty: 6
Damage: None
Actions: 1
Sweeps: Sweeps are attempts to knock an opponent's legs
out from under him in a fight. The end result of this maneuver
is that the foe falls in place with the extra advantage that the
character does not need to close the distance between himself
and the opponent. Sweeps are performed with staves, spears and
pole weapons.

Roll: Dexterity + Melee

Difficulty: As weapon +1

Damage: Special
Actions: 1
Tendon Slice: Skilled, if somewhat unscrupulous warriors can attempt to slice the tendons of their foe's wrists and
ankles. Doing this requires Melee 4, Dexterity 2 and a bladed
weapon. If two or more Health Levels are taken by the victim,
the tendons are cut. Wrists become useless, and a successful
tendon slice to the ankle can cripple the opponent for life unless
excellent health care or magical aid can be rendered. This
maneuver is considered to be completely unchivalrous by most
nobles.
Roll: Dexterity + Melee
Difficulty: 9

Damage: As weapon

Actions: 1

lujo-CJJeapon Sryles
Experienced changeling warriors may master Florentine
swordplay, ni-to kenjitsu or street-level knife-fighting. Just
because a character can hold a weapon in each hand does not
mean that he can use them well, though. Characters need at
least five dice in their Dexterity + Melee Dice Pools to gain
any benefit from two-weapon styles. If a character has fewer
dice, the Storyteller should reward botches with serious selfinflicted wounds.

Characters with sufficient skill (and dice) to use two

weapons have several options. The player may decide to have
the character attack with both weapons or to use one weapon to

240

Changeling: The DReaming

defend and the other to attack. If the character attacks with both
weapons, the Dice Pool must be split, but the pool gains a bonus
die to divide between the attacks. If the character chooses to
defend with one weapon, it acts as a shield, adding one to the
difficulty of the opponent's attack.

Sapping
Some weapons are meant to knock characters out without
harming them unduly. Saps are usually made out of thick cloth
bags filled with lead shot, although any small, heavy object will
do: cudgel, candlestick, sword hilt, etc. Sapping requires that
the character whack his victim on the head, so sapping is usually
done from surprise. Roll Dexterity + Melee or Dexterity +

Streetwise (difficulty 7). If the character scores a number of

successes equal to the Stamina of her victim, the victim must
make a Stamina roll (difficulty 8) to stay awake. Otherwise, he
falls unconscious. Victims usually wake at the Bruised Health
Level. A sap will not drive a character beyond the Bruised
Health Level if he is already damaged.

(JJeaponRLj
Changelings employ hundreds of types of weapons to attack
their foes or defend themselves. They tend to be fond of
anachronistic weapons such as the sword and bow, but are just
as likely to use a shotgun if necessary.

FiRearons
A changeling would have to be a fool to ignore the power
of firearms. Their use is extremely widespread among commoners, partly out of familiarity, but also because they can substantially level the playing field when facing Pendragon's Host!

CDelee (JJeapons
Changelings love medieval weaponry, and most still fight
with sword and mace if given the chance. Since many changelings have chimerical weapons, they can bear these in public
with little or no complications, although the local nobility
usually frowns upon public melees.

Ranged (JJeapons
Ranged weapons are low-tech projectile weapons, including thrown weapons and bows. Many changelings are wellpracticed in these weapons. They are still favorites of tourneys
and contests. Members of Unseelie organizations, such as the

Monkey's Paw, prefer these silent weapons over sniper rifles for
servicing their clients from a distance.
Thrown Weapons: The difficulty number is determined by
dividing the range in yards by the Strength of the changeling.
So, if a pooka wants to throw a potato at a redcap who is standing
16 yards away, the difficulty is 16/3 (the pooka's Strength), orsix
(always round up).
If the weapon is designed to be thrown, add one (or more)
to the character's Strength for the purpose of determining the
difficulty. If the object is definitely not meant to be thrown, such

asapie, subtract one (or more) from the character's Strength for

the purpose of finding the difficulty number. So in the same

circumstance, the pooka's difficulty would be 4 to hit the redcap
with a lawn dart, or 8 to hit him with a key lime pie.

All rolls to hit are made with Dexterity + Athletics, and the
maximum range is the character's Strength x 10 in yards for most
objects. Unaerodynamic and light objects have less range. You
can throw a football a lot farther than you can a Kleenex box!
Use common sense.
Bows: Bows require two separate actions to use. The
character readies an arrow in the first action, and draws and fires
in the next action. Successes scored on the Dexterity + Archery

complications a real horse is expensive and requires much

care, while a chimerical one can disappear in a flash of Banality
if a wandering mortal happens to see the rider "floating."

Horses, real and chimerical, are not cars. They have

personalities, and must be trained and practiced in the art of
war and in obeying their masters. Horses will not jump over
obstacles or go near loud noises, much less charge into battle,
without a lot of training and reinforcement on the part of
their owners. They require hours of work on an almost-daily

Archery roll may add to damage, at the Storyteller's option. Due

to the crossbow's similarity to firearms for the purpose of aiming,
the Storyteller may let a player roll Dexterity + Firearms
(difficulty 7), instead of the normal archery roll.

basis. Nonetheless, sidhe counts and dukes attempt to keep

stables, real and chimerical.
While fighting on horseback, changelings are limited to
using the smaller of two Dice Pools for all maneuvers: Dexterity + Melee or Dexterity + Ride. Also, many weapons
cannot be used from horseback, and botching a combat roll
on horseback is potentially lethal to the horse, and quite
possibly to both horse and rider.
So what is the benefit? Damage. A horse at a trot adds an
automatic damage success to his master's melee weapon; two

CDounred Com&or

automatic successes at a canter; and three automatic damage

successes at a full charge. A weapon that does damage equal to

roll may add to damage, at the Storyteller's option.

Crossbows: Crossbows take three turns to fire: one to cock

the crossbow, one to ready a bolt and the last to fire. The strings
of heavy crossbows must be winched into place, and cocking
them takes an extra turn. Successes scored on the Dexterity +

Sidhe, more than any other changelings, love the thrill and
danger of mounted combat. The sight of a sidhe knight in full

armor on a charging warhorse bedecked in splendid colors can

be breathtaking and inspiring. Horses, however, come with

or greater than its normal maximum has a chance of being

dropped, broken or left in its victim. If this is a possibility, have
the player make a Strength roll (difficulty 7). The Storyteller

ChapreR Gight: DRamaric Sysrems

241

should decide what happens if the rider fails this roll, based on
the situation. (Smart warriors often affix loops to their hand

grants, although armor may also impose a Dexterity penalty.

The following are some of the common types of armor worn

weapons, so the weapons don't fall to the ground.) Sabers and

by changelings:

scimitars are made for fighting on horseback; the difficulty

Light Armor: This category includes quilted and leather

number versus dropping them is only 5.

For example, Sir Mabelrode of House Ailil rides down a
peasant nocker with his lance. He hits and rolls his damage, 4
(Strength) + 3 (lance).He rollsfour successes,butsince he was
charging he adds three more, for a grand total of seven
successes! The peasant is run through oh, happy day! Since
his damage equals the maximum he could possibly do with a
lance, Sir Mabelrode makes a Strength roll at difficulty 7. He
rolls a 3,5,6 and 1. The Storyteller rules that the lance shatters
upon impaling the nocker. Darn a lance is much more
expensive than a peasant.
Only short bows and crossbows can be fired from horseback,
and crossbows can't be re-cocked. Gunfire is likely to panic a

armor. It is often the only type of armor owned by commoners.

Nobles often use it as padding beneath finer suits of mail. A soft

leather cap or quilted hood provides minimal head protection.

The bodice, or gambeson, usually looks like a duster. Shorter
gambesons require some sort of padded trousers to protect the legs..
Composite Armor: Composite armor is nothing more than
assorted bits of reinforced leather armor, perhaps over a quilted
suit, linked by chain rings or studs. Common pieces include a
breastplate, vambraces for the arms and a gorget for the neck. A
lot of unsavory types prefer this armor, as it exhibits their

prowess at thiev er, making something from nothing. A

dented helm or rusty chain coif might cover the head.
Heavy Armor: Retainers or lesser nobles may own suits

horse, unless the animal has been trained to be accustomed to

of heavy armor. These are chain or chain-reinforced leather

the noise. Difficulty for all ranged attacks from horseback is one

pieces (gambesons or breastplates) over a thick suit of quilted

armor. The helm is a sturdy metal cap or a well-made chain

higher than normal. As with melee combat, changelings are

limited to using the smaller of two Dice Pools for all ranged
attacks: Dexterity + Archery/Athletics or Dexterity + Ride.

ARTDOR
Armor adds to the character's soak roll to help resist

coif covering the top of the head; soft fabric is worn underneath for cushioning.

Full Armor: All pieces are uniform, tailored to an individual, and made of chain or chain combined with plate, worn
over a quilted suit and cap. The helm has a moveable visor. Full

damage. This advantage is tempered by the fact that armor

armor usually has fine etching or some decoration that reflects

often weighs a lot and restricts a character's movement. The

difficulty numbers of all rolls involving Dexterity are increased

the wearer's alliance.

by the penalty number listed for a character's armor type on the

Armor chart. Some Kithain weaponsmiths, like nockers, can

produce armor of such light weight and efficient design that it
imposes no Dexterity penalties. No armor is as comfortable as
normal clothing, though; not even the most martial changeling wears armor unless it is necessary for protection, or as a
matter of decorum.
Most modern armor is made from ballistic cloth. Some suits
of modern armor contain pockets for ceramic and composite
plastic plates to improve protection against bullets, but these
plates make the suits heavier and more expensive.
Armor's protection is not universal. Chimerical armor only
protects a changeling from chimerical weapons. Real armor
only protects a changeling from real weapons. Talisman armor
is the only kind of armor that can protect a changeling from both
forms of damage. An example of this would be a bulletproof vest

that has the chimerical appearance of being a bronze plate

doublet. However, this kind of armor tends to cramp a sidhe
corporate executive's style in the office, so it is rare and of
limited practicality. Wealthy changelings tend to own both

modern ballistic armor and suits of chimerical armor, wearing

what is suitable for the occasion.

AnachRonisric ARIDOR
Changelings often wear chimerical (or real) armor that
simulates the kind worn by medieval warriors. Generally

speaking, the heavier the armor, the more protection it

242

Changeling: The

Sidhe Plate: The armor of a noble is a work of art. Sidhe

plate is the stylized armor of sidhe nobles and heroes. It is

formed of sweeping oval plates, high collars and a skirt made

of plates attached to the cuirass with chainmail. This armor

is reserved for sidhe, and usually only landed nobles or

retainers of great heroism.

Surcotes and Crests: Surcotes are square tunics with slit

sides. They are worn over armor and are usually embroidered or
painted with personal heraldic devices or the device of a

warrior's lord or lady. Crests sit atop helms; they are usually a
padded or stuffed representation of the major heraldic charge of
an individual or a noble house. For example, a warrior of House
Liam may sew and stuff a silver tree to mount on his helm.

Shields
Changelings typically reserve shields for hall decorations; few things make a banquet hall or throne room look
more medieval than a hanging row of decorated shields. In
combat, however, a shield can mean the difference between
glorious victory and a mortal blow. Commoners and nobles
alike can bear shields, though the latter usually decorate
theirs with heraldic devices.
Heaters are triangular shields borne by warriors on foot;
they were the most common shields of the medieval period.
Mounted warriors often carry kite shields, elongated versions of
the heater, which protects the legs. Trolls and others with a
passion for things Norse might prefer the round shield, which is
also seen in parts of the Middle East. Some esbu carry the spiked

shields of the Zulu, which are elongated and come to a point at

top and bottom. Most shields are made of wood, which are
partially covered and edged with strips of leather or metal. On

the other hand, many's the redcap who prefers a garbage can lid
to some fancy painted shield.
The average shield adds +1 difficulty to the attacker's
Dexterity + Melee roll against the defender. A gigantic shield,

perhaps carried by a troll or a mounted warrior, adds +2 difficulty. Thus, if the redcap Conor, with his garbage can lid and
baseball bat, faces Magdelen, a troll squire with a round shield
and oak cudgel, the troll's base difficulty to hit rises from 4 to 5.
Conor, on the other hand, suffers a more severe penalty. Conor's
base difficulty is 6, thanks to Magdalen's giant round shield.

Invoking the DRatpns IRC

Tales of fae warriors of preternatural skill fill books of lore,
and their exploits resound in the halls of latter-day sidhe kings.
Changelings are the masters of melee combat, while the sidhe

surpass all Kithain in the arts of dueling. Changeling combat is

wild and unpredictable, filled with leaps, parries, pratfalls and
breathtaking acts of derring-do. In melee combat, changeling
warriors are often able to summon a force from the Dreaming to

aid them. They call it the Dragon's Ire.

Many different tales describe the nature of the Dragon's Ire.
Redcaps have several limericks concerning how they ate the
heart of a dragon to gain its powers, while the boggans tell a story

about a fell dragon that became to a boggan chefs gooseberry

tarts. All of the tales have their merits, but the quest of Prince
Ardan is recounted most often in the courts of Concordia as the
origin of Dragon's Ire.
In Arcadia's distant past, before the Fair Folk ever came to
this world, Ardan's uncle stole the prince's crown and throne.
Disconsolate, Ardan ventured far into the Dreaming. There, a
mighty dragon, named Ouroboros, attacked him. After hours of

fighting, Ardan managed to slip his blade beneath the chin of

the beast, but stayed his death blow if the dragon would aid him
in his quest to regain his throne. The dragon agreed, and Ardan
returned and gathered together a great host with members of
every kith. He called his warriors the Orbori in honor of the
dragon, and he taught them how to invoke its aid. His army was
the first to summon the Dragon's Ire, and it won his throne back,
and eventually the throne of Arcadia as well.
A pale nimbus of flame surrounds those enveloped in the
Dragon's Ire, and a subtle cyclone of wind stirs their clothes.
Some bystanders even hear music, which seems to echo faintly

across the battlefield. Any changeling with Kenning can perceive the invocation of the Dragon's Ire from a great distance as
the tide of Glamour shifts subtly in the direction of the wielder.

The Dragon's Ire is not a force of animalistic energy; it is a

celebration of the art of war. It is the dance of the duelist and the
song of the fray. Changelings experiencing the Dragon's Ire are
confident, implacable, focused and deadly.

ChapreR Gighr: DRamaric Systems

243

The ORdoRi BeRSCRh: Bedlam

A changeling in any stage of Bedlam invokes the
Dragon's Ire at great peril to friend and foe. The rush

of Glamour produced in the grip of the Dragon's Ire is

intoxicating to all changelings, and this rush is all the
more seductive to those slipping into Bedlam. No roll

is necessary; success in invoking the Dragon's Ire is

automatic.

For a character in Bedlam to control the Dragon's

Ire, a Willpower roll must be made and three successes
must be gained. The difficulty is the Glamour rating of
the character. If the character controls the Dragon's Ire,
then play out the effects normally. If the roll fails or
botches, then the effect depends on the character's current level of Bedlam.
Stage One: The Mien of Burning Gold The
character projects a nimbus of burning gold streamers.
Her Ire dice are doubled, but she proceeds to stage two of
Bedlam when the scene is over, if she is not killed.
Stage Two: The Gaze of Madness The Kithain's
eyes channel raw power from the Dreaming. Any Kithain
staring into the eyes of the character must make a Willpower roll, difficulty 8, or enter stage one of Bedlam. The
character's Ire dice are doubled, but she proceeds to stage
three of Bedlam when the scene is over, if she is not killed.

Stage Three: The Visage of Doom The character becomes a silhouette, reflecting the nightmare impossibilities of the Deep Dreaming. Any changeling coming
in contact with her is pulled into the depths of the
Dreaming. Chimerical weapons and Arts have no effect
on the character cold iron is the only defense against
the Visage of Doom. Dragon's Ire dice are tripled, but the
character is devoured by the Dreaming in a cataclysmic
blast when the scene is over.

System: When a character attempts to invoke the Dragon's

Ire, the player must spend a point of Glamour and make a Glamour
roll with a difficulty equal to his character's Banality. If the roll is
successful, the player gains a number of dice for each success he

gains (with a maximium equal to the character's current Remembrance rating). These Ire dice can be spent on attack or maneuver
rolls during each turn of combat, but do not accumulate with
repeated attempts to raise the Ire. Once invoked, the Dragon's Ire
lasts for an entire scene. Utterly wonderful uses of the Dragon's Ire,

especially at the climax of a chronicle, may even generate Glam-

our at the Storyteller's whim.

Characters invoking the Dragon's Ire may add to the base
Dice Pool in multiple actions, but may not roll more dice than the

original pool size for any one feat. Let's say that Marissa, a newly
knighted sidhe, has invoked the Dragon's Ire and has three Ire dice
to spend in the combat. She may choose to make all of her rolls

with three dice instead of two, or she could boost one of her rolls
to six dice, leaving three dice for the other two actions. Since her
base Dice Pool for her multiple action was six, she cannot roll more
than six dice for any of her multiple actions.
Changelings with less than three dots of Remembrance rarely
know of this ability. Some, such as the sidhe of Houses Scathach,

Gwydion and Fiona are taught its mysteries when they enter
military training. Most commoners discover the Dragon's Ire only
under times of life-threatening stress. Summoning the Dragon's Ire
is not considered an action. Once a changeling has done it
successfully, it becomes instinctual, although not automatic.

Botching a Dragon's Ire roll is no fun for a character. The

Storyteller counts up all the ones rolled and then adds one to that
number. At any point during a turn of combat the Storyteller may
simply pluck that number of dice from the hands of the player, but
may never take all the dice. Once botched, the Dragon's Ire cannot

be re-invoked in the same scene. This terrible effect lasts for a scene.

The DRagons Dance: Dueling

The term "duel" is usually reserved for a formal contest, but

duels range from murderous street brawls to the climax of

changeling tournaments. Duels are fairly common occurrences

DRagons IRC CDodiFieRs

A list of modifiers to the difficulty number to invoke

the Dragon's Ire follows. No cumulative modifiers greater

than -3 are allowed, and the total can never exceed -3.
Boggans defending home
-2
Eshu on roadways
-2
Nockers in their workplaces
-2
Pooka escaping combat
-2
Satyrs in the wilderness
4
Sidhe in a duel
-2
Sluagh defending home
-2
Trolls defending honor
-2
Wounded redcaps
3

244

Changeling: The DReaming

between sidhe nobles.

The duel has a nearly-mythic place in sidhe society, and has

seen a renaissance since the Resurgence. It is said that the Dragon's
Dance was the first use of the Dragon's Ire after the Shattering.
Members of House Scathach had nearly forgotten the power of the
Dragon's Ire, until the ritual and romance of the duel brought it

back to them. Dueling on this ritualistic level is beyond a public

brawl; it is an art form and one of the keystones of the noble society.

Nobles are limited to challenging only those of equal rank

those of higher rank can refuse duels with little loss of honor.
Challenges delivered to inferiors are rare, but can be attributed
to "teaching the offender a lesson." The person challenged has
the right to choose the weapons and time of the fight. These
discussions are usually carried out by the parties' factors, persons

whom they entrust with the arrangements. The general rules for
conduct are set during these negotiations, but hot-blooded
sidhe often forget the niceties in order to get on with the fun.

The formal duels listed below often involve the invocation

of the Dragon's Ire, even though cantrip use is usually considered cheating. All of the duels listed involve taking an oath,
binding the participants to abide by the rules set forth by the

player merely expends the points and rolls to strike the target. If the
target is hit, he is instantly enchanted for a day. The target suffers
no damage from the enchanted stroke, but will most probably have
the daylights scared out of him when the character's fae mien is

type of duel, and observing any exceptions agreed upon by the

revealed. Treasures cannot be used to perform the enchanted

stroke; only chimerical weapons will work.

duelists. (House Eiluned knights consider cantrip use fair, for

instance.) There is no benefit to taking the oath, other than the
protection it affords as both parties are buond by the duel's

limits. Failing to abide by the oath results in the immediate loss

of a permanent point of Willpower.
The Scarlet Trip: This duel is fought to first blood, usually
with little or no armor, and with light weapons.
Tonight we trip for honor and right.
Guide our hands, Mother Dream, as we fight.
Foe are quick to anger, but quicker to mend.
We swear, tomorrow our anger will end.
The Dragon's Dance: This duel is regarded as the most
honorable and as such, is the most common form of dueling. It
is fought until one side or the other yields. It may be fought with
any weapons or armor the foes agree to.
We dance the Dragon's Dance beneath the waning moon,
And set loose the Dan, the Chariot of Dream and doom.
The reigns of reason slip as the star-hoofed horses race,
And we hear the cackle of misrule beneath their frantic pace..

The DoloRous Blotu

A changeling can make a chimerical object, usually a
weapon, real to any unenchanted being by expending a Willpower point. This effect lasts for only one turn and only one
object is affected, though no roll is required. The object or
weapon suddenly appears out of nowhere to the unenchanted.

After the turn has passed or the object is taken from their sight,
unenchanted witnesses are soon overcome by the Mists; their
limited imaginations quickly transform the object into the most
rational substitute that they can conceive.

ConrRlps and Com6ar

Using cantrips in combat presents several problems. Bunks
are often hard to coordinate and are very obvious to other
changelings. It doesn't take much gray matter to figure out who is

planning to cast a cantrip if there's a Kithain charging into combat

with a bunch of cotton candy and rose petals clutched in one hand.
In other words, these Kithain tend to draw a lot of fire. Addition-

Wide-eyed, the mares of tenor to us draw you near

ally, to use a cantrip in combat, the changeling must spend a turn

Come, sweet Mother Dream: our love, our lot, our fear.

casting it, leaving her open to attack. The character can attempt
multiple actions, but, of course, those actions are more likely to fail.
The power of some cantrips offsets most disadvantages of
their casting, especially Primal and Wayfare cantrips. Primal
can boost both damage and Health Levels. Wayfare adds to

Danse Macabre: This duel is to the death. Only queens and

kings can sanction such a contest. It may be fought with any
weapons or armor the foes agree on.
We call for honor in deeds
Let us rise above this petty seeming.

Death to s/he who flees

Before the power of the Dreaming.
The Dance of Iron: This duel is fought with no armor and
with iron weapons. It is fought until the death of both the

changeling soul and the human host. It is illegal in Concordia

and most foreign kingdoms as well.
The only oath taken before the Dance of Iron is something
to the effect of, "Die and to Oblivion with your soul, bastard!"
Many variations of this exist.

QlamouR and Com6ar

movement and, with the cantrip Flickerflash, gives changelings

multiple actions in combat.
Other Arts have more subtle uses: Chicanery cantrips can
be used to fool a changeling's enemies, Soothsay can shift
probability, and Sovereign can be used to gain recruits or
command foes to leave combat.

InjuRy and Health Levels

There are many ways that a character can suffer injury.
Because changelings have a dual existence, they must not only
worry about damage to their human selves, but their fae miens

as well. To represent this, Changeling uses two ways to record

damage
to the character.
Changelings know many other ways to mix Glamour and
Beneath
Health Levels on the character sheet there are two
combat, beyond their ability to invoke the Dragon's Ire. For
rows
of
boxes:
one represents the changeling's chimerical, or fae,
instance, the Unseelie often use techniques such as the enchanted
self;
the
other
represents his real, human body. Whenever a
stroke or the dolorous blow to kill Dreamers they have Ravaged.
character
suffers
chimerical damage, such as from a chimerical
First they enchant their victims with the enchanted stroke, and
dagger,
check
off
a number of boxes under chimerical damage
then kill them with the dolorous blow. Witnesses, if any, are
equal
to
the
number
of Health Levels lost. Whenever the
confused by the Mists and give conflicting reports to the authorities.
changeling suffers real damage, such as from Kithain treasures or
The Cnchonred SrRolse
bullets, check off these boxes. For example, if an opponent
By expending a point each of Glamour and Willpower, a scores two levels of damage with a baseball bat, the player checks
changeling can use a chimerical weapon to enchant someone. The off two real Health Levels.

ChapceR Gighr: DRamacic Systems

245

Each level of damage makes it successively harder for a

character to complete skills and to participate in combat. A
Mauled character (he has now taken five Health Levels of damage) must subtract two dice from his Dice Pool. These modifiers to
the Dice Pool are listed to the right of the Health Level boxes.
Chimerical and real damage are not cumulative. Keep track
of them separately, and apply the worst penalty to the character's
Dice Pool. If Toby the boggan has been chewed to the Crippled
state (-5) with a redcap's chimerical chainsaw, and stabbed with
an Unseelie troll's very real icepick to the Injured (-1) Health

Level, the total modifier to Toby's Dice Pool is -5, not -6.

SOURCCS of InjuRy and Healing

chimerical lance. These wounds are visible only to those capable

of seeing the character's fae mien normally other Kithain and
enchanted mortals. Purely chimerical wounds are more dramatic
than normal wounds, so play up their descriptions. Get medieval.
Of course, unenchanted mortals will see nothing outwardly wrong
with a Mauled character who is screaming for aid.
An Incapacitated changeling falls into a comalike state and
must be taken to a freehold, glade or strong source of Glamour

to recover. The character does not wake until all chimerical

Health Levels have been healed. Childlings and wilders usually
reawaken on the next day after being healed. Grumps may
require any other special aid the Storyteller feels is appropriate.
Chimerical damage heals at a normal rate, unless the

Changelings not only have to worry about falling off a

ladder or being shot, but chimerical fangs, tentacles and maces
as well. Cold iron causes the worst kinds of wounds. It is
anathema to the Kithain.

character is in a freehold or glade. While in a freehold, the

character heals one chimerical Health Level per night spent
there. In the Dreaming, a changeling heals one chimerical
Health Level per hour.

Srunning

Real Damage

If a changeling suffers more damage from a single attack

than she has Stamina dots, she is stunned for the next turn of
combat. The character may do nothing more than fall to the
ground, if not already there.

ChimeRical Damage
Changelings suffer chimerical damage (Health Levels) from
purely chimerical sources, such as the horns of a nervosa or a

246

Changeling: The DReaming

Real damage occurs most often during games in combat, but

normal damage and its associated Health Levels represent
damage from any of the sources that could harm a normal

human: falling, fire, disease, drowning.

Real damage heals at a normal pace (see the Normal
Healing Times chart) unless cantrips are used, or the character
is in a freehold. The time listed next to each Health Level on the
chart is the rate for healing to the next Health Level only. A

Like many things in Changeling, cold iron is a bit of a paradox.

NoRmal Healing Times

Bruised
Hurt' : . <

;:

One Day

Three Days
Injured
One Week
Wounded
One Month
Mauled
Three Months
Crippled
Three Months*
Incapacitated
See**
* Not only must a changeling heal this Health Level, but
she may lose one point from one of her Physical Attributes. A
changeling who is magically healed, or who reaches a freehold
to be healed before a day has passed, does not suffer this loss.
**A changeling who reaches Incapacitated heals at the
Storyteller's discretion; she may fall into a coma for the rest of
her life (unless taken to a freehold for healing).

Crippled character takes three months to heal to the Mauled

state, then another three months to heal to Wounded. This
chart assumes sanitary, adequate health care. The Storyteller
may adjust times for poor or excellent care, as appropriate.

Cantrips, such as Heather Balm, can heal normal damage

easily. Also, changelings regenerate normal damage when exposed to the powers of the Dreaming. When in a freehold, glade
or in the Dreaming, normal damage heals at the rate of one
Health Level per night.

Steel actually contains more of the element iron than does cold
iron. In fact, most of the things we associate with iron nowadays are

actually steel or cast iron (cold iron which has been melted and
poured into a mold). Cold iron is what we know as wrought iron.
The best way to think about cold iron is not as a thing, but as a
process, a very low-tech process. It must be produced from iron ore
over a charcoal fire. The resulting lump of black-gray material can

then be forged (hammered) into useful shapes.

Cold iron weapons are heavier, softer, more brittle than steel
weapons and lose their edge more quickly. Any cold iron weapon
larger than an dagger is very unwieldy, usually adding +1 or +2 to
the difficulty number to hit. Botches almost certainly cause them
to break. Cold iron weapons therefore tend to be small axe

heads, daggers, arrow heads, darts, bolts, caltrops, shuriken.

Making cold iron weapons is illegal in most kingdoms, and

even owning one is considered a crime in most. (Many a noble still

has one secreted away, just in case.) Mortal blacksmiths are much
prized for their abilities to work cold iron, and finding the ore is not
too difficult since large iron ore deposits are common in Alabama,
Utah, Texas, California, Pennsylvania and New York. It is rumored
that some mortal mages can produce cold iron weapons that have

the properties of steel. It is also believed that weapons quenched in

changeling blood are extremely hard for changelings to sense.
Cold iron is the only thing that causes Health Levels of
chimerical and aggravated damage simultaneously. Cold iron
weapons also cause changelings to loose a point of temporary

Glamour per Health Level inflicted.

Cantrips, such as Holly Strike, that damage a character
directly cause aggravated wounds. Certain Prodigal attacks (the
teeth and claws of vampire and werewolves, Garou Gifts,
vampire Disciplines and True Magick) can also cause these
deadly wounds. Cold iron (see below), toxic waste, acid and fire

are also common causes of aggravated wounds,

Use a different method to mark aggravated damage from

the one you use to mark real or chimerical damage. Circling or

putting an X in the box instead of a check is the easiest way to

Disease and Poison

Poison and human diseases affect changelings like they do
mortals. Fae who have access to the Glamour of freeholds, however, do not generally die by mundane means their powers of
recuperation are better than that. Health Levels lost to disease or

poison are assumed to be normal wounds for the purposes of

healing. Once the changeling is healed, she is cured. Severe
diseases and vicious poisons are treated as aggravated wounds.

note which damage is aggravated.

Falling

Aggravated damage can only be healed by the body's natural

processes. Consult the Healing Times chart for these healing

Athletics roll. Use the falling chart to calculate damage. Charac-

times. In the Dreaming or a freehold, these times are halved, round

up, with a minimum of one day required to heal a Health Level.

Aggravated damage can only be healed by cantrips if

additional points of Glamour, beyond points used for casting
itself, are spent. One level of aggravated damage can be healed
per point of Glamour expended.

Cold IROD
Cold iron is the ultimate sign of Banality to changelings.
Perhaps it was the rise of the iron age that precipitated the Sundering, and thus cold iron is the Sundering's banal manifestation. Its

presence makes changelings ill at ease, and cold iron weapons cause
horrible, smoking wounds that rob changelings of Glamour and
threaten their very existence. It is so distasteful to changelings that
they can sense cold iron in their immediate presence.

The sad result of missing that much-needed Dexterity +

ters can make Stamina rolls to try to "soak" damage, though; the
difficulty is 8. Each success means one less Health Level is lost (the
changeling happens to fall into the passing garbage truck, etc.).

Each botch means an additional Health Level is lost.

Distance (in feet)
Injury
Five:
One Health Level
10
Two Health Levels
20
Three Health Levels
30
Four Health Levels
40
Five Health Levels

50
Six Health Levels
60
Seven Health Levels
... and so on, to a maximum of 10 Health Levels.
ChapreR Gighr: DRamaric Sysrems

247

banal Dearh

FlRC

A character struck (or worse, enveloped) by flames takes

When the human part of a changeling dies, the fae self may

damage according to the Fire chart. The player may roll a

number of dice equal to the character's Stamina rating against
the difficulties listed below. The player must roll for each turn
that the character is in the flames to see if the character can resist

live on, but that changeling will never come into existence
again. Commoners are reborn into another human host, who
has a different appearance and upbringing from the previous
human seeming. No one knows what happens to sidhe souls.

the damage. If the roll fails, the character takes from one to three

Many sidhe comfort themselves with the notion that they are

Health Levels of damage (see the second chart). If the roll

succeeds, the character takes one less Health Level of damage
per success than the size of the fire inflicts. If the roll is botched,

taken to Arcadia, but no one knows for sure.

The death of the human part of a changeling while she is on
a Silver Path is an amazing sight. The fae souls of commoners stand

the character is harmed in some special wayperhaps she loses

over the corpses of their human hosts. Others present in the

her eyesight or her limbs are maimed.

Difficulty
Heat of Fire

Dreaming can converse with these souls, but memories of their last
Earthbound lifetimes deteriorate as the minutes pass. As this
happens, they begin to remember more and more of Arcadia. At

Heat of a candle (first-degree burns)

Heat of a torch (second-degree burns)

the moment their memories of the human life fade completely, and

Heat of a Bunsen burner (third-degree burns)

9
10

Heat of a chemical fire

Molten metal

their ancient lives in Arcadia and the pre-Sundering Earth are

remembered, a fist of purple chimerical flame pulls them fighting

Wounds

Size of Fire

One
Two

Torch; part of body burned

Bonfire; half of body burned

Three

Raging inferno; entire body burned

Suffocarion and DROiuning

Even changelings die without air. A Kithain can hold her
breath for a length of time based on her Stamina (see chart)
she can even extend this time by spending Willpower points (30
seconds for every point). If she cannot get air by the time her
Willpower runs out, she suffocates or drowns at a rate of one
Health Level per turn. While this is not aggravated damage, she
cannot heal it until she leaves that hostile environment. When
the changeling falls to Incapacitated, she dies within one
minute per point of her Stamina rating.
Holding Breath
Stamina

2
3
4
5
6
7
8

30 seconds
One minute
Two minutes
Four minutes
Eight minutes

15 minutes
20 minutes
30 minutes

The souls of sidhe changelings killed on a Silver Path shine

forth in all their fae glory and stride off into the Deep Dreaming,
beyond the powers of the Silver Paths, as if on some great mission.
It is said that all fae killed off of a Silver Path wander the
Dreaming looking for Arcadia. Direction is hard to determine
away from a Silver Path, and those dying in the Near and Far
Dreaming may never find Arcadia. Those killed in the Deep

Dreaming, with its host of chimerical horrors, are closer to their

goal, but in much greater threat of Final Death.
Sorcerers of House Eiluned are said to know of cantrips capable
of capturing the fae souls of changelings and investing them in new
human hosts. This task is extremely risky (and unethical).

ChimeRical Dearh
Chimerical death occurs when a character suffers more

chimerical damage than she has Health Levels. The character

passes out immediately, and has only fleeting and often nightmarish memories of her fae life when she regains consciousness.

She believes that she is mortal, and only mortal.

The changeling can be restored with Glamour, though
only after the requisite amount of time as passed (see the Mists
Chart, pg. 208). Chimerical death also earns the character a

permanent point of Banality.

Fae Dearh
Fae death occurs whenever a character is killed by cold iron.

The death blow must come from a cold iron weapon. If this

Dearh
Changelings heal with amazing speed, but their dual (human
and fae) natures makes them fragile as well. Changelings are
neither human or fae; the true death of either part is the death of
whole. The fae mien can be "killed" by chimerical damage and still
be reborn. Perhaps this fragile nature is also responsible for the

wisdom and vitality of many fae. They experience many times

what most mortal know only once: death.

248

and screaming all the way back into the World of Darkness.

Changeling: The DRcaming

tragedy occurs, not only does the changeling die a physical

death, but her faerie soul can never be reborn in a mortal host.
She is lost to the Dreaming for all time.

If a character is taken to the Injured Health Level by a cold

iron dagger, and then is slain by a chimerical sword, he faces
chimerical death. If the death blow is from the cold iron dagger,

or if the assailant finishes the character off with the dagger, the
victim experiences fae death.

Com&ar SummaRy ChaRr

Initiative Stage
Roll Wits + Alertness (difficulty 4). Everyone
declares their actions in ascending order of successes
the lowest score goes first, but may be interrupted by a

character with higher initiative. Some characters will act

simultaneously (they both rolled three successes, say).
Those who rolled no successes at all go last, and those who
botch don't get to act this turn.
Stage Two: Attack
For firefights, roll Dexterity + Firearms or Dex-

terity + Archery.
For melee (with weapons) combat, roll Dexterity + Melee.
For hand-to-hand (without weapons) combat, roll
Dexterity + Brawl, i .:.: j :
; ..

3
5
7
9
10
One
Two
Three

DROuming/SuFFocorion
Stamina

attacks is a base 6, +1 for every opponent after the first. In

firefights, use the dodging chart.

2
3
4
5
6
7

Stage Three: Resolution

Damage: Each weapon or attack allows the wielder

to roll a certain number of damage dice (difficulty 6). Each
success removes one Health Level from the target. Additionally, each success scored with a firearm (after any

Falling
Distance (in feet)

Five
10
20
30

Injury
One Health Level
Two Health Levels
Three Health Levels
Four Health Levels

40
Five Health Levels
50
Six Health Levels
60
Seven Health Levels
.1. and so on, to a maximum of 10 Health Levels.

Heat of a candle (first-degree burns)

Heat of a torch (second-degree burns)
Heat of a Bunsen burner (third-degree bums)
Heat of a chemical fire
Molten metal
Size of Fire
Torch; part of body burned
Bonfire; half of body burned
Raging inferno; entire body burned

Wounds

Dodging: The difficulty to dodge melee or brawling

dodge) adds one die to this damage roll. Melee and

brawling successes do not add to the damage.
Soak: A target may make a roll to see how much
damage she "soaks up" because of her natural hardiness.
The target rolls Stamina (difficulty 6); each success reduces the damage by one.
Exception: Damage and soak rolls are two rolls in
Changeling that cannot be botched.

Heat of Fire

Difficulty

Bnb ' '

B^

Holding Breath

30 seconds
One minute

Two minutes

Four minutes
Eight minutes
15 minutes
20 minutes
30 minutes

"
NoRinal Healing Tlines

"

FfJB
^j

One Day
1
Three Days
One Week
Injured
Wounded
One Month
Three Months
Mauled
Three Months
Crippled
Incapacitated
Three Months
^
Bruised

Hurt

Types
Level (Modern/Anachronistic)
Armor Rating
1
One: Sporting Pads/Light Armor
Two: Ballistic Cloth Shirt/Composite Armor 2
Three: Flak Vest/Heavy Armor
Four: Flak Jacket/Full Armor
Five: Special Forces Armor/Sidhe Plate

ChapreR Gighr: DRamaric Sysrems

249

CDelee (JLJeapons
Weapon
Knife
Dagger
Short Sword

Difficulty
5
5
6

Rapier
Broadsword
Bastard Sword
Great Sword
Quarterstaff

Damage
1
1
2

6
6
6

6
5 2

Hand
1
1
I

3
4
5
6

Conceal
P
]
T

1
2 / 1

N
N

Spear
Lance*

6
8

3
3

2
2

N
N

Poleaxe**
Club
Hand Axe
Battle-axe
Mace

6
4
6
6
4

6
1
5
6
4

2
1
1
2
1

N
T
J
T
T

Morning Star***
7
5
1
Difficulty: The difficulty of a Dexterity + Melee attack roll.

Strength
1
1
1

2.
3
4
2
2
2
3
.'1

2
3

2
2

Damage: Roll Strength + the damage number to resolve damage. Difficulty 6.

Hand: The number of hands it takes to wield this weapon.
Conceal: P = may be hidden in a pocket; J = may be hidden in a jacket; T = may be hidden in a trenchcoat or duster;
and N = not concealable.
Strength: Strength required to wield the weapon. Difficulty increases by +2 for each dot of Strength short of the difficulty
number.

* Lances are usually heavy, cheap spears made to be left in their victims. These stats cover their use on a charging horse.
See "Mounted Combat" for more information.
i;
** Poleaxes also have a spear point, and can be used as spears in combat. Poleaxes may also have hooks attached, allowing
the wielder to drag people off horses. The wielder rolls Strength + Melee after a successful attack (this does no damage). The
rider rolls Strength + Ride to resist. The one with the most successes wins.
*** Botches with any chain weapon result in the weapon becoming either fouled and unusable or striking the wielder.

FiReFighr Complicarions
Complication
Changing action
Immobilization

Long range
Point-blank
Lying flat
Behind pole

Behind wall
Only head exposed
Movement

Difficulty

+1
-2
+1

+1/extra shot
+3
+1
5 +I/yard

Changeling: The DReaming

A normal hand-to-hand dodge difficulty is 6; for

4
6
-t- Perception
+2

Specific area of target

Multiple shots
Full-auto
Three-round burst
Spray

Dodges
firefights, see below:
Difficulty
Terrain

4
+1
+2
+3
+4
+1

Aiming
Scope

250

Dice

+ 10
+3
+ 10

By moving back half a step, the character

is back under full cover.
Full cover within diving distance (one
yard).
Full cover within running distance (three
yards).
Partial cover within running distance
(three yards).
Flat and featureless, no cover (the character dives to the ground).

Ranged (JUeapons ChaRr

Weapon

Conceal

Strength

Short Bow
6
Long Bow
6
Long Bow, Hvy.
6
Crossbow
5
Crossbow, Hvy.
5
Spear*
7
Javelin
see text
Knife
see text

Difficulty

Damage

2
4
6
3
5
Str +2
Str +2
Str+1

T
N
N
T
N
N
N
P

2
3
4
2
3
3
2
2

Range

60
120
150
90
110
10
see text
see text

Rock

see text

Strength

see text

Hatchet

see text

Str +1

see text

Difficulty: The difficulty of a Dexterity + Archery attack roll for bows, or Dexterity + Athletics roll for thrown weapons.
Damage: Roll a number of dice equal to this number resolve damage, difficulty 6.

_ .;

:v

::

.. .;' . 1.

; : : ; = ; V

Conceal: P = may be hidden in a pocket; J = may be hidden in a jacket, T= may be hidden in a trenchcoat or dusteft and N = not
concealable.
Strength: Strength required t o u s e t h e weapon.

:
;.-....'.:. :

Range: See pg. 240 regarding thrown weapons. For bows, this is medium range. This number is doubled for a long-range attack^ at
a difficulty of * 1.

* Spears are usually heavy, and do not make effective ranged weapons. These stats can be used when in desperation.

FiRcaRTns ChaRr
Weapon

Revolver, Lt.
Revolver, Hvy.
Pistol, Lt.
Pistol, Hvy.
Rifle
SMG.Sm.*
SMG.Lg.*
Assault Rifle*
Shotgun, pump

Difficulty

Damage

Range

Rate

6
6
6
6
7
7
6
7
6

4
6
4
5
8;
4
4
7
8

12
35
20
30
200
50
50
150
20

3
2
4
3
1
3
3
3
3

Clip

Conceal

6
P
6
J
17+1 P
7+1
J
5+1
N
30+1 ]
32+1 T
42+1 N
8+1
T

Difficulty: The difficulty of a Dexterity + Firearms attack roll.

Damage: Roll a number of dice equal to this number to resolve damage (difficulty 6).
Range: This is medium range. This number is doubled for a long-range attack, at a difficulty of +1.
Rate: The maximum number of bullets or three-round bursts the gun can fire in a single turn. Rate does not apply to full-auto fire
and sprays.

Clip: The number of bullets held in one clip. The "+1" indicates a bullet can also be held in the chamber, ready to fire.
Conceal: P = may be hidden in a pocket; J = may be hidden in a jacket, T = may be hidden in a trenchcoat or duster; and N = not
concealable.
* These weapons are capable of three-round bursts, full-auto fire and sprays.

tVaiuling Ta&Ie
Maneuver
Punch
Grapple

Kick

Body slam
Bite*

Difficulty

6
6
7
7
5

Damage
Strength

Strength

Strength +1
Special; see Options
Strength +2

* redcap (chimerical damage only)

ChapceR Cit/hr: DRamaric Syscems

251

E/M/MA ANP PORIAN HAVE SUCCESSFULLY RETRIEVE

THE MASQUE OF PREA/MS FOR THEIR /MENTOR THO/M.
HOWEVER, WHILE IN THE PROCESS OF THE RECOVER/,
THE/ LEARN THAT THE /MASQUE WAS IN FACT THE
PROPERT/ OF PUKE PRA/. FEELING BETRA/EP B/
THEIR /MENTOR, THE/ CHOSE TO BRING THE /MASQUE
I TO THEIR /MENTOR ANYWAY ANP LEARN FRO/M HI/M
I
WH/ HE HAP PECEIVEP THE/M....

WE GOT /OUR
/MASQUE.

, ANC?
THERES A WHOLE
PACK OF
KNIGHTS RIGHT
ON OUR TAIL.

TAKE THE/M ALIVE

IF POSSIBLE, BUT I WANT
THAT
I THOUGHT
TOLP US THIS THING
WAS
IT WAS.
I WILL EXPLAIN
LATER, BUT WE
/MUST LEAVE NOW
BEFORE

OPEN UP ,
THE NA/ME OF
THE PUKE!

lan has just started his Chaageliag game. The plagers have just gathered for the latest chapterlraheltorg. The
characters are Emma (plaged bg Jennifer), a satgr milder, and Dorian (plaged bg Ethan), a troll knight During the
last session, the group split apart uihile attempting to escape mith the Masque of Dreams. lan has decided to run
the game in tuio different sessions until the motleg regroups.

Since Ethan has stated that his

character is looking out the uiindoui, lan asks him to make a Perception roll to see if Dorian
notices the sidhe knights' approach. Since the knights are not
reallg making ang attempt to hide
themselves, lan decides that the
difficultg is onlg 4. Dorian has
Perception (3)and Alertness (2)
for a pool of five dice. Ethan
rolls 2, 5,4,4,6. lan tells Ethan that
he sees several sidhe knights approaching the cottage.

The sj<lhe knight must make an

opposed Strength roll against
Dorian in an attempt to get
through the door. lan rolls three
dice (the sidhe knight's Strength)

against a difficultg of 6 (Dorian's

Strength). He rolls 3,5,6 earning
onlg one success. Ethan smiles,
knouiing that he needs onlg one
success to keep the sidhe out of
the cottage.

Ethan noui rolls six dice (Dorian's Strength) against I difficultg of 3 (theknight's Strength). Efhan rolls 2,2,4,5,6,6
enough to keep the door shut but just barelg! lan announces that during this turn Thorn has begun to dram a
dooruiag on the mail of the cottage. He does not get inform them that Thorn has actuallg begun to perform a
Bunk in an attempt to open the freehold's trod.

THIS FREEHOLD HAS ITS OWN

TROD... IF ONLX I CAN GET IT
OPEN.

Duke Drag tosses several leaves at the door of the cottage, enacting a quick Bunk jbr the casting of Hollg Strike f
(Primal ). lan determines that the final dijficultg jbr the cantrip is 6 (throuiing the leaves uias onlg a level one
Buak, reducing the difficulty bg one). After marking off the requisite cost in Glamour on Drag's character sheet,
ke rolls eight dice for Drag's Casting Pool. He roll! 3,1,5,6,6,8,9,9 for a total ofjive success^ v

lan deciles th|tffve successes is mofe than enough to eompletelgsd^$tro$^tt uiboden

r At this point lan declares that everfone must

roll initiative. Ethan scores the most successes,
and sags that Dorian attacks one of the sidhe
mith his chimerical battle ax, but he splits his
Dice Pool so as to be able to parrg ang later
attacks. Ethan makes an attack roll using
Dorian's Dexteritg + Melee. He scores tno
successes jbr the attack, an easg hit For damf
age he gets seven successes. lan rolls soak
dice for the sidhe knight, but gets no successes. That's going to hurtthe knight col
lapses to the ground, screaming m pain.

Thorn completes the Bunk jbr his IHagfare cast- I

ing. He manages to get four successes, opening a 1

portal into the Hear Dreaming. In an effort to

protect Thorn from the incoming knights, lenni-

fer sags that Emma drains her chimerical dagger and

Stands readg to parrg ang attack.

The second knight jabs

at Dorian. lan rolls the

knight's Dexteritg +
Melee and scores ttoee
successes. Ethan rolls
Dorian's remaining; dice
for a parrg and scores
onlg one successthe
knight's attack is a success. For damage lan
rolls an amazing seven
successes!

Ethan makes a Soak roll

for Dorian. Dorian has a
Stamina of five and has
tuio levels of armor for
his chimerical chainmail,
giving him a total of
seven soak dice. Ethan
rolls 2, 2, 3,4,4, 5, 5

only one success! Htfortttftatelg Dorian had

taken ofle Health

Level of damage in an
earlier battle, so he i
incapacitated.

Y0e/ CAN'T HELP

HI/V\ NOW! HE WILL
BE FINE!

SURRENDER
NOW, AND /E WILL
NOT BE HARWED.

NOW THE REAL

ADVENTURE
BEC5INS....

Because he has been Incapacitated bg chimerical damage, Dorian reverts to his mortal seeming, noui apparently unharmed but unconscious. Ithan refers to the Hists Chart to determine houi long Dorian mill remain unconscious. Since Dorian's Banalitg is 6, he fliill remain in a coma for at least a meek. ;

Thorn manages to utin the initiative on

the next turn, bat Emma seems paralazed bg her friend's defeat (actuallg
Jennifer botched her initiative roll
for this turn and must go last). lan decides that Thorn will trg to pull Emma
through the portal uiith him. Homever, he gets onlg a single success, so
lan sags that even though he is successful, both of them tumble to the
ground. He also asks Jennifer to make
a Dexteritg roll to see if she holds
onto the Masque and the dagger. She
gets onlg one success, so lan rules that
She must drop one of the itejjjf *--,
Jennifer chooses the dagger.

Taking advantage of thelituation, Emmlticks

,at the knight Jennifer states that she isnl|
trging to knock the knight back through tie
portal and not do ang damage. She gets four
successes in her attack, uihich lan judges tp
be enough to knock t le sidhe back.

One Jf the sidhe knights step! through

the portal and, seeing the tuio apfiaf*
entlg helpless on the ground, orders
their surrender.

This tale's a fragment from the life of dreams.

Samuel Taylor Coleridge, "Phantom or Fact?"
Once upon a time, when the world was young and dreams
were new, the border between myth and reality was less clearly
drawn. Before the cold light of logic "explained" the universe in
rational, quantifiable terms, people stood awed and bewildered
by the natural world and its creatures. Instead of science, they
used stories to explain the cycles of the seasons, the alternating
rhythm of day and night, the stark finality of death and the
miracle of life. As children, we shared this sense of wonder at the

world around us, making up our own reasons for why thunder
and lightning happened, why trees lost their leaves in the fall
and why the moon and stars looked so small. We believed in the
stories told to us, whether they were fairy tales or religious

parables. We dreamed and lived out our stories every day.

Later, as we grew older and learned the facts of life, the
world grew less magical and wondrous. Darkness, nightmares and thunderstorms lost some of their terror and much
of their grandeur.
Changeling is a storytelling game that allows you to tap
into the roots of wonder and rediscover the world through the
eyes of legend. Changelings are creatures of imagination

swaddled in cloaks of flesh and blood, trapped in guises of their

own making. Separated from their true lives in Arcadia, the
Kithain are only occasionally able to taste the Glamour they
once knew as the living embodiments of dreams. In many ways,

the lost children of the fae are metaphors for our lost youth,
and the World of Darkness mirrors the heartless society to
which we are all so resigned.

By surrendering to the call of imagination, by daring to

dream new stories, we can recapture some of our lost innocence.
We can learn to laugh again, and to weep for not all stories
have happy endings and most of all we can learn to remember. It is your job, as Storyteller, to guide the players along the
path that lies between memory and forgetfulness, between
dreams and reality, between wonder and Banality.

The SroRyrelleRS Role

Throughout the ages the storyteller has been one of the
most respected members of human society. Serving as the
repository for tribal history and wisdom, the storyteller
remembered and told tales of heroism and hardship that

shaped the character of the tribe. Creation myths, stories of

the gods and tales of great champions all served to instruct

listeners in the values and practices of the society. They

also served as entertainment.
The role of a Changeling Storyteller is more complex,
though less controlling. Today's Storyteller expresses her art
through storytelling games. She must design the plot, play the
parts of others whom the characters meet and respond to
whatever actions they take. However, the game's players also
have a role in creating (and significantly changing the outcome
of) the story. People have always responded well to stories that
feature them as the heroes. They delight in hearing their names
used and being asked what they want to do in certain situations.
ChapceR Nine: SroRyrelling

259

In fact, Storyteller games take this one step beyond once the
scene has been set and the basic plot set in motion, it is up to the
players to resolve how events turn out. From the bare bones of
a story, players and Storyteller work together to create some'
thing new and potentially wondrous.

CDainraining InreResr
You must understand your players as well as the characters
they create. Some play to gain a sense of power; others game for
the social aspects of being with friends. Many players use

You also need to prepare Storyteller-controlled characters. Each character should be memorable for one reason or
another one has hair like Little Orphan Annie, another

smacks her gum nonstop, the bald guy has a liver spot on his
forehead, the other has aftershave that smells like pine trees.

Players should get a sense that these characters are more than
just cardboard cutouts.

Settings should be given as much life. Saying that the

puzzles and riddles or the chance to use their wits to overcome

characters enter a dentist's waiting room is far less effective

than describing the room's broken-down couch, the smell of
disinfectant lingering in the air, and the high-pitched buzzing
of the dentist's drill. The more evocative your descriptions are,
the more believable the scenes and characters will be to the

tricky situations. Many players simply enjoy talking in character

players. Unless you are a whiz at extemporaneous descriptions,

and engaging in political infighting or witty repartee. All of

this too takes preparation. It isn't that difficult, though it is

best to write everything down and keep it on file. There is
nothing more frustrating for players than to have their characters return to a place they know and be confronted with a
totally different setting, inhabited by characters whose names
have mysteriously changed.

roleplaying as a means of wish fulfillment. Some prefer stories in

which fighting deadly foes takes priority, while others like

these different desires must be juggled and given some space in

the game. Each player deserves time to do what she likes best.
Luckily, it is fairly easy to accommodate all of these desires, and
placing them at different points throughout the game strengthens the story and differentiates between scenes, making them
more than ongoing series of fights or puzzles.
Fundamentally, it is your job as Storyteller to see that each
player gets his share of attention. While many players are vocal and
aggressive, some are shy or have difficulty putting their ideas into
words. You should know your players well enough to step in and
ease wary ones into the action, either by having their characters

notice things that busier characters miss or by focusing a part of the

story around information or special interests the quiet players'
characters possess. A player who is not kept involved in the story

GnviRonmenr
Before beginning play, prepare the area where you will be
playing. Make certain there are chairs for everyone, tables or
other flat surfaces (for the rolling of dice), character sheets and
sufficient light. If the session is scheduled to last more than an

hour or so, refreshments might also be provided, though you may

ask that consumption take place during a preset break. Nothing
is more annoying than trying to set a mood while someone is

Even though the players help create the story when they

rattling a bag of potato chips. Ideally, nothing in the environment should distract the players.
Aside from these mundane preparations, you should gather
any props and reference materials that you'll need during the
session. Also consider whether you'll need music, lighting
changes or anything else to enhance the quality of the game.

play, they cannot create the background or people the story with

Establish some way of signaling that the story is beginning.

characters to meet. The Storyteller must make preparations

Lighting a stick of incense or a candle, putting on an appropriate

tape or CD, reading a poem or quote from a book, or simply
saying, "And we begin...." can all be signals for the players to
quiet down and give the game their undivided attention.

quickly loses interest and either drops out of the game or, worse yet,
remains in the game but says and does nothing. Boredom is the
real-world Banality that can spell death for your stories.

PRepaRorion
before running a game.
This doesn't mean that you should create an inflexible
script that pushes characters in one direction and forces them to
adhere to your preconceived story path. Rather, you should have
an overall idea of the story that you want to tell and have several
possible ways of responding to the characters' choices.
Sometimes in fact, most of the time the players will
decide to do something so extraordinary that you never conceived of any storyline to cover such an eventuality. In such a
case, you must roll with the punches and go in the newly
unexpected direction (taking notes so you can analyze the

possibilities later), either finding some way to return to the

original plotline or saving it for later. Further thinking may
reveal tie-ins that you would never have conceived on your own,

but that strengthen the overall story. Players like to feel that
their actions and decisions have a real impact on the game, and
incorporating their ideas lets them know you are willing to give
them control over their characters' destinies.

260

Changeling: The DReaming

SroRy Ideas
At the source of the longest river
The voice of the hidden waterfall
And the children in the apple-tree
Not known, because not looked for
But heard, half-heard, in the stillness
Between two waves of the sea.
T. S. Eliot, "Little Gidding," Four Quartets
There are hundreds of sources for story ideas. Books, plays,
movies, television, fairy tales, news stories, overheard conversations all of these can provide rich fodder for countless stories.

Even old stand-by tales can be revamped and enjoyed. Rather

than having a dragon kidnap the princess, have a psycho kidnap

someone's sister. Better still, let the character's sister disappear

while traveling abroad. Tracking her down, the characters find

that she's been kidnapped by a wilder duke, who adores her.
How will they handle that? Rescue her, Rambo-style? Diplomacy? What does the sister think about all of this? And what if

the kidnapper is Unseelie while the sister is Seelie, or what if she

is only mortal kin who has been enchanted by him?

It is just as easy to take a setting as a plotline and use it to

power the story idea. A story placed in a setting like that of the

movie Cliffhanger would emphasize the difficulties of the

terrain and weather, while one set aboard a cruise ship would
raise problems with the passengers and the question of how to
escape on the high seas.
Storyteller-controlled characters are another source of inspiration. Obviously, this is so when a great villain is involved
(particularly a recurring one), but even nonthreatening characters can present obstacles to the characters. Perhaps the duchess
doesn't care for pooka. How will the characters (who have two
pooka among them) ever manage to persuade her to help them?
Finally, there are the heroes of the story themselves. Working from the characters' histories and backgrounds, you can
create stories that are tailored to the characters and designed
either to showcase their strong points or to play on their

weaknesses. This can be one of the most rewarding sorts of

stories, for it shows the players that you are paying attention to
them. If one character is showcased in one story, however,

subsequent stories should focus on someone else, thereby giving

everyone a chance to shine.

Clements of Changeling
So the darkness shall be the light, and the stiffness the dancing.
Whisper of running streams, and winter lightning.
The wild thyme unseen and the wild strawberry,
The laughter in the garden, echoed ecstasy
Not lost, but requiring, pointing to the agony
Of death and rebirth.
T. S. Eliot, "East Coker," Four Quartets
As in any of the Storyteller games, Changeling has
story elements that help define and enhance it. Many of
these elements are woven into the background of the story
being told, and often the players will not even realize
consciously that these elements exist. Without them, however, the story lacks cohesion and direction, no matter how

cleverly the plot itself is constructed, and you will miss the
grandeur and depth they evoke.

Theme
Themes are unifying ideas around which stories may be
built. Whether they are simple ones such as "we must all work

together to survive," or complex, universal ones such as "rationality has killed the romance inherent in the human soul,"
themes provide anchors for the plotline and touchstones for the

ChapreR Nine: ScoRycelling

261

characters. Thinking about different ways to express the theme

in setting, events and characters can provide you with numerous

storylines, plot twists and subplots.
There may be more than one theme in a story. Combining two or more similar themes can often bring them into
sharper focus and give each greater resonance. Conversely,
themes that seem to be working at cross-purposes may often
strengthen one another through their j uxtaposition. Changeling, as a whole, has several recurring themes: alienation
from both the "untainted" fae and normal humans, walking

a tightrope between the world of Banality and that of dreams,

the wonder of imagination and the Dreaming (amazement,
awe and sadness for its loss), the terrors and joys of creating
dreams that take on substance, and the erosion and eventual
death of childlike innocence. These are but a few of the
themes inherent in the setting, yet each holds the possibility

for dozens of other variants.

Isolation/Alienation
Changelings are orphans, exiles from Arcadia. Though
born into human families, they are not human. They are
beings of dream and nightmare, each born of a unique story.

They live in an invisible world no human can see. No one

understands them; many of them don't even understand themselves. Under Banality's relentless assault, they gradually lose

touch with their faerie sides and forget who and what they truly
are. Very few make it to adulthood, for Banality stalks them
like the icy breath of winter and because they are touched
by Banality themselves, their true fae brethren see them as
tainted and lesser beings.

Family
Because changelings do not remember their ties of kinship to other changelings, each is in some sense an orphan,
without a true family. Each changeling must craft a family of
kindred spirits. Fosterage the adoption of a changeling
into a faerie household provides a substitute for a birth

family, sometimes the only substitute. Other changelings

form close ties through oathbonds.
The question of family is the fundamental question of
childhood, thus it is a dominant theme of Changeling. How
does a changeling relate to his human family? What kinds of
problems arise among human families with changelings in

their midst? It is possible that changelings may work even

harder to promote harmony within their mortal families
because of their sense of "difference." The dramas of the
Greeks, the plays of Shakespeare and many modern works
revolve around the dynamics of the family one of the most
powerful and universal themes of all.

Romance
Fairy tales and troubadour ballads abound with tales of true

love and unrequited loveprinces who awaken princesses with

kisses, lovers who share enchanted fruit, and fairy queens who
steal the hearts of mortal knights. Certainly Changeling reflects
those stories. It is a world of epic legends, and romance is its

262

Change! inry: The DReaming

lifeblood. Courtly love has its place in changeling society, and

a hopeful suitor might be set to a series of seemingly impossible

tasks that he and his friends (the troupe) must fulfill to win his
love's affections. No changeling lover ever accepts a suitor
without demanding proof of that suitor's love. Great love stories

have been interwoven through many of the most enduring tales

do; nobody else is chased from the house by their own nightmares. How else can you define insanity?
When changelings forget what they are, or fall so far into
Banality that they have difficulty reasserting their faerie na-

tures, madness is a logical explanation to them. In a world

where no one believes in the truth of their existence and where

(Arthur, Lancelot and Guinevere, or Tristan and Isolde), and

all the most wondrous things are ephemeral, how can anyone

including some aspect of these in a Changeling story may

retain her sanity?

provide just the background needed to set the tone.

HuTDOR

(JJondeR
When you think of changelings as children, everything
begins to make sense. Children display a wide-eyed wonder
and nonjudgmental acceptance of the most unbelievable things.
Anything and everything is possible to a child: Santa Claus
and his reindeer fly through the winter sky bringing presents to
good boys and girls, daddy is going to win a kajillion dollars in
the lottery, Bethie is really a princess in disguise, and that little
brown acorn is actually a best friend named Terwillikin. All
children share an innocent hope and belief that they are really
immortal and that wishing on a star can make anything

Changeling stories should never be unrelentingly serious

and dark. Lusty satyrs, lying pooka and nasty redcaps all have as
great a role to play as the most genteel sidhe, and interactions
among commoners and nobles can lead to hours of amusement.
Think of Shakespeare's A Midsummer Night's Dream, with its
gleeful pranks, and you have a pretty good idea of faerie humor.

Of course, in the hands of certain kinds of changelings, humor

can be quite vicious. Imagine Kevin, the child from Home Alone,
as a redcap.

OOoodfs)

happen. Changelings do too. Their world is peopled with

We're the mystery of the lake when the water's still,

fantastic beings, including themselves. They can create chiWe're the laughter in the twilight,
mera out of their imagination, and their dreams take shape and
become real. Changelings are immortal, though their human

You can hear behind the hill.

bodies age and die, and wishing on a star just might be the key

We'll stay around to watch you laugh,

Destroy yourselves for fun.

to unlocking ever more fantastic delights.

NighrmaRes

But you won't see us, we've grown sideways to the sun.
Horslips, "Sideways to the Sun"
The mood of a Changeling story is a combination of setting,

No fairy tale would be complete without a terrible foe or

magical beast for the heroes to battle. Just as changelings can
create fabulous and marvelous chimera, so can their darker

ambiance, presentation and situation that evokes an emotional

emotions and dreams escape their control and run amok. Though
these creations might have no substance in the real world, they

brooding, ominous or bawdy. In many ways, the mood and

can harm changelings and send them reeling back into the
protective clutches of Banality. And sometimes the foe is not
chimerical powerful changeling enemies may oppose the

characters, or worse, Banality may be creeping upon them in far

less fantastic (but far more deadly) forms, such as incarceration

in a mental institution.

pReedoTD / (JJ i Idness

Changelings are spontaneous beings. Many are primitive
and wild. They are creative, given to new ideas (how could
they not be when each is to some degree the physical representation of a dream?), but while they often promote beauty and
freedom, they can as often be wildly destructive and potentially harmful. Some changelings don't know the difference

response in the players. It may be merry and carefree, dark and

theme work together, one serving to anchor the other.

The nature of the mood is often subordinate to how it is

used. A tale of whimsical tricks and pranks would be ill-served

by a mood of somber sadness, and a story of desperate pursuit

racing against a time limit would not work if set in a mood of
mirthful slapstick.

It is best to set the mood from the very start, either through
music, lighting or tone of voice. Playing a lively song might cue
the players that the story will be fast-paced and light-hearted.
Lighting a candle and incense, striking a bell or intoning a

solemn chant could serve to begin the session and let the players
know that the mood is serious and mystical.
Maintaining the mood can be harder than establishing
it. Some players invariably try to break a serious or scary

between the two extremes, but like selfish children serve their mood by joking or talking out of character. Many such
players are actually embarrassed at their own emotional
own whims at others' expense.
responses, and are trying to make light of them. Concentration on the mood and a refusal to break the tension can
CDodness
What happens to changelings who never discover their sometimes bring such players back into the story. If all else
true heritage ? Worse still, what if they or someone close to them fails, just ignore the player's outburst and keep going. Players
believes them mad? After all, nobody else can see the things they who are involved in the story and mature enough to appreci-

ate the power of mood will work to keep it intact.

ChapreR Nine: SroRyrelling

263

Suspension oF Dis&elieF
Players must immerse themselves in the story without feeling
foolish or self-conscious. They must also believe in the details of
the story being told. This doesn't mean they must literally believe
that giants exist, but only that they must be willing to suspend their
disbelief for a time. Thus, you must create and evoke a believable

world and then draw your players into it.

Changelings do not exist purely in mundane realitythey
also exist in places that are free from the constraints of normalcy

and Banality. They interact with amazing beasts born of dreaming and shaped in fantastic and horrific ways. Faerie freeholds
and chimera are places and beings made from dreams. It is
essential that you use great care in describing these places, for

dream creatures and dream weapons are as real and solid to

changelings as any car or skyscraper. Players must accept the
reality of chimera and faerie Glamour in order to experience the
full depth of fae existence. It is up to you to make it real to them.
One of the best ways to do so is to use all the senses when
describing the scene. Though we tend to get most of our
information through visual cues, other sensory input is crucial
to making something feel real. Describe the warm, luxurious feel

of a changeling's fine velvet cloak; the cold, constricting touch

of his chainmail; or the icy chill of Banality pouring forth from
a cold iron weapon. Emphasize the birdsongs on a lazy, sunny day

or the strange rustling in the underbrush. Tempt the players

with the thought of tasting lemon sherbet or the salt spray from
the ocean. Try to make them smell freshly baked bread or the
stench of the wounded and dying. Better still, bring a piece of
velvet or a feather to the game and pass it around, play an

environmental tape softly in the background, light some incense or bring a carton of lemon sherbet to the gaming session.

ConFlicr
The heart of any story is conflict. No one cares about a story
in which a girl walks to the store and buys a loaf of bread.
However, if she is a starving orphan trying to feed two younger
siblings and she makes her way through a snowstorm despite her
broken leg, the story is more likely to hold our attention.
Conflict does not necessarily imply combat; it simply means

that there are obstacles to be overcome. In Changeling, many

different kinds of conflict are possible. Some of these are:
Seelie vs. Unseelie: This is the classic dichotomy of the fae
the essential, fundamental battle. The conflict might be

between opposing courts or an inner struggle to assert one's

dominant nature over one's unconscious nature.
Changeling vs. Mortal: This conflict might be the battle

between the changeling's faerie and human sides; alternatively,

it might involve conflict with Banality-infected mortals or
hunters seeking fae trophies.
Changeling vs. Vampire: Changelings believe that vampires are the descendants of a bloodthirsty, mad faerie. As halfliving/half-dead beings, they are repositories of Banality and
have forgotten their faerie origins. They are seen as traitors
and dangerous foes.

264

Changeling: The

Changeling vs. Werewolf: Werewolves are believed to be a

race of changelings, and though they have left the company of
their brethren, they are always welcome back. Because of their
ferocious battle against the darkness, however, they have been

struck by Banality and are divorced from the Dreaming. Werewolves

and changelings occasionally compete for wild areas.
Changeling vs. Mage: A few mages were once changelings
themselves, but have become lost in their own paradigm. Some
mages are friendly toward changelings; others want to harm
them, destroy them or experiment upon them.
Changeling vs. Wraith: Once changelings could bring
the souls of dead artists to the Dreaming and let them go on
creating after death. Now the realm of the dead is a closed and
terrifying place. Who knows what strange plans the legions of

the dead might have?

Grump vs. Wilder vs. Childling vs. Themselves: The

generation gap is keenly felt even among the fae. Crumps are
responsible and trusted, though filled with Banality. They see
wilders and childlings as irresponsible and untrustworthy. Wilders

have begun to taste Banality and feel the beginnings of the aging
process. They struggle to maintain their youth and beauty,
battling wildly against grumpdom and resenting the freedom

and innocence of childlings. Childlings resent the control their

human (and sometimes faerie) parents exert over them. Each
group has its goals and desires, and these can conflict sharply.
Each group is also prone to internecine feuds. Some change-

lings may even be at war with themselves, hating their mortal

seemings or recessive Legacies.
House vs. House: Though the sidhe are powerful, they do
not always get along. Many resent House Gwydion's arrogance,
and some believe House Liam ought to be eradicated altogether.
Lesser families with ties to the noble houses squabble more than
their patrons over rank and privilege.
Noble vs. Commoner: Many commoners see the sidhe as
outdated, unnecessary busybodies. For their part, the nobles
hardly know what to do with common faeries who no longer
know their proper place in society, but instead insist on something called democracy!

Ravagers vs. Muses: Many changelings believe that

there will always be more Glamour to be had. These changelings, known as Ravagers, are despised by those who believe

that Glamour is gradually disappearing from this world. At

some point in their lives, however, most changelings find
that they must Ravage in an emergency situation. How does
one deal with such need?
Changelings vs. Banality: One of the main occupations of
changelings is keeping Banality at bay. Autumn People serve
Banality without knowing it, while Dauntain actively hunt

changelings (whether they recognize them as such or not).

Changeling ChRonicles
and rhe HCROS JouRney
In Changeling, you are telling a grand story, an epic story that
should be filled with mythic resonance and wild adventure. One

way you can imbue your stories with this kind of epic feel is by

understanding mythic structure. Although there are certainly

many ways to put together a rousing story, it is difficult to do so
unless you know the way that myths are usually constructed.

One kind of myth structure is called "the Hero's Journey,"

and is an archetype for many adventure and fantasy stories. Even
if you don't force a story through a specific sequence in the

Hero's Journey, you can pick and choose elements from it and
thus enrich your game.
The Hero's Journey is easier to understand if you think of
it not as a single specific story, but as an archetype for a story.
If you are just starting out storytelling, you may want to try
creating a very basic chronicle based very specifically on the
Hero's Journey. A strict structure will keep you focused and

keep your players interested, as they feel the age-old excitement and power of the myth.
The Hero's Journey has 12 stages, which, though they
traditionally fall in a specific order, may be arranged any way
that seems appropriate to you as a Storyteller.

1. The ORdinaRy (JJoRld

Our heroes (Elham, Vivianne and Gavin) are found in their
Ordinary World: a local bar. The night is boring, things are stable,

nothing much is going on. Little do they know that things are about to
change. The bar closes, and they make their way home.
Description: The mundane world and Banality are perfect

for highlighting this stage. Certainly, changelings must regularly return to the Ordinary World whether they like it or not.
It is important to establish the Ordinary World, thus providing

contrast to the magical world of fae wonder in which changelings will be participating.

Suggestions: Set this stage in a home, a workplace,

anywhere that's calm, boring, secure. Of course, if the character is strange, let his "Ordinary World" also be strange. A
character's prelude is very, very important when establishing
his Ordinary World.

2. The Call co AdvenruRe

Suddenly, a group of UnseeUe attack! Black arrows fly everywhere, but before the characters can respond, the UnseeUe bowmen
are gone. Why did they attack? What's going on?
Description: Suddenly, something happens to warn the
characters that things will never be the same again. A new
element enters the story, and the characters realize that their
Ordinary World is no longer insulated from reality and change.
The king orders them to investigate something; one of their

friends is kidnapped; an ancient treasure is found.

Suggestions: A Call to Adventure should be something
that very clearly and simply involves the characters. This is
crucial if you want to get them into the story. The Call to
Adventure can be subtle, but should always be noticeable.

3. The Refusal oF rhe Call

"Shouldn't we go tell the duke about this?" Elham asks. "Nah,
kt'snot get involved. Besides, it's dangerous," Gavinsays. "Let'sget
ChapreR Nine:

265

out of here!" Vivianne says, running. The characters flee back to the
safety of their apartment.
Description: Even though the Call to Adventure has been
made, our heroes are reticent to leave the Ordinary World. They
refuse, turning away from their destiny. But only for a time
their destiny awaits them in the form of a mentor.
Suggestions: This stage largely depends on the characters'
own reactions. Still, you may voice the refusal through Storyteller characters. Of course, another kind of Refusal of the Call
is to denigrate what's going on: "Gee, that's not really too bad.
What's the problem?"

"Just as I thought," Viwanne sa;ys, barely suppressing a shiver

as she senses what is within. Gavin's penlight shines down on the flinty

4. CDccring uiith the CDenroR

prey. "Greetings, and welcome to my humble abode. Unfortunately

The old eshu Gregory waits for them in the darkness of their
apartment. Though Unseelie, the wizened grump is highly respected. "You wilders don't understand what you're involved
with, do you?" he says, moving through the room, staring at the
heroes one by one with his midnight eyes. "The Thunder Lords
have targeted you for destruction."
"What have we done to them?" Vivianne asks.
Gregory's voice rolls out of the darkness: "Why, my friends, it
is not what you have done, it's what you will do that concerns the
Lords." He pulls his cloak tightly around him. "They have foreseen

your destiny, and it pleases them not...."

Description: A mentor appears to explain the Call to
Adventure and set the characters on their journey. The mentor
character is usually older and wiser or more powerful than the
characters, although this does not have to be the case. A mentor

is someone who helps the characters learn their new standing

now that the Call has taken place. A mentor may even be a
thing: a book, a map, a treasure anything that helps the
characters along and sets them on the path to adventure.
Suggestions: Fight the urge to give away a lot of the plot
through the mentor. Mentors are their own characters
frequently they are heroes who have already made their own
personal journey. Although mentors will occasionally accompany the heroes into the story, they will frequently vanish

without warning. Do not let the characters turn the mentor into
a crutch. The character is a facilitator, but shouldn't do the
players' thinking for them.

5. Crossing rhe FiRsr ThReshold

I1 is late at night. The chain on the door to the warehouse parts easily
with pair of bolt-cutters. "Are you sure about this?" Gavin asks.

"Sure about it? Hell, I'm not sure I should even be here. But
we have to find out what the Thunder Lords have planned,"
Vivianne whispers.
They step quietly into the old warehouse. Crossing to a stack
of crates, they make their way around them, following the dim light
of the EXIT sign in the far left corner. A tiny penlight flashes on in

reflection in the box.

Elham curses under his breath. "Cold iron swords! This time the
Shadow Court's gone too far."
The lights in the warehouse suddenly flare on, illuminating, every

shadow. A man no, Kithain, definitely in a black trenchcoat

steps forward. As he does so, the three heroes hear the click of three
crossbows, strung and cocked, a second before three more Kithain
surround them on all sides.

The Kithain in the trenchcoat smiles wickedly at his captured

I cannot ask you to stay for hospitality...."
Description: Crossing the First Threshold is the entrance
into the Special World, the part of the story where things start
to get strange and dangerous and remain that way until the
characters leave the Special World in Stage 10, the Road
Back. Clearly the characters can no longer return to their
quiet, private lives. Now they must confront the Guardian of
the Threshold, a character who represents the danger they
face. They must defeat the Guardian, or circumvent him, to
continue. For the first time the characters must confront the
fear they sensed in the Refusal of the Call and move through
that fear to the Special World.
Suggestions: This is a stage where many Storytellers feel
the need to threaten the characters. Resist the urge to threaten
them so much that they die. Still, you can go quite a fair way
toward endangering them and then offer an escape route
should they near death. It is a good idea to use the First
Threshold as a means of introducing either the central antagonist or her plans if nothing else, it should foreshadow the
kinds of conflict to come.

6. Tesrs, Allies, Gnemies

At the Toybox Cafe, the characters relax. "Good job getting us
out of there, Viv," Gavin says, still rubbing the wound where the cold

ironbithim. Vwiannenods. "I'm worried that the Thunder Lords are

going to try to stage an assassination what if they go after Duke
Aeon?" she says quietly. "We need to find more about them. I wish
we could get data on that truck they escaped in," Elharn adds.
"You kids, don't you know anything about operational security?" grumbles a troll in the corner. He is obviously an old one, a
grump, wearing a ratty old Army coat. Stepping over to their table,
the immense Kithain extends his hand to Elharn, who shakes it firmly.
"M'name's Tor. You may have heard of me. You folks shouldn't

oughta be talkin' 'bout the Lords here this is near their turf and,

Gaw'n's hand. "Look at all these boxes of gardening equipment. 1

well, the walls have ears. Why don't you meet me in the park in 20
minutes? Make sure you're not followed," Tor says, quietly and
evenly. He smiles at Elharn and, without another word, exits the
Toybox as unobtrusively as he came in.
Description: This phase sees the characters gaining new

thought you said," Gawn begins.

"Heh!

information about their journey, finding new friends, falling

Garden equipment? Yeah, right. Look at this. " She places the Stone

into crises and generally getting into trouble. This is the longest
stage of the 12. Care should be taken to give tests, allies and

Vifianne scoffs,
1

of Opening on the cratetop, and the wood creaks as the nails loosen
and the top comes free.

266

Changeling: The DReaming

enemies a structure of their own. It's a good idea to set this phase

in a bar or open area to take advantage of the wealth of character

interaction opportunities. Your job as Storyteller in this phase
is to educate the characters about the Special World they've

is only a symbolic death, the characters must "bottom out"

and face the greatest darkness.
Suggestions: This can be a very depressing time for your

entered, introduce them to the players of the story (if that hasn't

players. Make sure that you don't torture them too long with

yet happened) and give them an inkling of what's to come.

Suggestions: This is the stage where you can bring in the
character's Backgrounds, especially Backgrounds like Contacts,
Retinue, Dreamers, Resources, Mentor and Gremayre. You
should challenge the characters, present enemies and give them
the allies they need during this phase. The characters should
obtain more and more information about the story and learn of
the impending crisis.

it. However, remember that the bleaker you make the

Supreme Ordeal, the more exciting and triumphant the last
few phases will be.

9. The RecuaRd
"Well, Blackthorne, you've defeated a new knight. Are you
ready to fight an old man-at-arms?" Tor asks, stepping from the

"I've got a bad feeling about this," Gavin whispers. Vivianne

scoffs, "Please, you sound like a bad pulp fiction novel. Keep quiet.

shadows and bringing his huge battle-axe to bear. "Why, Sir Tor,
what a remarkable surprise. What brings you here?" Blackthorne
says, his voice not at all pleasant. "I am here as a witness, a witness
to your treachery. You are undone, dark lord," Tor rumbles. "I'm
afraid it is you who are undone, Tor," Blackthorne counters. "My

Remember what Tor said this place is swarming with chimera! "

crossbowmen are aiming at your heart even as we speak."

The characters make their way through the dark redwood forest,
toward the hidden Unseelie fortress there . Little do they know that
they are watched by numerous dark eyes in the trees, eyes that report
back to the Thunder Lords themselves .
"What's the name of this Unseelie lord who lives here?" Gavin
asks. Elharn rumbles, "Blackthorne . He is said to have a personal
harpy chimera who serves him ." "A harpy ? " Gavin asks querulously .

"Call them off, Blackthorne!" Vivianne growls, pressing a

cold iron dagger to the knight's back. She smiles as he freezes and
lifts his hands slowly into the air, motioning the black-liveried
crossbowmen to withdraw.

"Gee, I'll just go get a beer and wait for you guys, okay?"
Description: Your characters finally understand what they
need to accomplish. They have found all the pieces of the puzzle
during the previous stages (especially Stage Six); now diey just
need to put the puzzle together and act on it. In this stage, they
prepare to descend into the Underworld, the belly of the beast, the
Inmost Cave, where their very souls will be tested. Unlike the First
Threshold, this is a very real danger that lies in front of them.
Suggestion: This stage shouldn't be too foreboding or heavyhanded, or the tension you are trying to build will be lost. During
this phase, you play on the characters' fears once again, trying to
get them to realize that this is the major focus of all that has come
before. If the characters aren't concerned at this point, they are
either foolish or you haven't done your job building the tension.

complete the story. Although the heroes have not yet completely won, all is not lost, and they are now closer than ever to

7. AppRoach ro rhe Inmosr Cave

8. The SupReme
" You should've stayed in yourownfief, SirKnight!" Blackthorne
sneers from behind his great helm-mask. The black sword in his hand
glows with an unearthly radiance. "My loyalty to Duke Aeon is

unquestioned! I will not allow someone to plot his doom!" Elharn

shouts, struggling to parry the great Unseelie lord's blows. Vivianne
watches from the sidelines as , seemingly in slow motion , Blackthorne
penetrates Elharn' s defenses and thrusts five feet of black chimerical

steel into Elharn' s breastplate. "Foolish boy, Duke Aeon is as good

as dead. Already I have placed a dagger at his heart have you've
met his newest personal guard? It is only a matter of time before cold
iron pierces that bastard Aeon's heart," Blackthorne gloats.
Description: This stage is the downbeat, depressing
part. This is when the heroes have seemingly lost all. The
characters face their greatest enemy, their worst failing, and

do not succeed. They are struck down, cut off, lost. Even if it

Description: Your characters have hunted the enemy into

his lair, faced death, and lived to tell about it. They gain vital
pieces of information or actual treasures that will help them

achieving their goal.

Suggestions: Don't dawdle in this stage; you want the

players to continue on to one of the most exciting stages: the
Road Back. If you hang out in the rosy glow of the Reward for too
long, you will find your story's momentum slowing and your
players becoming bored.

10. The Road bacfs

"I can't believe he let us get away," Elham says. "He didn't let
usgetaway. Don't forget his great ravens. They're somewhere in the
forest," Gavin says worriedly. "Take it easy, Elham," Vivianne
clucks. "Give the Heather Balm time to work."
"My truck is parked over in those trees, if we can make it," Tor
says, coming up behind them. Then, suddenly, all around them,
hundreds of cawing ravens swoop down in a swarm.

"Run!" Gavin yelk, diving for some underbrush.

Description: The Road Back takes place after the characters' central assault on the antagonist. They still haven't won
they're rushing toward the ultimate climax of the story. Usually
the Road Back is fraught with danger.
Suggestions: Keep the pace moving on this one make it
exciting. There should be movement, a stressful, adrenalinfilled chase. Don't let this part get bogged down with combat
that will kill your story's momentum.

11. The Final Threshold

"And so you see, Your Grace, Lord Blackthorne has been
plotting your demise for many weeks now," Tor says, his new charges
standing next to him.

ChapceR Nine: ScoRyrelling

267

The duke leans forward, his blond locks falling around his face.
how was this to take place?" he asks quietly.
"If it please Your Grace," Vivianne begins, "there is reason to
suspect the newest member of your personal guard"
"And

"I see. Have Corain brought to me immediately!" the

duke orders.

From above the hall, on the balcony, comes a reply: "No need,
Your Grace. I am already here. Now, if everyone would please step
away from His Grace. There is no need for anyone else to get hurt."
A sidhe by his look, Corain has the eyes of a cold-blooded murderer.
In his hands is a carefully cradled three-shot crossbow, its quarrels
tipped with cold iron.
Description: Even though the characters have come this
far and are almost near the end of their story, they must once
more come face-to-face with death and overcome it. They must
be threatened, purified by the final risk, the final danger. The
"final scare" common to many horror movies exemplifies this
stage. After this, they are "resurrected" the changes that the
story has wrought upon them become clear.
Suggestion: This is the climax of the story, so play it up.
Your players should be on the edge of their seats. You have
worked hard to get here, and you should enjoy the momentum
of the story you've created.

12. The ReruRn

"And so, in recognition of your protection of the person of His
Grace and the sniffingout of the vipers who would bringruin to this court,
I am pleased to announce that you three are to be initiated into the Order
of the Silver lion, for conspicuous valor in the servke of Duke Aeon.

May he always have such protectors!" Lady Alyssa, the chamberlain,

proclaims in open court. There is a great cheer, especially from the
commoners, as the three go forward to accept their tokens of honor.
Afterward, Tor brings them all aside. "The Shadow Court is
growing more and more powerful. I had not understood this until
today. Although the duke still ridicules it and thinks its members
buffoons, I think we have seen differently,"

Tor says softly to them,

lest they be overheard.

"What can we do?" Vivianne asks, fingering the silver brooch

that she now wears as a cloakpin. "There is but one thing to do, milady
Vivianne," Elharn grumbles. "We must clearly stand against this
newthreat. We must do whatever we can. We must stand fast against
the Shadow Court, wherever its power grows strong."
"Just as long as we don't have to go near those damn ravens
again! Geez!" Gavin chimes in. The other three share a quiet laugh

as the musicians strike up an air in the dance hall.

Description: The adventure is over, and yet there must be a
denouement. Rewards and recognition need to be given. Most
importantly, however, the characters need to realize how they have
changed and what they have accomplished. As well, you need to
establish the foundation for another story in ending this one.
Suggestions: This is actually a crucial point, so don't relax just
yet. Enjoy the moment, but remember that you must tie up all of
your plotlines and provide a satisfying resolution. Celebrations are
common in some stories, but you can still have a downbeat ending
if the story demands it. Let the story unfold naturally.

268

Chanryelintj: The DRcaming

Some Final Advice

on Using the HCROS jouRney
First of all, don't cling to the structure. Don't be too obvious

as easy as it sounds. Several problems could occur, from drug

dependency to money problems to marital strife to falling prey
to Ravagers. The characters must somehow preserve and inspire
their artist, either directly or indirectly.

A-Ravaging We Will Go

when you're using it. Mix it up a little, or a lot. Use the Hero's
Journey as a tool, not as a crutch. If you blindly follow its structure

Even the most scrupulously fair and caring changeling

from point to point, your story will seem hollow and unfulfilled.
On the other hand, get to know the structure well. Look at
popular movies and analyze their structure in terms of the Hero's
Journey. Movies like Star Wars and The Wizard ofOz are very
clearly modeled on this structure.
Finally, simply recognize that all stories do have a structure

occasionally finds herself in need of a quick fix of Glamour.

Ravaging is often the only answer. This can be a quick-and-dirty
swipe job (leaving the characters feeling guilty) or a joyous bustout party where everyone has a blast and the victims wake up
with headaches and a temporary increase in Banality.
Righting Wrongs, Battling Beasties

of one kind or another. When you stop just throwing together

The quintessential fairy tale or hero's quest may be unabashedly offered for an evening's entertainment. Whether

encounters and actually create a coherent story using a structure, you encourage your players to respond emotionally and

build their expectations for the next story you tell.

StoRy Conceprs

rescuing a damsel in distress (imagine combining Changeling

with elements from the film Speed) or rounding up stray chimera

that have broken loose from the characters' dreams (oops!), this

one is for action fans.

Defending the Homefront
In this story, the characters must defend a faerie freehold or

These are a few ideas for stories. Not all of them will suit
every group, but feel free to experiment with them to achieve
the ends you desire.

In The Shadow of the King

Every noble has a "tail": a retinue of courtiers, knights,

trod from attackers. This could involve a straightforward battle

or might become a battle of wits against city planners bent on

bulldozing the area. For a true threat, have the usurpers be wily

servants and sycophants. This retinue is a hotbed of intrigue. In this

vampires or mages.

story concept your characters become immersed in the backstabbing

and social machinations of the court. Is murder in the offing?Noble

Mysterious Happenings
The characters must investigate a mysterious disappearance either of a person or object and hopefully retrieve
whoever or whatever is lost. Another changeling may have
taken the object of their quest; alternatively, a normal human
may have made off with a powerful and potentially dangerous
artifact that he thought was a mundane item. Dauntain may
have kidnapped another changeling to question her about her
friends. The characters must recover the missing person or item

characters have an obvious edge, but commoners (because of their

social invisibility) have a different sort of advantage.

The Lost Ones

A community of changelings has not been heard from in
some time, and your lord requests that the characters stop by to
see what's up. It may be nothing they may just be busy but
when has that ever been so ? The Escheat demands that changelings be retrieved if they are lost. What will your characters do
to get the community back?
A Pooka's Request

A respected pooka shows up at the characters' freehold,

offering great treasure and glory to any who care to throw in with
him.

What follows is a far-ranging quest for a chimera the pooka

swears holds the answer to a riddle he's been trying to answer for
years. Do you dare trust such an untrustworthy mentor?
Childling Found
A new changeling has been found a childling born to
very strict parents. She may even be abused by her family. Is it
right to take the child from her kin and if she is taken, who
will take care of her? What of the giant paulag cat chimera who
guards her and won't let anyone come near?

A Sword of 111 Substance

The characters stumble upon a shipment of cold iron in an

Unseelie motley's part of the city. Do they steal the shipment,

leave it where it is, or fetch one of the Seelie nobles?

The Search for Inspiration
The characters, on the lookout for new sources of Glamour,
find an artist or performer to muse. Nurturing talent isn't always

before irreparable harm is done.

Summoned to Court
The characters are summoned to a festival at the Seelie
(or Unseelie) Court. Proper dress is expected, though they
are allowed to bring their Harleys for the chimerical jousting.

Naturally, none of them knew until this morning that

the festival is a birthday celebration for the duke. Where do

you get a present for a guy who can create whatever he wants
out of thin air?

ChRonicles
A chronicle is really nothing more than a series of interconnected stories that tell a larger tale. Each story within the
chronicle tells a part of the tale, but the stories all taken together
make up the greater story. Just as with each story, the chronicle
should have an overall theme and mood, the characters should
remain consistent, the antagonists should be clearly defined
(though not necessarily obvious at first), the setting described
and the projected beginning, middle and end outlined.
It isn't necessary to plot out every story in the chronicle or
cover every eventuality. In fact, it is better to leave a lot of the

ChapreR Nine: SroRyrelling

269

A Quick (JJoRd A6our

Anragonisrs
: -Qhe of the most effective methods to make stories
memorable is to create great villains for the characters to

battle. But not all antagonists are villains. Many are

simply people who have differing goals or beliefs; some
are misled by circumstances or poor leaders. Real villains
should be few and far between; even in fairy tales, which
revel in symbolism and strict interpretations of good and

evil, things are not always purely black and white.

When you do create an actual dyed-in-the-wool,
black-hearted scoundrel, you should remember that the

best villains rarely think of themselves as such. They have

reasons for what they do and are the heroes of their own
stories (twisted as those might be). A madman bent on

worldwide destruction "just because" is not interesting; a

madman who wants to destroy the world because he
believes it's the only way to bring back the Dreaming is
far more compelling and believable. He should also be
quite cunning and operate logically (such as his logic may
be) to achieve his goals and defeat his opponents.

Intrigue
With so many possible factions (both at court and away
from it), there are numerous opportunities for intrigue. Intrigue
need be neither epic nor villainous in nature; it might merely be

the petty maneuverings of court toadies and flunkies. The

characters might be used as pawns in the schemes of one or more
rival factions, or they might turn the tables on the ambitious
courtiers and expose them for the plotters they are. Honor is very
important in changeling society, and exposing a traitor or selfserving individual could also involve defending a lady's honor,
engaging in duels or carrying sensitive documents from one

location to another. Possibilities for stories abound.

The Quest
Many good tales are stories of epic questsfor a particular
item or place, to discover a forgotten bit of knowledge, or to find
a certain person. Usually, but not always, there is some sort of
time limit involved (the heroes must make it to the Armageddon Bell before the stroke of midnight on December 31st or all
is lost), and a number of obstacles or conflicts are placed in the
heroes' way. The characters need not realize at the start that
they are engaged in an epic quest; many such stories start small
(old Bilbo gets a trinket from Gollum and passes it on to Frodo).
The Long Autumn

This chronicle could evolve in a number of different

middle ground fairly hazy, giving the players room to add their
ideas and deviate from the plot. As the stories unfold, you can
incorporate new elements into the overall design and strengthen
the original concept. Chronicles should allow for deviations
from the course you can always rope the characters back into
the main tale during the next session.
As the stories progress, however, it is important that they
become broader and broader in scope, with tougher villains, more
dastardly plots, grander settings and ever more vital goals. Each

story should be more compelling than the last, as the characters

move toward solving the final puzzle or overcoming the final
obstacle, and their actions should have greater significance. The
main issues raised by the chronicle must be dealt with in some
fashion, though less immediately important subplots can be left
unresolved to serve as starting places for new adventures.

ChRonicle Conceprs
Like the story concepts given above, these are just a few
ideas to get the Storyteller started. They are broader categories because they represent ongoing stories rather than oneor two-session adventures. Each may suggest other ideas for
variant chronicles,
The Saining
The characters discover that they are changelings. How
does this affect their lives? What changes will they make? This
kind of story is best for a first chronicle. It should begin with a
prelude in which each character discovers (or at least suspects)
her true nature. The chronicle may follow the characters through
the discovery of their true natures, the search for others of their

kind, and their tutelage under the local ruler's watchful eye.

270

Changeling: The DReaming

ways. Perhaps the characters are older changelings, weighed

down by Banality and longing for renewed vigor and inno-

cence. Is there some substance or magical item that can

restore their Glamour and erase their acquired Banality?
What about the creeping tide of Banality that is slowly
eroding all Glamour in the world? Can the characters overcome their own slide into forgetfulness long enough to
reverse the tide and bring real Glamour back into the world?
Tending the Seeds
As crime increases, taxes inflate and welfare benefits
vanish, the characters' home city becomes a brutal hellhole of
despair. Glamour begins to dry up, and even the freeholds'
balefires flicker and ebb. Banality rises to an all-time high. Is this
the Last Winter of the legends? Or is there hope for this
Glamour-starved city? Your characters must rise above their
apathy to help inspire creation, imagination and merriment, or
risk losing their precious freeholds.
A Call to Arms/The Peasants are Revolting
This dual chronicle can be played with two groups. One
group plays a band of commoners, the other a band of nobles.
The commoners have decided that the nobles aren't fit to rule
the Kithain and must therefore be removed from power. The
nobles, ever interested in retaining their rightful power and
sovereignty, have decided to react with force. Both groups fall
into open conflict, usually spilling over into physical violence.
One Storyteller can coordinate things between the groups,
although it's best to have two or maybe even three Storytellers
keeping track of events in both chronicles. Is it possible to find

some middle ground and thus reestablish peace? Or are the two
sides going to bash it out to the death?

 The Court of Love

It's springtime and the entire court is filled with the
strains of romantic love. Love affairs form, resolve, are
interrupted, broken and renewed. Soon politics are interwo-

Although melancholy always surrounds the end of

chronicle, it helps to remember that no story ever truly ends.
Each story simply forms the background for a new story. The

ven with desire and love, knotting into a complicated tangle

that no one fully understands.
The Mirror Crack'd
A giant magic mirror hanging in the liege's treasure
chamber has mysteriously shattered. All of the pieces of the
mirror, except one, have disappeared. The court treasurer
explains that the mirror contained 100 special dream-worlds.
After a little experimentation, the characters discover that

happily ever after until...."

their mirror-shard enables them to travel into some of these

dream-realms to hunt for other "exits" which should theoretically be located at places where other mirror-fragments
exist. Of course, then the characters have to negotiate each
shard's return, but that's up to them. Each dream-realm is more
exciting and strange than the last.

stock ending for fairy tales should really be "they lived

Advanced Techniques
Some people say that he's a fiend,
A devil in disguise ,
He'll promise love, and happiness,
Bright lights before your eyes,
And still you know you can't refuse,
No matter what you think.

You just got to taste the glamour,

Ovations as you sink.
Horslips, "Ride to Hell"
The following techniques are for those troupes who enjoy

Gnding a ChRonicle

more complex stories. They are particularly useful in Changeling, where dreams become reality and otherworldly magics

All stories must come to an end. Wrapping up a chronicle,

particularly one that has lasted for months or even years

and fantastic beasts are the norm. If used correctly (and

requires a special touch to make it memorable and satisfying for

all. The conclusion of a book or a film usually involves a

sparingly), these techniques allow the creation of stories that

no participant will ever forget.

significant confrontation (sometimes, but not always, a battle)

with the fundamental source of conflict, resulting in either

victory or defeat. Besides providing a convenient resolution,
this "final conflict" also serves as a catharsis in which the

emotions and tensions that have built up over the course of the
chronicle are finally released.
Unlike faery tales, which end with the phrase "and they
lived happily ever after," a chronicle does not always end so
fortuitously. In the World of Darkness, there is always a sense

When using this technique, you roleplay out a character's

dream. This dream can be specific to one character or shared by
the troupe. With either option, the characters take the roles of
beings in the dream either themselves or other characters
who might be symbolic or literal and act through the dream.

The dream may be like any other dream with strange settings ,
illogical events and people coming and going at random or
may seem entirely straightforward. The characters in the dream

that the enemy has not been entirely defeated. For changelings, the constant threat of Banality casts a pall on even the

may not have as much control over events as they normally

would, and may not even realize they are in a dream until things

happiest occasion and dampens the greatest victory with its

become overtly bizarre.

miasmic presence.

The truly wonderful thing, however, is that these dreams

might come true (usually in chimerical form). What happens
when every dream forms chimerical beings or alters reality ? This
is a good way to shock the players and put them off their guard.

The players should be left with a very real sense of accomplishment and satisfaction while keeping open the possibility
that some loose ends still exist. This can be done through a series
of denouements, or winding-down sessions, in which characters
finally have the leisure to consider their future. Will they stay in
touch with the friends and allies they have met during the
chronicle? Have romances blossomed between characters, and
will these liaisons wither when excitement no longer fuels their
passions? Will some characters be lost to Banality for a time?
Often, after a chronicle has ended, it is helpful for you to
sit down with your players and discuss the aftermath. If the

players wish to continue watching their characters develop,

they may have some ideas for new chronicles that can spring
from the glowing embers of the old chronicle's finale. You may
wish to take your turn as a player, creating a character to fit in
with the troupe and giving another player the opportunity to
act as Storyteller.

Flash&acrss
Flashbacks are a way to roleplay scenes in a character's past
and thereby present a new perspective on the current story. This
is a particularly valuable technique for Changeling stories,
because changelings are reborn again and again in different
mortal guises. Characters may not remember their last incarnation or even that they are changelings. Flashbacks may provide
clues to the characters' true natures, allow them to unravel plots
against them by heretofore forgotten rivals, or give hints to the
location of an artifact hidden in a prior mortal life. Old loves,
enemies, great friends and valued faerie companions can all be

introduced through flashbacks. The events that occur must be

controlled fairly strictly by the Storyteller, making the charac-

ChapreR Nine: SroRyrelling

271

s' actions and choices less free, but the flashback is primarily
intended to provide the characters with information, not to let
them change the past.

PaRdllel SroRy
Parallel stories are stories unconnected to the main story
being told, but which share a theme with the main tale. Players

are asked to create a new set of characters, or are given Storyteller-created characters to play. Though the parallel story may
be set in an entirely different environment or time (or even
involve characters who are not changelings), some aspect of it
will reflect upon the main story, clarify events within it or
emphasize its theme. Players get a break from the main story, get
the chance to play different characters for a while, and get a
better grasp on the original story. This technique should be used
sparingly lest it become stale.

Rival Factions
In this technique the players create two sets of characters
rivals to one another, but with similar or identical goals and
play through two sides of the same story. The two groups don't
necessarily encounter the same events all the time (that would
be boring), but occasionally cross paths or make deals with
Storyteller characters to create problems for the other group.
Eventually, one group or the other will win, or the two will learn
to compromise (either with players handling two characters or
by combining characters from the two groups into a third
consensual group). This technique is for advanced and mature
Storytellers and players only; players must not utilize knowledge
gained by the rival group.

Play (JJirhin a Play

Utilizing elements from the parallel story, yet unique in
that it takes place within the confines of the original story, the
play within a play is a short vignette that obliquely comments
on the action or interactions of the main tale. Shakespeare
used the play within a play in Hamlet to ferret out a murderer,
and in A Midsummer Night's Dream to entrap the faerie queen
Titania and comment on the blindness of love. Storytellers
could use this technique for similar effects or simply to insert
comic relief into a serious story.

iROupe-Sryle Play
Particularly complex chronicles may benefit from troupestyle play, in which each player controls more than one character. Usually this involves creating a primary character and one
or two secondary characters who are played in particular circumstances. Even so-called secondary characters may play major
roles in chronicles, for they are often chosen to accompany
primary characters due to specific skills they alone have. The
whole idea is to create a group that can work well together.
Another reason for troupe-style play is to let the Storyteller
have a break and play a character of her own in someone else's
chronicle (preferably in a shared background).
Changeling is well suited to the idea of troupe play, since
there are inherent class differences among the characters any-

272

Changeling: The DReaming

way. Changeling society is built upon a feudalistic model in

which each person has a hierarchical relationship (equal to,

above or below) with each other person. In such a society, one

character might be a sidhe baroness, two others might be redcap
and pooka commoners, and a fourth might be an eshu in service
to the baroness. The players of the pooka, redcap and eshu may
have other characters who are nobles (or other commoners),
while the baroness' player may in turn play a nocker in service

to some other player's character.

TaRor OR Suggestion 5o;c

Sometimes a plot can be given a new twist through a
randomizing agent. A Tarot card drawn at random from its deck
may suggest a scene or symbols to be inserted in the story.
Alternatively, the players may write out desired plot twists, story
suggestions or character developments and put them in a suggestion box from which the Storyteller may draw. Even flipping
through children's picture books, encyclopedias or comic books
may suggest a new plotline or way of telling the story. Doing so

on the fly is only for the very experienced or those who feel very
comfortable "winging it," but can be quite rewarding.

OrheR Time PeRiods

like to do with Changeling and where it should be set. Just

remember that copyright infringement is a serious matter.

CROSSOVCR Porenrials
Other supernatural creatures inhabit the World of Darkness. Creating mixed troupes of changelings, werewolves, mages,
vampires and even wraiths offers unique possibilities for

chronicles and stories. The magickal Tradition of the

Dreamspeakers may have relations with the Nunnehi; should
one of these mages discover that the fae still exist, any number
of stories could result. The Garou may be drawn to changelings
because of their intimate connection to the remnants of the
Wyld, while some Kindred may seek to establish ties with
changelings in order to maintain their own fragile Humanity.

Wraiths and changelings both inhabit a dual world, and this

common psychological ground may create a sympathetic bond.
Here are a few story ideas:
The Inquisition comes to town, forcing the local
changelings to ally with Kindred, Garou and others to prevent their discovery.
A Garou sept opens a caern in what is also a changeling
holding. The two groups can either go to war or learn to coexist,

Changelings are immortal, even though their mortal bodies

age and die. It is possible that a story begun when the characters
are childlings may have elements that recur when they are
wilders, and are not fully resolved until they are grumps. Naturally, dozens of other stories occur in between the recurring one.

perhaps strengthening the Glamour/Gnosis of the area. (What

if the area is also located on an ancient burial ground that serves

Alternatively, since changelings incarnate more than once,

they may have begun the story long ago, gone through several
mortal seemings, been drawn back together by mysterious forces
to battle old foes, aged and died, been reborn and drawn together
again. In this case, they would play through each different time
period, perhaps even beginning before the Shattering.

clique. What happens when her ruse is discovered? Will she still

as a haunt in the Shadowlands?)

A lonely Malkavian succeeds in passing herself off as a

changeling at least for a time and earns the trust of a wilder
be accepted by her friends?

A Dreamspeaker finds her way into the Dreaming and

encounters a group of changelings. Can they join forces to fight
the Technocracy's latest Banality-fueled assault?

A childling and a child-wraith become fast friends and

Qoing foR rj>Roke

decide to go "adventuring" together to the consternation of

everyone who knows either of them.

There is no reason why Changeling must be played on

Earth or in the World of Darkness setting. Changelings in space

Final (JJoRds

battling alien threats are no less believable than anywhere else.

How would changelings have affected Middle-Earth or Valdemar

Never be afraid to experiment. There is no "right" way to

tell a story, no "correct" setting or mood. All stories and all

(Mercedes Lackey's Heralds series) ? What would they be like on

Deep Space Nine? Could cyberpunk changelings overcome the
Banality inherent in turning themselves into metallic samurai?
It's up to the Storyteller (and her players) to decide what they'd

dreams have some merit and validity. Feel free to experiment

and experience the whole Dreamsong, not just a small part of it

and remember that through your creativity, you may be

providing a changeling with the Glamour she needs.

ChapreR Nine: SroRyreHing

273

ChdRacreR Developmenr
This section discusses the ways a character can increase (or
decrease) in power and abilities.

;cpeRience
During a story, characters learn many things. Much of what
they learn is not the type of thing that can be recorded on character
sheets, but something the players keep in mind thereafter. They
may learn never to leave a car door unlocked or never to walk into
a dark alley with a light behind them. Sometimes, however, what
characters learn can be recorded.
At the end of each story, the Storyteller awards experience
points to each character, normally giving the same amount to each

one. The players then record the points on their character sheets.
Experience points can be used to increase Traits.
The cost for raising Traits varies widely; see the chart below for
specifics. The cost is almost always based on the product of the
present rating and a certain number. Thus, if the character has an

Alertness rating of 2, and the player wants to raise it to 3, it costs four

experience points to do so. If the character does not have the Trait

at all, the cost is listed as a "new" Trait. A Trait can only be

increased by one dot per story never more.

Roleplay Ir
As the Storyteller, you should not let a player spend her experience points to raise any Trait she wishes it's a little more involved
than that. The increased Trait must be something the character had
a chance to learn or use during the story either the character
achieved great success through use of the Trait, or she made a big
mistake from which she can learn. In the case of Willpower, something
must have actually occurred to bolster the character's self-confidence.

You should only allow Trait increases if they can be or have been
woven into the story. At the very least, the changes need to make
sense in terms of the story, and not simply be changes the player makes

because she wants her character to gain certain powers or skills. The
more you force the players to make sense of their experiences, the
more character development as a whole is furthered.

C;cpeRience Poinrs
Assigning experience points requires a careful balance between rewarding the players and maintaining game balance. If you
follow the guidelines below, you probably won't get into too much
trouble, but feel free to experiment as you see fit.

Gnd of Gach ChapreR

Give each character one to five experience points at the end
of each chapter (game session). One point is given whether or not
the group succeeds or fails, as a function of simply participating

(remember, sometimes we learn despite ourselves).

One point Automatic: Each player gets one point after
every game session.
One point Learning Curve: The character learned
something from his experiences during the chapter. Ask the player
to describe what his character learned before you award the point.
One point Acting: The player roleplayed well not just

entertainingly, but appropriately. Award for exceptional roleplaying

only; your standards should get increasingly higher. In most cases,
award this only to the person who did the best roleplaying in the troupe.
One point Concept: The player acted out her character's

concept very well.

One point Heroism: When a character risks herself for
others, such as when she fends off several enemies with iron
weapons in order to allow the rest of the group to escape, give her

275

an experience point. Don't let characters take advantage of this;

i
/-.
1 - 1
1
. t >
there
is. a tine
line
between heroism
andi stupidity.

Gnd oF Gach SroRy

At the end of each story, you can assign each player one to
three additional experience points over and above the one to five
points earned for completing the chapter.

One point Success: The characters succeeded in their

immediate mission or goal. Perhaps it was not a complete success,
but at least a marginal victory was achieved.
One point Danger: The character experienced great
danger during the story and survived.

One point Wisdom: The player (and thus the character)

exhibited great wits or resourcefulness, or came up with an idea that
enabled the group to succeed.
If you want to award even more points, thus allowing the

characters to develop even more quickly, simply invent new categories in which to award experience. These can even vary from story to
story, and can be based on the specific circumstances of that story.

The costs for permanently raising the Traits listed below are
listed on the Experience Chart.

QxpeRience ChaRC
Trait
Attribute
New Ability
Ability :

x*;|

Nunnehi Policies
The wisest dukes and barons have made peaceful overtures to the
Nunnehi. This, however, has met with limited success. For the most
part, Kithain nobles are unwilling to conform to the centuries of custom,

etiquette and law that the Nunnehi cherish. For their part, Nunnehi
despise the impatience and pigheadedness that mark Kithain politics.
For more information about the Nunnehi tribes, see Changeling Players Guide.
where. They use great cunning in battle and retreat at the first
sign of serious conflict they seek to upset, disrupt and terrify

rather than engage their enemies directly. They are intelligent

tacticians and strategists, with an uncanny ability to discern
weakness in their targets.
Character Creation: Attributes 9/5/4, Abilities 18/10/6, Back-

3
Current rating x 2

Kenning, Lore and Occult are usually high.

Realm

'. Current level Realm x 3 ;

: :
Willpower Current rating x 2

Current rating x 2

Raising ARCS and Realms

It is possible for a changeling to learn Arts and Realms on her
own, but it takes longer and requires more effort. If a changeling has
the Mentor Background, she may roll (usually against difficulty 6)
a number of dice equal to the Trait score; each success reduces the

cost of learning the Art or Realm. For example, a character with

four dots in Mentor can roll four dice (difficulty 6); each success
subtracts one from the experience cost to learn that Art or Realm.

Anrogonisrs
Changelings inhabit a world filled with perilous adventure,
nightmarish monsters and legendary treasures. Unlike humans,
who must usually contend only with the dangers of our violent
modern world, changelings must also be wary of threats from the
Dreaming. Rarely does the Dreaming allow changelings much time
for peace; sooner or later, enemies rear their heads.

276

between European changelings and Nunnehi.

grounds 7, Glamour 6, Willpower 6, Arts 7, Realms 5

Suggested Attributes: Assume ratings of 2, except for Perception and Intelligence, which are usually 3.
Suggested Abilities: Combat abilities are prized. Alertness,

Cost
Current rating x 4

New Art : : V ',. ' :. :' : : : =' ' .

Current level x 4
Art
:
New Realm 5

Glamour

When the Kithain of Europe arrived in the New World, they

discovered an entire species of changelings who were not at all like
them. Bom of the dreams and myths of the native people, these other
changelings, or Nunnehi, became justifiably angry at the European
invasion. Just as European mortals came into conflict with the Native
Americans, so the Kithain and the nunnehi clashed. Although many
changelings sought to seal pacts of peace with the nunnehi (and in a
few cases were successful), a constant state of unrest still exists

Nunnehi Raider: Nomadic Nunnehi can be found any-

IncReasing and DecReasing

SP'

Changeling: The DReaming

Equipment: Light and heavy firearms, motorcycles, possibly

some treasures
FoTDORi
Driven by an ancient evil, these creatures do not remember
their faerie past. In older times, a group of Unseelie made a pact with
a force of destruction, taint and oblivion, which they called the

Dark. These corrupted Unseelie sought to infect the Dreaming with

their power. A great war was waged against the Dark, and the pure
fae won. Those who had collaborated with the Dark were deemed
Prodigal, excommunicated from the Dreaming and named fomori,

or outcasts. The fomori were banished to the lair of the Dark, never
to bother the children of the Dreaming again.
Or so it was thought. The Dark always finds a way. Modern
Kithain have begun to realize that this long-forgotten threat has
blossomed anew. Unnatural changelings are being born, their souls
those of the original Unseelie traitors.
Fomori possess frightening powers that easily defeat Banality,
and fomori themselves appear to be unaffected by Banality. They

have also been known to be completely immune to Glamour.

Luckily, the fomori have not yet made a concerted effort to attack
changelings; they appear to be busy attacking other Prodigals (see
"Werewolves," pg. 284), and for this reason Kithain occasionally
ally themselves with werewolves. All Kithain fear the day that these

hideous creatures fully turn their attention toward the fae.

Character Creation: Attributes 10/6/3, Abilities 15/9/3,
Backgrounds 5, Glamour 5, Willpower 5, Banality 10, Arts 5,

Realms 5 (equivalents all fomori have special powers granted

to them by the Dark)

Suggested Attributes: Assume ratings of 2, except for Physical

Don't you believe it. The big ones are okay, once you get to
know them. Talk to yours. Toss him the crusts off your sandwiches,

and leave him the last little bit of milk in the glass. They like that

Traits, which have ratings of 3 or even 4. Appearance is often zero;

kind of stuff; it's far easier (and much tastier) than hunting

fomori are generally grotesque.

dustbunnies to eat. Give him a good name (like Groncher,

Murgelflurt, Augustus or Fred), and before you know it, you'll have
the best pal a childling ever knew.

Suggested Abilities: Brawl 3, Dodge 1, Firearms 1, Melee 2,

Occult 1, Stealth 1, Survival 2

Equipment: Fomori are often equipped with an array of heavy

weaponry: assault rifles, combat knives, flak jackets, etc.

ORphon ChimeRa

Chimera Point Cost: 35

Attributes: Strength 5, Dexterity 2, Stamina 3, Perception 4,
Intelligence 1, Wits 3
Glamour: 7, Willpower: 3

of his own Glamour into the formation of a chimera. Now, with the
weight of Banality everywhere, chimera tend to be creatures of

Health Levels: OK, OK, OK, -1, -1, -1, -2, -2, -3, -5
Attack: Bite/6 dice
Talents: Alertness 2, Athletics 2, Brawl 4, Dodge 2, Smell 5

accidental creation rather than conscious decision.

Redes: Gulp

In ancient times, any fae who chose to do so could focus some

Four basic types of chimera are known, though at times the

interspecies lines blur.

NCRVOSQ
Certainly one of the most unnerving varieties of chimera is the
nervosa. Born of madness, nervosa are completely unpredictable.
Plague
This nervosa is born from delirium caused by pain or fever. It
fills its victim with feelings of sickness. A person in the grip of a
plague nervosa will start to feel chills, aches, nausea and the like, but
may not manifest physical symptoms. The symptoms become

The Scritchers
These arc the ones you've gotta watch out for. If you hear one,
you know you've got at least a dozen. They're tricky. They plot and
they plan, and they always know when you need to get up to go to
the bathroom. The Scritchers just live for chances like that, and the
more powerful kinds deliberately make you thirsty in the evening
so you'll have to go later, after your parents are asleep. You don't

even want to think about what they'll do to you if they catch you.
Fortunately, you can work around them. They don't like light,
and if you can convince your parents to let you keep the lamp on,
you'll be absolutely safe. Another good dodge is to walk to the door

debilitating, and a person in full possession will start to show

of your room without touching the floor. The Scritchers (even if

physical signs of illness.

Plague nervosa choose to haunt hospitals, urgent-care centers,

they've climbed up a bookshelf or something) can't touch you

hospices and places associated with sickness (like the Center for
Disease Control in Atlanta, which houses especially virulent ones).

With diseases such as AIDS and ebola, changelings fear the rise of
more plague nervosa.

A typical plague nervosa appears as a person in the advanced

throes of its "parent" illness.
Chimera Point Cost: 25

Attributes: Strength 1, Dexterity 4, Stamina 2, Perception 4,

Intelligence 4, Wits 3

unless you're touching the floor.

If you're really good at talking, you can confuse them and
escape that way. They also take bribes, can be tricked into fighting

among themselves, and hate the sound of whistling. Very clever,

kind or persistent changelings have been known to convert their
Scritchers into allies by force, friendship or intrigue.

Chimera Point Cost: 35

Attributes: Strength 2, Dexterity 5, Stamina 2, Perception 3,
Intelligence 3, Wits 3
Glamour: 7, Willpower: 4

Glamour: 8, Willpower: 3

Health Levels: OK, 4,-2, -5

Health Levels: OK, -1, - I , -2,-3, -5

Attack: None (see below)

Attack: Bite/3 dice or Claw/3 dice

Redes: Fester

Redes: Scuttle

The Monster Under the Bed

Well, actually, there are a lot of monsters under the bed. There
are things like giant purple snakes that wait for your hands or feet
to stick out over the edge of the mattress so they can grab you, and
there are small things that simply sit and stare back at you (with big,
googly, yellow eyes) just outside the beam of the flashlight. Most
changelings find they have one of the two kinds described below,

and they are certainly the best known.

The Snuffler
It's big, it's hairy, it smells like dirty laundry, and it has teeth the
size of jumbo crayons. You can hear it snuffling around down there,

rooting in the odd socks, broken cap guns and dingy tennis balls you
were afraid to look for once they had disappeared into its realm. Your
Mom and Dad can't see it, but your older brother swears cross his
heart and hope to die that it eats little kids just like you. He says
it got J immy Petemik three years ago, and now it's moved in to get you.

Talents: Alertness 4, Athletics 4, Brawl 2, Dodge 5

Nocnirsa
Nocnitsa are chimera born from the darkest of nightmares.
They are perhaps the most feared chimera of all.

The Creeping Fear (Spider Chimera)

Legends of giant spiders have been told for centuries, supposedly ancestral memories from times when the occasional giant
arachnid scuttled from a forgotten cave or forest corner. Unfortunately for changelings, spiders have always haunted mortals' imagi-

nations. The film Arachnophobia produced some of the most vicious

chimerical spiders in recent memory
Chimerical spiders have been recorded and seen for nearly as
long as fae have been on Earth, and are perhaps some of the most

unfriendly of the chimerical beasts. Their poisons range from the

debilitating to the lethal (the chimerical spiders related to the

<\ppendi;c

277

deadly funnel-web spider of Australia produce venom that kills

childlings within seconds). Chimerical spider-silk is comparable in

strength to ballistic nylon. The strange shiver that occasionally

afflicts some people or the sudden sensation of an insect crawling
over a person's skin has been attributed to chimerical spiders.
Chimerical spiders are usually black and at least three times the
size of normal spiders. The really nightmarish ones are the size of horses,

and can sever limbs with their chelicerae. Their eight eyes shine in dim
light. They are terrifyingly swift think how fast most spiders can
scuttle, then multiply that by the speed with which nightmare creatures

seem endowed. Damage means little to chimerical spiders, depending

on the specimen. Some have been dispatched with as little as hairspray;
others need to be flamed and hacked to pieces before they will stay dead.

Like their smaller cousins, they are blood-drinkers but being bigger,
they need bigger prey, and everyone knows fae blood tastes best. They
have survived hacked-off legs, stabbing and even the occasional
fireball. Good luck killing one of these bastards.
Chimera Point Cost: 40

Attributes: Strength 3, Dexterity 5, Stamina 5, Perception 4,

Intelligence 2, Wits 5
Glamour: 8, Willpower: 3

Health Levels: OK, OK, -1, -1, -2, -2, -5, -5

Attack: Bite/4 dice

Talents: Alertness 3, Athletics 3, Brawl 3, Climb 5, Dodge 4

Redes: Ensnare, Venom

CDonsreRS
This is the name given to chimerical beasts that do not fit into
any of the other categories.
The Black Dog
Once a regional phenomenon confined solely to the Lake

District of England, the Black Dog occupies a strange place among

chimera. Part nightmare, technically monster and largely nervosa,
this hound patrols roads by night, watching for travelers. It dislikes
men and will cause accidents or stalk quietly beside trespassers,
unnerving them completely. On the other hand, it has a great
concern for women and children, especially if they are traveling
alone; it will trot beside them as a guardian or even carry them if

they are injured or tired. It keeps mostly to rural areas with few

streetlamps, perhaps because such environs are more like the roads
it remembers in the Lake Country.
The Black Dog, also called Black Shuck or Trash Hound (old
form Gytrash), always appears as a large, shaggy, coal-black dog
about the size of an English sheepdog, with large teeth and eyes that

glow like burning embers. When in a friendly mood, it licks and

frolics with children as happily as any dog.
Chimera Points: 50

Attributes: Strength 4, Dexterity 4, Stamina 4, Perception 3,

Intelligence 2, Wits 4

Glamour: 7, Willpower: 8
Health Levels: OK, - I , -1, -2, -2, -5
Attack: Bite/5 dice or Claw/5 dice

Talents: Alertness 3, Athletics 4, Brawl 5, Dodge 4, Track 5

Redes: Fear

SpRires
These chimera are born of fancy and delight. They are usually
playful and at the worst mischievous.

278

Changeling: The DReamintj

Nevers
"Nevers" is a shortened form of these sprites' more scholarly
name of "Neverlanders." While some changelings find it ridiculous,
those who first saw these faeries at the end of the Victorian Era
noticed that they corresponded marvelously with the "fairies" of Sir
James Barrie's Peter Pan. They had wings, gave off a glow like a
firefly, and their voices sounded like tiny bells chiming until the
listener grew used to their speech (which was perfectly intelligent
English, often with a British accent).
Males emit a blue glow and frequently have blue-tinged skin;
females emit a soft mauve-pink light and have rosy skin. Those
Nevers who emit white light are just "little sillies" who don't know
which sex they are and perhaps have none. The famed "pixie dust"
of the story seems to shed from their skin like dead cells from a larger
creature; the extent of its magical properties is still under debate.

Nevers thrive heavily on belief; the terrible words "I don't

believe in fairies" can literally scare them to death, even in a
freehold. A child clapping her hands to keep a Never alive is merely
focusing her own belief into a tangible form, but a few cynics think
it's applause for a well-done death scene. These sprites have a
special love for children and are most attracted to childlings and
those wilders who haven't quite grown up. Many actively disdain
grumps because they're "grown-ups."

Chimera Point Cost: 35

Attributes: Strength 1, Dexterity 5, Stamina 1, Charisma 3,
Manipulation 2, Appearance 5, Perception 1, Intelligence 2, Wits 1
Glamour: 10, Willpower: 3

Health Levels: OK, 4,-2,-5

Attack: None

Abilities: Alertness 3, Athletics 4, Dodge 5

Redes: Enchantment

Aurumn People
Unconscious servants of Banality, the Autumn People are the
quintessential party-poopers. They are the sticks-in-the-mud who
do not believe in anything magical or special. They are very
rational, thoughtful and exact in their dress and speech. Kithain
can spot an Autumn Person right away.
There are really two kinds of Autumn People: aggressive ones
and spineless ones. Spineless ones are lesser threats, although they
raise the local Banality in their vicinity and encourage others to
become spineless Autumn People. These people are couch potatoes, video-game junkies and anyone else who gambles, drinks or is
otherwise harmfully addicted to something.
The aggressive kind are the censors, the monitors, the mindless authoritarians who hate dreams and the Dreaming instinctively. An aggressive Autumn Person is the worst kind of mortal,
and one to be avoided. A few such Autumn People seek the
destruction of the Dreaming and are often found as allies of the
Dauntain (see below).
Character Creation: Attributes 6/4/2, Abilities 10/6/2, Will-

power 3, Banality 9
Suggested Attributes: Assume ratings of 2 in all Attributes.
Suggested Abilities: Brawl 1, Drive 2
)

The Daunrain
These are changelings who, unable to handle the "reality" of
the fae, fled to the safety of Banality. Their perceptions twisted by

their own fears, they are among the active forces of Banality and
attempt to hunt down any changelings they can find.
There are two basic types: those who know what they are
facing and those who do not. Oddly, the second type is the more
dangerous because their lack of belief causes Banality to be extremely strong within them. The others believe in what they are
facing, thus decreasing their resistance to changeling cantrips.

However, they are knowledgeable of changeling weaknesses and

often carry iron weapons.
The second group is spearheaded by psychiatrist Dr. Anton
Stark. Several years ago, worried parents brought their daughter to
him for evaluation. It seemed that she was living in a very complex
fantasy world in which magic, elves, unicorns and other creatures
of faerie were very real to her. After several session with the girl,
Stark decided to use extreme aversion therapy, electro-shock
therapy and several varieties of drugs as the treatment to shock her
mind back to reality, where it belonged. Within two years he
reported complete success: the girl had lost touch with her fantasy
world and could live in the "normal" day-to-day world.
Over the next several years Stark discovered a few dozen more
cases like his first patient. In all cases, onset of symptoms was rather
abrupt, often leaving the victims in a state of shock as they adjusted to
the fraudulent information their brains were giving them. His book,
titled Chimera: Living Within Our Dreams, detailed the treatments of
these patients based on the information "given" by them. The book
gained attention among colleagues of his profession, and they begin
identifying others who were suffering from this very same problem.
Now, Stark lectures at schools, universities and to community

groups in hope of helping them identify this disorder before it

renders its victims unfit for human society. Some groups have
protested the extreme measures used to eliminate the disorder, but
none can deny the treatment's success rate.
It should be noted that most of these doctors do not believe in
the supernatural, and all are infused with an incredible amount of
Banality. Some have been known to cause trods to wilt simply by
passing through. High King David has decreed that these people are
not to be directly approached, as the power of their Banality could
destroy changelings. However, any changelings captured by them are
to be rescued, if at all possible, before they are lost forever to Banality.
The first group of Dauntain is more dangerous in that its
members believe in the existence of changelings, but believe them
to be evil creatures who devour the force of human creativity for
their own dark magics. Most of these are either survivors of a
Ravaging, or someone close to them was destroyed by such. They
are quite aware of the dangers such beings pose to humanity. A few
of these latter Dauntain sometimes even develop a small facility
with Kenning, as their belief enhances the intrinsic Glamour
existing within them.
They use news stories to find changelings. They look for signs of
Ravaging (such as a crowd riot at a soccer game in England) and move
in on the area armed with cold iron weapons, searching for the
changelings responsible for the attacks. While they do not always find
those responsible, they are very skilled at digging up the nearest
changelings in the immediate area and "destroying" their menace.
Such Dauntain are vulnerable to changeling magic, for they
believe in it and are therefore less strongly influenced by Banality.
In fact, some of these have surprisingly strong Glamour ratings.
On occasion, Dauntain form into small cooperative teams.
These teams are extremely deadly when they locate changelings. A
recently formed team is organized by Alex Hayward, a survivor of

Appendi;c

279

a Ravaging after an Exquisite Agony concert. The team's members,

who had been the opening band for the concert, were attacked by
several Ravagers as they returned to their dressing rooms. The band

The children only laughed. "You call yourselves the givers of

dreams," said the first sister. "WewillDreamforyou, then, Dreams of

survived, but were somewhat changed by the experience. They

researched the subject, looked for similar occurrences and deduced
the nature of their enemy. They have already subjected a changeling to death by iron, and have seen evidence of changeling

and who passes on wonder to our folk."

abilities. While this has tempered their enthusiasm a bit, they still
act without mercy or apology when they find one.

the child. Safely away, they called her Te the Mad.

Scienrisr
Character Creation: Attributes 6/4/2, Abilities 10/6/2, Backgrounds 5, Banality 10, Willpower 5
Suggested Attributes: Assume Attributes of 2 in all ratings,
except for Mental Attributes, which should be 3 or even 4.

Suggested Abilities: Computer 2, Intimidation 1, Investigation 1, Linguistics 2, Medicine 3, Science 3

our own creation. We shall see who sends whom to the caves, proud one,
So saying, the first child Dreamed tike fire. Her eyes glowed like
Samhain embers, and she spoke in nonsense tones. At her laughing cry,
the air became a furnace. The Tuadia burned at its touch, and they fled
The second child's voice was light, and her Dreams were winds. Like
abreeze she spoke, and the air grew clear; like ahurricane she roared, and
the wind swept the faeries away. Her words carried comfort, joy and

wrath. Those who heard them said, "Tempt not her anger," and they
named her Li the Shadow.
The third child's Dreams were stone. His words grated like pebbles
on slate, and they weighed so heavily that the air became mud and the mud
became a prison. Some Tuatha stood too near the child, and he wrapped
them screaming in dark stone prisons. Try as they might, no one could

free the captives; in time, they expired and joined the stone. "He is
Character Creation: Attributes 7/5/3, Abilities 13/9/5, Backgrounds 7, Glamour 2, Banality 9, Willpower 7, Arts 5, Realms 5
Suggested Attributes: Physical and Mental Attributes of 3,
Social Attributes of 2.
Suggested Abilities: Alertness 3, Brawl 1, Dodge 2, Kenning

1, Firearms 2, Investigation 2, Lore 2, Melee 2, Stealth 2

The
Changelings believe that there are a number of lost faerie races
who have forgotten that they are fae. These lost races are collectively known as the Prodigals.

COag i
In the earliest days, the Tuatha de Danaan and all their kind moved
like sunlight on the land. They held their bright Dreams aloft in slender
fingers and carried them to dank caves where the mortals huddkd,

plagued with nightmares. From their light, the Tuatha nourished human
folk, inspiring them to dream newer, brighter visions.
But they were not the only ones who Dreamed so.

It is said that Neul the Blue discovered the siblings in a clearing. One
night, a star fell from high above and crashed into a grove. Neul traced
its fall with wonder. When he went to see the ruin, Neul found four
youths two girls, two boys whose eyes shimmered in the twilight.
Unlike the drab mortals Neul had met before, these weavers crafted
Dreams from waking thought. As they did so, the land around them
changed. The very air glimmered where they stood, and it crackled with

potent Glamour. Aroused yet terrified, Neul ran to fetch his cousins.
Intrigued, they returned with him in multitudes.
"Who are you?" Neul demanded. "We have never seen your kind
before. Are you like us, like mortals, or like some other thing?"
One sister spoke: "We are the Prime, the off spring of the flame."

Her sister spoke: "We are the Earth, the children of the clouds."
One brother spoke: "We are the Craft, the shapers of the world."

His brother spoke: "We are the End and the Beginning. We are all."
"Nonsense," replied Queen Rhayne, the leader of the horde. But
the others hesitated. There was truth in what the children said. "Prove

what you say," the foolish queen continued, "or we will take you back to
the caves where you belong."

280

Channeling: The

anathema," the survivors cried, andtheycalledhimlhennthelronmaker.

The fourth child's Dreams bubbled up from the sundered ground. The
sky wept as he capered and spit. His eyes were dark, savage waters, like
whirlpools or mad tides. His voice was sweet poisoned water, delightful to
taste but deadly to swallow. He beckoned some fae on a merry dance, then
turned on them like a griffin and split their bones to slivers. "He is a wonder,"
said the shadow-kith. "He is a demon," said their bright cousins. They all
decided he was both, and named him Chla the Unbound.
Queen Rhayne turned to stone beneath the ground. Neul the Blue
burned at the Mad One's touch. The surviving Tuatha gathered far from
the clearing and discussed the children for many long nights. Finally it was
decided that the siblings should be left alone. The Tuatha would seek them
out when the time seemed right, but until then, the children would be left

to blaze their own paths.

In time, the siblings grew, mated and had children of their own.
Some faeries courted these magickal offspring, drinking their Glamour
like fine wine; others fled their sight, and still others sought revenge.
Bargains were struck, alliances entered and bitter enmities cast. The
temperamental siblings bred temperamental offspring, and each soon
waned against the others. As the Silver Age became Bronze, and the
Bronze Age became Iron, the Awakened Dreamers took their cousins by
the hands and led them from the caves. The mortals cast our dreams aside,
and the children of the fallen star wove their own spells on the land. Ages
later, their gifts have different shapes but still rework the world.
Behold them, for they Dream in an Awakened state; befriend them,
for even the dullest of their kind breathe Glamour like the air; beware
them, for that Glamour is potent enough to destroy the highest faerie king.
These are the children of the fallen star. Dance in their footsteps, but stay
clear of their sight.
As the tale of the four siblings reveals, the fae understand three
very important things about the Awakened Ones called "mages" or

"magi": First, that they're skilled Dreamers, with talents much like
changeling Arts, but far more powerful. Second, that they epitomize the four elements of creation change (fire, or Marauders),
stasis (stone, or Technocrats), decay (water, or Nephandi) and

balance (air, or the Traditions, Crafts and solitaires). And third,

that they're compelling yet dangerous companions.

The ties between mages and the fae go back to the beginning

of time. No other Prodigal shares such ties to the mystic night.

Faeries and sorcerers have been allies, enemies, cousins and lovers,
but never have they been strangers. Although the mages proudly
call themselves "Awakened," the faeries know the truth: Wizards

walk through life in a precious dream-state, Awake to life's possibilities but Dreaming well enough to create new realities. The best
of them are founts of Glamour; the worst, tar pits of Banality. These
shifting creatures fascinate the fae, and the attraction seems to be
mutual. Mages and changelings are fellow travelers on the same

road. When they meet, a party or a war is the usual result.

POUJCRS and (JJeaHnesses

Mages command raw reality. Some call the lightning from
the heavens, others carry it in guns over their shoulders. As half-

lidded Dreamers, mages perceive reality in ways only a changeling

could appreciate. An inexperienced magus is already more attuned
to the world than any banal mortal could hope to be. By the time
she achieves some degree of skill and control, she may reshape the
elements, kill or heal with words, transform into a variety of shapes,
or perform a million other miracles.
Even so, mages are fragile things. Without the proper
magicks, a wizard ages, sickens and dies as easily as any mortal.
While other Prodigals rip doors off hinges or shrug off gunfire, the
Awakened Ones lie low, using their Arts in strong but subtle ways.
Just as Banality poisons faerie Arts, a stricter form of unbelief
Paradox straitjackets the magi. Long ago, the tales claim,
sorcerers could do whatever they wished. After the Shattering, the
old talents came harder, and many wizards died trying to use them.
Thus, modern magi keep their magick hidden, disguised as technology or passed off as tricks and coincidences. Changelings do not
carry this Paradox around like mortals do, but even a lone magus
must be careful. The days of the flying carpet, sadly, are long past.

Whatever form it takes, magick (also called "the Art" by mages

with of mystick bent) is fluid and malleable. Most wizards channel their
talents through ritual tools or wild gadgets, but some realize that the
true power lies within themselves. A Storyteller may simulate Awakened magicks by granting a sorcerer a large handful of Arts, Realms and
Glamour, creating a pile of cantrips which suit her approach to life and
magick. A bad roll or failure creates some disaster, especially if die
magick was somehow "vulgar," or beyond modern belief.

The "formal" rules for magi and their powers can be found in
Mage: The Ascension.

Banaliry, belief and rhe Shape of rhe ART

Mages work their Dreamcraft according to their philosophies.
The shape of their spells, the Glamour of their acts, and the power
or lack of their Banality flow from the beliefs and practices of
the Awakened Ones.
Marauders are insane even by faerie definitions, and sweep
everything in their paths along for the ride. A Mad One's magicks
are as wild and unpredictable as a pooka on angel dust; bright

Glamour whirls about her like a thunderstorm, and her Banality is

low to nonexistent.
Mysticks remember the old ways. While relations haven't
always been cordial between the fae and mage societies, the witches
and magicians of the Mythic Age accept changelings as close
cousins. A mystick wizard is half-enchanted alreadyher Banality
is low, her Glamour rich, and her magicks true Arts in the most
wonderful sense.
True believers supposedly draw their powers from demons or
gods; these spells serve some greater purpose and usually involve
blessings or curses, elemental mastery and some kind of punishment. Dedicated as he is, a true believer dismisses the existence of
the fae, or considers them agents of some (un)holy power. Al-

though the mage might stir up some tasty Glamour, that power

often carries a strong sense of the wizard's purpose.

"Modern cynics are products of a dreamless age. Although they
understand the wonders of science or mysticism, most of them are

too "grown up" to believe in faeries. Their Arts take the forms of
modern archetypes computers, weird gadgets and strange machines or "classical" magical tools Tarot cards, incantations,
crystal balls, etc. A cynic might open his eyes some day; if he does,
his Glamour will be as refreshing as an icy stream. Until then, that
stream is sluggish, dull and sad.
Technocrats believe that magick comes through advanced
science cybernetics, blast guns, computers and other high-tech
toys. These sorcerers are deeply banal and extremely dangerous. Few
Technocrats believe in changelings; those who do want them wiped
from the Earth. There is some Glamour to be had from a Technocrat,
but to draw it in is to ride lightning: a furious burst of white-hot energy
boils into a deep and lasting burn the pain of pure Banality.

GDage Banalities
Banality Affiliation
Marauders
0-2
Mysticks (Verbena, Cult of Ecstasy, Hermetics,
2-4
Dreamspeakers)
: ;
:
True Believers (Nephandi, Celestial Chorus,
4-6
Akashic Brotherhood, Euthanatos, most Craft
wizards)
:.-.:: '

Modern Cynics (Sons of Ether, Hollow Ones,

Virtual Adepts, many Orphans)
Technocrats

young GDage
"It is a beautiful necklace, is it not? A visitor made it for me
some time ago a young wanderer-witch with a craftsman's eyes

and an artist's hands. Feel that sparkle? The Glamour of her efforts
lingers even now. I miss her, and I wish her well.
"She came here in the spring, wreathed in birds and small
animals. Her eyes glowed with faint green mists. Her feet were bare
like a child's, but her arms betrayed an adult's muscles, supple and
well-formed. New to our kind, she spoke shyly, but her artistry was
plain to see. The necklace I wear is testament to her gifts; she bore
similar masterworks on her throat, arms and ankles. Our lady took
the traveler in (for the girl needed shelter from some enemy), and
gave her a room of her own. Though she tried not to stare, our lady
stood transfixed by the choker on the witch's neck. The witch, no
stranger to politesse, offered our lady six fine ornaments, each made
to suit the host, in return for our freehold's generosity.
"How could we refuse?
"For a month, she stayed. Our lady was pleased with the witch's
gifts, and the wilders lingered by her door, intoxicated by the
Glamour that seemed to seep from the very wood itself. I took her
as a lover or should I say, she took me and our dance was
saffron and flame. Her temper was equally hot, alas, and we
quarreled like childlings until at last she fled. I ventured to her room
that night to beg forgiveness for my latest insult. Her tools and this

necklace were all I found. No one saw the young witch leave, and
no one I know has seen her since.

281

"It is a magnificent tear I wear at my throat. A tear for the witch

who made chill gold glow warm. Here, touch it. You see? Even now,
it sings of magick, of the Arts.

"No mortal heart could stir me so. No mortal heart but hers."
Suleman, eshu grump
Attributes: Strength 2, Dexterity 4, Stamina 3, Perception 4,

Intelligence 3, Wits 4, Charisma3, Manipulation 2, Appearance 3

Abilities: Alertness 2, Athletics 3, Brawl 2, Crafts 4, Dodge 2,

Empathy 3, Enigmas 3, Etiquette 2, Expression 3, Kenning 2, Lore 1,

Medicine 2, Melee 1, Occult 5, Performance 2, Streetwise 2,
Stealth 4, Survival 2
Glamour: 15

Willpower: 5

Powers: Legerdemain 3, Primal 4, Soothsay 2

Equipment: Light clothing, backpack, jewelry materials and tools,
concealed knife, herbs and powders

TechnocRaric Badass
"Holy shit! Did you see that ? He blew down half the goddamned
wall! If I wasn't quicker than a flea on crack, I'd be history!
"I didn't think they could do that! I thought that they had some
freaky sort of rules or something that said that they couldn't just
whip it out and blow shit up! He's a goddamned Banality magnet,

too! Damn! Holy damn! I'm stay in' away from those monsters from

now on! Get outta my wayll!"

Bandy Lexenfors, terrified pooka wilder

Attributes: Strength 5, Dexterity 4, Stamina 6, Perception 4,

Intelligence 2, Wits 3, Charisma 2, Manipulation4, Appearance 2
Abilities: Alertness 3, Athletics 4, Brawl 4, Computer 3, Dodge 3,
Drive 4, Empathy 2, Enigmas 3, Etiquette 2, Firearms 5, Intimidation 5, Investigation 4, Law 3, Linguistics 4, Medicine 2, Melee 5,

Occult 4, Politics 3, Science 3, Security 4, Stealth 3, Streetwise 2,

Subterfuge 4, Survival 2
Glamour: 30
Willpower: 9
Powers: Chicanery 5, Legerdemain 4, Primal 4, Sovereign 4,
Wayfare 3

Equipment: Dark glasses (with infrared settings), black clothing,

trenchcoat, heavy automatic pistol, communication link, badge,

body armor (value 4), paranormal activity scanner, very big gun

1RCS
Once upon a time, in the long, long ago, livedamighty foe, an IJnseelie
of the redcap kith. Now this redcap did battle with a puissant sidhe Icnight
in the great wars that reddened the world's dawning. Back and forth the
redcap and the knight fought, neither able to gain the measure of the other.
As the day lengthened, and the duel grew more heated, soldiers from both

soon they came upon the dragon's minions, a terrible field of man-eating
flowers grown from seeds of Nightmare. The redcap and the knight
hacked their way through the evil jungle, but it seemed to the redcap as
though his brother hung back ever so slightly, leaving the redcap to suffer
the sting of the creatures' fangs.

Soon enough they came to the dragon's lair, and called the beast to
battle. It rushed upon them with a whir of wing and a roar of flame, and the
doughty warriors found themselves hard put upon. The knight stumbled upon
a stone, and the dragon whipped its neck about and, opening wide its maw,
prepared to bite the knight in twain. At this, the redcap charged forward,
bedeviling the beast with a flurry of blows. As the dragon turned, the knight
rose and, gripping his blade tight, hacked the head from the monster.
So the beast was dead, and the knight and the redcap went before the
High King, bearing trophies. The redcap went before the High King,

presenting the remains of the dragon' s flower-demons, and the High King
smiled thinly. "Well done," quoth the High King. And other words of

praise were spoken, but coldly, and it seemed to the redcap as though the
King's favor was but little.
Then the knight came forward, bearing the head of the dragon, and laid
it before the High King, to the delight of the court. And quoth he, "My liege,
for thee and thee alone did I smite off this marauder's head." And no mention
was made of the redcap's valor. And the High King spread wide his arms,
and bestowed upon the knight half of all his lands, and other favors besides.

And so the redcap's rage rose in him like a great storm, and gripping
his brother's head, he bit it from his body in the manner of the dragon. And
at this act, the renunciation of the oath the brothers had sworn, the very
Dreaming roiled and flashed with terrible lightning.

The redcap was sore afraid, and he cried out to the High King and the
Dreaming, calling witness to his brother's crime and the injustice of the
sacrifice .But in breaking the oath of blood, the redcap had committed a sin
a hundredfold greater. And the Dreaming cursed the redcap thus: Nevermore would he know the splendor of the Dreaming. The light of the High
King's court would ever be poison to his eyes. Only the lands of death would

he know death and red, red blood. Blood was his crime, blood was his
legacy, and so blood would be the root of his power. And all who sprangfrom
the redcap would bear the seed of his crime, until the end of days.
Whatever the truth of the old changeling tale, vampires walk
the earth to this night. Bearing the curse of their "father," Caine,
these ancient beings stalk the cities of mortals, feeding on their
blood. They know little of changelings, but are not averse to

drinking changeling blood if the opportunity presents itself.

POUICRS and (Ueaknesses

Vampires live until slain; having "died" once and been
returned to life through the blood of their vampire creator (sire),
they do not age. Vampire become more cunning and powerful with
age; "elder" vampires, who have lived for centuries, are a match for

the mightiest changelings.

Though vampires can be driven into unconsciousness (tor-

sides stopped their fighting to witness the warriors' prowess. But as the

por) by mortal weapons, only sunlight, fire or total dismemberment

afternoon's shadows lengthened to evening, the duelists' enmity was

overshadowed by respect, and finally both threw down their arms and

can permanently destroy them.

Most vampires have moderate Banality ratings, though

embraced the other. And after that day, so close they became that Seelie and
the knight and the redcap mingled the blood each had spilled in the battle and

LJnseelie are often intoxicated by the dark auras of these fellow

denizens of the night. Some LJnseelie even claim that vampires do
not exude Banality, but rather surround themselves with a sinister

swore a great oath of brotherhood to the Dreaming itself.

and exotic Glamour all their own. The truth is unknown.

Now it came to pass that the lands were menaced by a frightful

dragon. Across the lands the High King issued a call for heroes to vanquish
the beast. The knight and the redcap set out to meet the challenge, and

Vampires have no Glamour as changelings know it, but they

steal their power from a darker source: human (or changeling)
blood. Vampires have a Blood Pool, which is identical to a Glamour
Pool, but recharged by human blood (one pint equals one point;

LJnseelie alike called them brothers. And brothers they became in truth, for

282

Changeling: The DReaming

most human-sized beings have 10 Blood Points. If more than half

are taken from the body, the victim will probably die.).
Vampires are burned by sunlight; each turn spent in sunlight

inflicts an automatic point of aggravated damage.

See Vampire: The Masquerade for more information.

Nconores (Recenrly CRGOTCC! VampiRes)

"I remember the first time I saw her. It was at the Waydown,
and I was standing there, soaking Glamour from all the angst-kids'
florid little pirouettes. When I saw her, though, I forgot all about the
music, the ambience, everything. She flitted from shadow to
shadow, and it seemed like everyone was getting out of her way,
even though no one was looking at her Which was impossible,
because she was so beautiful.

"She had this long dress of crushed red velvet, just the right
shade to match her lipstick. Skin so white it was iridescent, almost
like a pearl gleaming with an inner phosphorescence. And the eyes

like pits into a private and very appealing hell.

"I saw her several more nights after that. I don't know what she

did, but she always seemed intent on some errand or other. And she
would look at me, not a flirty look, but a conspiratorial one, like she

knew. Knew me, what I was doing, and most importantly knew
how... different we were from the rest of the sots.

"One night, she came in with a bunch of her friends. And though
I'd never seen any of these guys before, I knew they were like her.
Everybody was paying attention now that I remember. All the
people just kind of shrank away, like mice when an owl crosses the

moon. She wasn't wearing clubgear, just a black j acket and pants. And
emotion was just washing over everything like an oscillating tsunami.
I felt the people's terror, and the newcomers' smiles conjured a dream
or nightmare all their own that... well, I can imagine the same

primitive, carnal dreams coming from a sleeping T. Rex. She beckoned, and I remember... I threw back my head and just let the
nightmare come up from my loins and out my throat.
"We walked out into the streets, and I knew the ancient
majesty of the Wild Hunt that night. I don't know who he was, the
victim just a random passerby, I guess. We ran him down like a
stag under the Horned One's hunting pack, and as they fell on him
and sucked the life from his twitching body, Glamour shot up my

spine like ebony lightning.

"Then they looked at me, their smiles bloody gashes across
their faces. I decided to run. They didn't chase, but I still think I did
the right thing.

"Haven't been back to the club since. It was a rush, all right,
but their fun's a little lethal for casual consumption. Maybe next
month, though...."
Kevin Connaught, Unseelie wilder

Neonare VampiRe
Attributes: Strength 2, Dexterity 3, Stamina 4, Perception 3,
Intelligence 2, Wits 4, Charisma 3, Manipulation 4, Appearance 3
Abilities: Alertness 2, Athletics 1, Brawl 2, Dodge 1, Etiquette 1,
Expression 1, Intimidation 2, Melee 1, Occult 1, Stealth 2,
Streetwise 2, Subterfuge 2

Blood (Glamour) Pool: 10

Willpower: 5
Powers: Chicanery 2, Soothsay 2, Sovereign 2
Equipment: Fashionable clothing, concealed weapon

Append!/:

283

CldCRS
"Don't go near the old Gromley House. It's that creepy, gross
place at the end of Dead Man's Drive the one where all the
windows are taped up with this black goopy tape, and all the

shingles are falling down.

"I've seen Old Gromley come out at night. His face is white
like a ghost, and wherever he goes it's like a big black cloud of... of
yuckiness comes out of him. His eyes glow in the dark, like they're
burning. I hid my eyes, 'cause I was afraid he'd look at me.
"He wears this black suit that looks old and crusty, and he

gets in this big black car that this lady drives for him. She looks
sad, and kind of scared. I'll bet Gromley must pay her a lot of
money to work for him.
"Billy said he went up to the Gromley House in the daytime.
He said he threw an egg at the door, and this mean man came

running out, screaming at him. He said the man didn't have any
hands, just a big knife like you use to cut meat. Billy's such a liar.
"Is it true that Gromley's a Dracula? Billy said he'd grab me
with those spider-fingers and suck out all my blood. I told him he
was a big fat liar, but I was scared. Well, a little scared. Well, I wasn't
really scared. I'm not afraid of old Gromley the Grinch! I'd go over
to his house and kick his coffin, 'cept that the sun's almost down and
it's time for me to go home."

Tommy, childling boggan

GldeR VampiRe
Attributes: Strength 6 (yes, 6), Dexterity 3, Stamina 5, Perception 4,

Intelligence 4, Wits 5, Charisma 1, Manipulation 5, Appearance 4

Abilities: Alertness 3, Athletics 1, Brawl 2, Dodge 3, Enigmas 2,
Etiquette 3, Expression 1, Intimidation 4, Melee 2, Occult 4,
Stealth 3, Streetwise 1, Subterfuge 4

Blood (Glamour) Pool: 20

Willpower: 9
Powers: Chicanery 5, Soothsay 4, Sovereign 5
Equipment: Outdated clothing, pocket watch, sword cane

(JJeReiuolves
A long time ago, when the lands were still green and sweet from
shore to shore, the fae enjoyed the luxuries of many forms, of shiftingfrom
animal to plant to human as whim suited them. Eventually, as the
Dreaming grew stronger, most of the fae chose one form or another, and

each settled into the shape he or she had chosen. Only a few, those closest
to the land itself, refused to give up the freedom of form, and even these
eventually chose animals that suited them best. Then there were wolfchangers and swan-maidens and seal-folk that frolicked in the wildplaces,
and the world mirrored their joy.

But as in all such stories, the peace was not to last. A great and
terribly hungry evil arose, seeking to devour all the lands and all the folk,

mortal or fae. None were able to look at this evil's face full on those
who had seen its tattered, shroudlike fringes named it only the Dark. The
Dark boiled at the edges of the lands, and it ravenously chewed on the
horizon, trying to swallow all of creation.
A great council was called by the High Lords, to draw up strategies

against the Dark. But when the debates ran long, many of the animalshifters grew impatient and angry, and they left the council. With the
Prince of Wolves at their head, they ran to the horizon and threw

themselves into battle with the Dark, before any could tell them nay. And
to their credit, they beat back the Dark and held it there but at a terrible

284

Changeling: The DReaming

price. For to gain their victory, they forgot all dreams other than dreams
of battle everlasting. They passed from the blood of the fae, and became

Prodigals, doomed to fight their wars against the fomorians and the
Darklings until the end of all things.
However true the tale of the Prodigals may be, it's certainly truth
that the werecreatures are out there. Although some pooka tell tales

of forgotten cousins with raven, cat, bear or snake blood, the most
famous of all the werelings are the werewolves. These creatures are
indeed locked into an endless war with the fomorians and other fell
beings, but they have not forgotten the fae entirely. Some still come
to the aid of their long-lost kin; indeed, some even still bear the name
of the Fianna, the matchless warriors of Fionn MacCumhail.

POUICRS and (JJearsnesses

Werewolves can take the forms of humans and wolves, as
well as some forms that combine the traits of both. Most terrifying
of all is their "wolfman" battle form: a wolf-headed, nine-foot-tall
killing machine that inspires a supernatural terror in humans. In

this form, all their Physical Attributes are doubled, but they cannot
use Social Attributes in connection with creatures other than
werewolves and wild beasts (save to intimidate or terrify, of course).
Werewolves can attack several times each turn, often taking
two to six actions in a single turn.
Werecreatures heal incredibly fast, regenerating a Health
Level each turn. Only fire, silver, or the teeth and claws of other
supernatural creatures (such as the fomorians) can permanently

injure a werewolf and a werewolf can even heal these wounds as

a normal human could.
Atlhough they don't possess Glamour as such, werewolves
can fuel their supernatural powers with Gnosis, a measure of their
innate spiritual energy. They regain Gnosis through long meditation or from bargaining with spirits. As creatures of change and the

wilderness, they are traditionally lower in Banality than most

people.
Werewolves can enter the spirit world and travel to strange
spirit realms. It's rumored that some of their elders can even travel
to Arcadia, although this has never been proven.
Silver is indeed the bane of werecreatures, although wolfsbane does little good against them. They cannot soak damage from

silver weapons, and cannot regenerate such wounds as quickly as

they normally can.
See Werewolf: The Apocalypse for more information.

The young Pacfss

"Why am I in such a temper? Why don't I like St. Paddy's Day,
what with me being so Gaelocentric and all? Damn, I've been asked

that question more than once. Well, fine if it'll shut you up,
here's the tale.
"Started three years back, at a ceili, of course. Not in a place
I'd been to before, and I didn't know anybody there, but I've always
been the sort that's willing to meet new people. I'd had some
Guiness by way of early celebration, and I planned to do quite a bit
more drinking before the night was through. Truth, I planned to do
a bit more than drink, and I'd figured there'd be some comely lasses

at the dance who'd be coerced into a bit of fun easily enough.

"Well, there were lasses aplenty, but not one of them compared to the vision that strolled into the circle long about 10. I
swear, I hadn't seen beauty like that even on the faces of the noblest

sidhe princesses, and I was completely taken. She was something

else, I tell you the finest vision of the most gifted Dreamers, and

had me weeping like a childling. Next thing I know, there's a chorus

those gemstone eyes were moving among the crowd to pick out a
partner. Oh, please, lady, pick me! I wanted to shout, but I couldn't

of howls, all sounding like the heralds of Winter itself. Finally, they

say a word. Wherever she glided, the dancers stopped dancing to

stare better. Finally, her gaze settled on a burly redhead, she smiled

just a touch damn, my heart burned so green, I could have killed

to be the one she favored! and she moved out to take his hand.

"That's when it happened.

"The girl next to him swelled up into this huge, terrible
creature 12 feet tall if she was an inch! reached out with ivory
talons and tore the skin from that lovely woman's face. The skull
underneath was running with green ichor, I swear it! And this thing
this green-bloodied, faceless thing hissed at the two of them and
bolted from the circle, into the surrounding woods. The wolfwoman bounded after her on all fours, and in just a second or two,
her red-haired bravo became another russet-furred werewolf, this
time 15 feet tall, and leapt after the two.

"I don't need to tell you that the ceili was spoiled. People were

all broke off, save that one old, strong, sad voice, which went on a little
longer. When even that howl stopped, Leena was misty-eyed and
holding on to me, and I didn't have a thing to say to her.
"Whatever was out there, I'm not quite sure. I think I have
some idea, but I haven't made that trip again since, at least not at

night. Not yet."

Peter the Hessian, troll grump

QdeR (JJeReiuolf
Attributes: Strength 4, Dexterity 4, Stamina 5, Charisma 3, Manipulation 3, Appearance 3, Perception 5, Intelligence 4, Wits 5
Abilities: Alertness 3, Athletics 1, Brawl 3, Dodge 3, Enigmas 3,

Etiquette 2, Firearms 1, Intimidation 4, Investigation 3, Leadership 4,

Linguistics 1, Lore 4, Melee 3, Occult 4, Performance 3, Stealth 3,
Streetwise 2, Subterfuge 4, Survival 5

Gnosis (Glamour): 9

running every which way, shrieking like a choir of banshees, even Willpower: 8
curling up into little balls. It was a full five minutes before the normals
Powers: Chicanery 3, Primal 5, Soothsay 3, Wayfare 4
had collected themselves, and most of them drove home right away
muttering about 'wild dog attacks' or something. I swear, they all sow Equipment: Backpack, silver dagger, enchanted elk-tooth necklace
what happened, so it wasn't the Dreaming but nobody seemed to
really see it but me. And damn me, I'll never forget.

"Right. That's my story. Now leave the bottle I intend to

celebrate the rest of this misbegotten anniversary in my own
fashion. Cheers."
Oisin Kennally, satyr wilder

young (JJcReujolf
Attributes: Strength 3, Dexterity 3, Stamina 3, Charisma 2, Manipulation 2, Appearance 3, Perception 4, Intelligence 2, Wits 3
Abilities: Alertness 3, Athletics 3, Brawl 3, Crafts 1, Dodge 2,
Enigmas 1, Intimidation 2, Investigation 1, Lore 2, Melee 1, Occult 1,
Performance 1, Stealth 2, Survival 2

Gnosis (Glamour): 5
Willpower: 5
Powers: Chicanery 1, Primal 2, Wayfare 2
Equipment: Practical clothing

The QdeRS
"I've always been a hiker, and I've always liked the wild places. If it
weren't for the last places of green leaves and blue water, I swear this city'd

have choked the last bits of Glamour right out of me. You know how it is
trying to sift through the hordes of apathetic, workaday losers to catch
that one bright spot of dream. Well, the parks are where I go to forget all the
hubbub and brouhaha, and I've even been able to bring a few Dreamers to
Reverie out there, just by pointing out how great it is out there.
"You remember a while back, when that Hale-Bopp comet was
hanging in the sky? I'd convinced a, well, mundane friend of mine

to come with me to the top of a bald to see it. It was quite a hike to
get there, and we were barely able to set up camp before it was dark
out. Wasn't much just a couple of sleeping bags and a small fire.
Then we stretched out and waited for the comet to rise.
"Well, the comet rose, sure enough, but once it crested that row
of pines, we heard this long, rising howl, just like a wolf or some such.

It scared Leena at first hell, even I reached for ol' Warsickle, just
in case but then we got to listening. I swear, the howl sounded
almost like someone singing, some bittersweet tribute that just about

CLkoirhs
Listen closely, my dears, and I shall tell you of the Restless Dead.
I've heard you telling ghost stories, each to each, and giggling with the

fright of them. Do you know why you could giggle? Because the stories
you were telling weren't true.

I know the real ghost stories, little ones. I know the tales that will
freeze the flesh from your bones and stop your heart like a cheap watch.
And now, my childlings, I'm going to share those stories with you
because the Dead don't take kindly to being laughed at.
Now the first thing to know is that they are not as we are. Sure, the
vampires and others are just Prodigals, but the dead folk, well, they're
different. No magic to them, just sorrow the memories of who they were
in life, and they never were our kind, despite what the stories say. I suppose

the best way to think of them is as chimera, but chimera who made
themselves. They're souls remembering what they used to be, and they get
all kinds of annoyed if you point out that they've missed any details.
The next pertinent bit is a bit trickier. Yousee, wraiths are in this world
but not of it the} have the cheap seats at the other end of reality .For the
mostpart, ghosts are stuck ina whole chimerical reality called the Shadowlands
but these are the ugliest chimera you've ever seen. Everything looks like
it's falling apart, and not in the lived-in and loved way our things do. No,

every thingin the Shadowlands is frozen in a moment of decay. Fortunately,

we can't see over there most of the time, but wraiths can peer through the
curtain between worlds at the real show us. The curtain, by the way, is
called the Shroud. We can see wraiths moving on the other side of it (well,
at least we sluagh can. You nocker babies, well, I guess you won't see the
ghosties creeping up on you until it's too late....). There are supposed to be
other worlds that they wander through, called the Tempest and Stygia and
the Labyrinth and whatnot, but that all sounds like a lot of pooka-talk to me.
I've askedafew wraiths why they don't leave the Shadowlands for
more amenable circumstances, but they say they can tonce they finish

laughing. Apparently these other places aren't quite as nice as the

Shadowlands, which leads me to all sorts of terrible images. Besides, there

are things that tie a wraith to the real world a favorite person or
something they loved and ghosts don't want to get too far from those.

If something bad happens to one of these Fetters (as they're called), then
something Very Bad happens to the wraith. So, what this means for us is

<\ppendi;c

285

that if you want to be friends with a wraith, you might want to collect and
protect her Fetters. On the other hand, if a wraith is bothering you, well,

dabbling in a changeling's dream must roll Willpower (difficulty 6) or

get sucked into the dream as a permanent denizen.

let's just say that the dead aren't very fond of the word, "Oops."
Not everyone becomes a ghost, youknow. The vastmajority of dead

restore Glamour with a touch. As one might expect, this leads

people don't have the imagination to recreate themselves as ghosts. They

just wander off to wherever it is that boring dead people go. It's only the
ones who have a little extra oomph to their personalities that become
ghosts, which can make them fascinating partners for discussion.

On the other hand, they just might have a bit too much oomph. Each
ghost has a personal dark side called the Shadow, and you never know
when that worse half will come out to play. Mind you, it's very difficult
to tell when the Shadow's taken over. Sometimes you can spot the signs,
but not always and then it's usually too late.

You scoff at the notion ofbeingafraid of ghosts? Little girl, where have
you been? Ghosts can be terrifying, even without having the Shadow in
charge. You've heard the stories. Walls dripping blood, objects flying through
the air (knives are particular favorites), someone else taking control of your
body oh, yes, indeedy, wraiths can certainly do all of that and more.
But they can do worse. They can sing the Glamour right out of you,
if they feel like it. They can tell your future and make it happen the way

The ghosts who go by the name of Usurers can drain or

to all sorts of complications.
Wraiths feed on raw emotion. Usually, positive emotions fuel
the wraith's personality, while strong negative feelings give strength to

the wraith's dark side, or Shadow. Being creatures of passion (literally!)

and memory, wraiths have very little Banality to them. In fact, the
popular belief in ghosts and "haunted places" often makes the world
more hospitable to changelings than it might have been otherwise.
Some wraiths, called Risen, can actually repossess their
bodies, climb up out of the grave and start walking around. Risen are

very rare and extremely dangerous, but they do exist in the physical
world.
Wraiths are tied to objects in the real world called Fetters.
If these items are connected or destroyed, the impact on the wraith

is enormous (and extremely bad). Wraiths go to any lengths to

protect their Fetters. Egged on by their Shadows, desperate ghosts
may even resort to violence or worse.

they cast it. Worst of all, they can harvest your dreams.
That's right, there are ghosts out there who drink the dream right out

called Spectres. Some of these are indistinguishable from normal

of you. They're called Sandmen, and once one sinks his claws into you,

ghosts, others are patently creatures of evil.

he'll never let go until you're drained dry. Ever have one of those
mornings where you just don't want to get out of bed, and you can't
remember your name unless it's written on the bathroom mirror.7 That's
a sign a Sandman's been at you.
Then again, if you can get a Sandman to be your friend, you've got
it made. Think about it you get to go make dreams! It's hard to get
started on that type of friendship, though. It's one of those "You-got-your-

chocolate'in-my'peanut'butter/YoU'Swiped'the'Creativity'that'fueb'my'
existence" sort of things.
PoiUCRS
Wraiths, with rare exceptions, are completely invisible and
intangible. Only sluagh, and sometimes eshu, can see wraiths, and
unless the wraith chooses to materialize in the real world (an arduous

task), the ghost cannot be touched physically. On the other hand, any
contact of reasonable force with the area where a wraith is "standing"
gives the wraith a single level of damage and disrupts the ghost's

physical state for a number of turns equal to the wraith's Stamina

rating. During this time, no further physical damage can be done to
the wraith (except by another ghost). Ghosts willing to risk this level

of injury can walk through doors, walls and other physical objects.
A ghost's vision is sharper than a mortal's. Wraiths have the
ability to see the auras of the living (which, incidentally, lets them
pick changelings out of a crowd). Furthermore, their senses have
been sharpened to a preternatural degree by death; a ghost can pick
the numbers off a speeding car's license plate or read the signature
on a Louisville Slugger in use.
Ghosts called Chanteurs have the ability to sing raw
emotion into a changeling, which can sometimes be turned into
Glamour. They do this by means of a power called Keening; many
changelings mistake Chanteurs for banshees.

Wraiths known as Sandmen have the ability to harvest

creativity, to alter dreams and even to take sleeping souls with them
into full-fledged dream pageantry. A changeling who is targeted by a
Sandman must roll Willpower (difficulty 8) or lose a point of Glamour
for every night of the wraith's attention. On the other hand, a wraith

286

Changeling: The DReaming

Wraiths who have been consumed by their Shadows are

See Wraith: The Oblivion for more information.

LemuRes
"I don't go down to the Hanging Gardens anymore. The
crawlers do once in a while, but I don't. Why? Because of all the

ghosts down there.

"I mean, you figure a casino's going to be all sorts of fun for one
of our kind. Bright lights, loud music, tacky costumes, people
having fun, and if the music's any good, you just might find some
Glamour sticking to the underside of the tables. Besides, it's the
Hanging Gardens, you know I mean, it's supposed to have
flowers and stuff. Pretty things.

"But it's a scary place, and it's rotten with ghosts. I mean, if you
listen real close you can hear them whisper, and there's dozens of them
whispering all of the time. Out on the amusment pier it's even weirder.
"I was out there the other night, just sitting on the edge of the
pier and watching all the jellyfish glowing blue in the water when

I noticed this girl sitting next to me. She was pretty and sad, with
her hair all done up in a scarf and all sorts of silver jewelry. I hadn't
heard her coming, but I figured that was because I'd been too
wrapped up in what I was doing.
"Anyway, we started talking. She said her name was Helene,
and that she used to read Tarot cards for a living. I asked her what
she did for a living now, and she just laughed. Then she told me that

she worked at the Hanging Gardens, mostly at the tables.

"We ended up talking for hours, about music and magic and all
sorts of things. I asked her to read my palm, but she said she didn't
need to see my hand to tell me that I was going to have a brush with
death. She seemed sad about it, too, but she seemed sad all the time.

"Anyway, we talked and talked until the sun started to come

up, and she said that she had to go. I tried to kiss her goodbye, but
when I leaned forward, I fell right through where she'd been and
into the water. She'd vanished.

"And as I splashed around and tried not to drown, I could hear

the other ghosts. Laughing."

Devin Rasmussen, Seelie satyr wilder

Attributes: Strength 2, Dexterity 3, Stamina 5, Charisma 2, Manipulation 3, Appearance 3, Perception 3, Intelligence 3, Wits 2
Abilities: Alertness 2, Enigmas 3, Etiquette 2, Intimidation 2, Investigation 2, Leadership 2, Linguistics 1, Occult 2, Performance 3,
Stealth 3, Streetwise 2, Subterfuge 2
Pathos (Glamour): 6
Willpower: 5

Powers: Chicanery 3, Wayfare 4

The Long Dead

"Old

Ambrose is mean for a dead man. Old Man Johnson yells

at us for playing on his lawn, and Mrs. Gleet the librarian gets mad
when we make too much noise, but Old Ambrose is just mean. He's

all scary-looking, with seaweed hanging off him and the seawater
dripping and him leaving these wet footprints behind. Even worse,
you can hear him before you see him coming it's always squeech
squeech squeech with his wet boots on the floor. And there's the
smell, all dead fish and seaweed. And that's the times when you can

see him. The rest of the time he's invisible, and that's worse 'cause
you never know where he is or when he's gonna sneak up on you.
He knows where you are, though.
"The thing is, Ambrose doesn't like us coming around to his
house. He gets very protective of it, and he's liable to run off whoever
trespasses. He puts up with the tours the college sends through, I don't
know why, but he hates trespassers. It used to be a game for me and
Elspeth. You know, sneak in, run around, soak up the super-scariness
of the haunted house, and then try to run out before Old Ambrose or

one of his kids or grandkids caught us. (He's got a whole family of
ghosts in there. I'd hate that, being stuck with Mom and Dad forever
and ever.) But I think he got tired of the game. One night, he followed
Elspeth home and got into her dreams. He put something in there, and

now she can't get it out so she wakes up screaming every night. Her
parents are scared enough that they're going to send her away to a
place where she can rest, which has the Duke in an uproar. He's mad
at me for ever bringing Elspeth into the house in the first place, and
he told me I'm never ever allowed to go back there.
"Suits me just fine."
Randall, Seelie sidhe childling

AveRage Banality Ratings

The following is intended only as a guideline. Each
individual will have a rating based on their personality,
activities, beliefs and level of intoxication, etc..
. r
Target
Rating
Children
3-5

Wraiths
Drunks
Lunatics
Tradition mages
Malkavian vampires
Humans

4
5
5
5-7
6
6-7

Werewolves
Wyrm creatures
Mummies
'
Other vampires
Technocracy mages

7
7
8
8-9
8-10

Attributes: Strength 3, Dexterity 3, Stamina 5, Charisma 3, Manipulation 4, Appearance 3, Perception 4, Intelligence 4, Wits 5
Abilities: Alertness 3, Brawl 3, Dodge 3, Enigmas 4, Etiquette 2,

Intimidation 4, Investigation 3, Leadership 4, Linguistics 3, Lore 2,

Melee 3, Occult 4, Stealth 4, Streetwise 2, Subterfuge 4

Pathos (Glamour): 9
Willpower: 8
Powers: Chicanery 3, Ledgerdemain 4, Soothsay 3, Wayfare 4
Note: Certain wraiths, called Gaunts, have resolved their Fetters
and can move freely between the layers of the Underworld. These

ghosts are almost uniformly extremely powerful, and are masters of

multiple wraithly powers (called Arcanoi). Changelings are unlikely to run into a Gaunt unless they are in so far over their heads
that a bathyscape would have trouble finding them.

Appendi;c

287

ChimeRical Gquipmenc
The following is a list of chimerical items that a
character may begin with, based on the character's
Chimera Background Trait. A character possessing the
requisite number of dots (based on the rating of the
Background Trait) for an item may possess other items
of the same chimera requirement or less at the
Storyteller's discretion. For example, a troll character
with Chimera may possess a suit of heavy armor, a
battle axe and a dagger. Characters may only take one
chimera that has a magical effect.
Items
Chimera Requirement
Armor, heavy

Armor, light

Armor, medium

Armor, sidhe plate

Battle-axe
*
Book

Bow

Crossbow

Dagger

Greatsword
. '. **
Mace

Magic Item (-* Art)

Magic Item (- Art)

Magic Item ( Art)

Rope
:>
Shield

Spear

Staff
.

Sword
**
Warhammer

Chanryelintj: The DReamintj

Wow! It's finally finished. I've been looking forward to this

project for quite some time, and now that it is nearing completion, I am left with mixed emotions. Part of me is sad that the
process of creating the second edition is over (in many ways the
creation of the second edition was more exciting that the first).
But another part of me is happy. The hard part is finally out of
the way, and I can get back to the business of expanding the
world of the fae.
The book you hold in your hands is much closer to Changeling as I had envisioned it when we originally set about creating
the game. Though much remains the same, many things are

changed. The most notable change is the elimination of the card

system for casting cantrips. As anyone who has spoken with me
in the past two years can attest, I have always felt that the card

system hampered players rather than helping (not to mention

being very confusing). In many ways the cards stifled players'
creativity rather than inspiring it. Many of the changes in the
second edition came about because of areas in the setting and
rules that I felt needed to be expanded or better explained.

Concepts introduced in other sourcebooks have been brought

together here, and many of the new systems have been created
with compatibility with the other Storyteller games in mind.
Calling upon the Wyrd in particular allows changelings to step
out of their own world and into others.
Yet as any veteran player of Changeling knows, this game
isn't about rules but about dreams the dreams we all have of
waking up one day to find ourselves or our lives somehow
changed. Everyone dreams of change, whether it is the desire for
a new car, a new job, a different appearance or the ability to cast
magical spells. We all dream, and it is these dreams that drive us
to go on day after day, forever questing for them. In a sense, this

is what Changeling is all about. It is about the continual quest

in the name of a dream, whether for a magical homeland and the
answers to every question ever asked, or for the chance to put on
another face and take up another life, if only for a few hours.
In the end I hope that all those who pick up this game find
a little of that drive and have fun with it. Tell a few stories, have
a few adventures, and have a good time. After all, Changeling
is a game, and games should be fun!
Keep Dreaming,
lan Lemke

Lasc (JJoRds

289

Name:
Player:
Chronicle:

Seeming:
Kith:
Motley:

Court:
Legacies:
House:

Physical
Strength_
Dexterity_

.OOOO Charisma___
.OOOO Manipulation

Stamina

.OOOO Appearance_

lalenrs
Alertness
Athletics
Brawl
Dodse
Empathy

Intimidation
Kenning
Persuasion
Streetwise
Subterfuge

CDenral

Social

.OOOO Perception_________OOOO
_*OOOO Intelligence________OOOO
.OOOO Wits____________00000

Knowledges

Skills
OOOOO Crafts
OOOOO
OOOOO
OOOOO
OOOOO
OOOOO
OOOOO
OOOOO
OOOOO
OOOOO

Drive
Etiquette
Firearms
Leadership
Melee
Performance
Security
Stealth
Survival

OOOOO
OOOOO
OOOOO
OOOOO
OOOOO
OOOOO
OOOOO
OOOOO
OOOOO
OOOOO

Computer
Enigmas
Gremavre
Investigation
Law
Linguistics
Lore
Medicine
Politics
Science

ooooo
ooooo
ooooo
ooooo
ooooo
ooooo
ooooo
ooooo
ooooo
ooooo

Realms

.ooooo
.ooooo
.ooooo
.ooooo
ooooo

.ooooo
.ooooo
.ooooo
.ooooo

.ooooo
.ooooo
.00000

.00000
.00000

.00000

OrheR
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QQQQQQQQQQ

Bruised
Hurt

-]
-]
Wounded -\
Mauled
-\
Crippled
-'
Incapacitated
Injured

OOOOOOOOOO
^Ravaging/CDusing

oooooooooo
C;cpeRience:

=5iRrhRighrs/FRai1ries=

QQQQQQQQQQ
Permission granted to photocopy this page for personal use only.

IHtero
Mortal Name:

Chimera/Companions/Treasures:

Faerie Name:

Mortal Age:
Mortal Profession (if any):

Changeling:

Motivations & Goals

Changeling

Permission granted to photocopy this page for personal use only.