House of Rhapsody
From Changeling Venue
THIS ENTITLEMENT IS UNDERGOING SANCTIONING. PLEASE SEE OOC-NOTES.
Contents |
House of Rhapsody
Illusion is the first of all pleasures.
In ages of old, the bards were the keepers of truth and fiction. The power of the storyteller is a powerful thing, and with them is the balance between truth and lie. The skalds and rhapsodes of the House of Rhapsody know how to use each as a weapon. They know that truth is a terrible thing. With it, a person can bring low an empire, can undo words of love, shatter illusions and bring about stark and horrible realizations. Many will claim that it is better to suffer the unhappiness of truth than to endure a lie, but the House of Rhapsody knows this isn't true, like so many things about the world, what we tell ourselves is not the truth, but the simple little lies that make the unbearable more reasonable. In fact, the greater the truth, the worse it is to deal with.
The Rhapsodes attest that humanity’s never-ending quest for the ultimate truths is its greatest fallacy, for every individual is a product of society, culture, family and peers – in essence a fabrication. In fact, the House of Rhapsody took this claim even further through a manifesto written by its founding member called the Manual of Perfidy. In this treatise, seven fundamental beliefs of society are taken and rendered into nothing more than a fiction of its own – own that humanity accedes to in order to survive. Its final position reduces everything to a convenient fiction cultivated in opposition to a harsh and senseless reality. In such a devastating and unreasonable reality, a person must put aside pure reason and cultivate some sensible fictions.
Just as adults often tell lies-to-children couching things they cannot comprehend, deal with or otherwise explain in cute euphemisms, society itself has wrapped itself in lies-to-adults, such as love, honour, justice, mercy and beauty. Without such things, we are little more than lumps of clay and playthings of the Fae. This the Rhapsode knows as sooth, and recognises that humanity, and individuals alike are moved, made and destroyed by the fictions they live by, whether it is their own personal narratives, or the great social narratives of religions, ideologies, and histories.
The House of Rhapsody says that the foundation of any society, and in fact any individual is their fiction. When telling a story or fiction, what is important is not whether the story told is true or false, but whether it contains substance, meaning and evocation. For, it is from these simple stories that our individual and collective dreams are born. The close association between fiction and dreaming has not been lost on the House. They have seen how the dreams of one person have given birth to world-shaking narratives, and how dreams have a way of propagating themselves from person to person through their retelling. The relationship between dreams and fiction goes even further, where some of the Houses’ greater philosophers have told stories of the veil of Maya, and other narratives that suggest that reality itself is merely one of the more commonly accepted fictions.
In fact, the House takes a particularly unique interpretation of the Wyrd, suggesting that it is the embodiment of the flow of narrative. Whereas humanity accounts events through the linear progression of time, the march of seasons, the turning of years and the stay of the centuries, the House claims that all of Faerie, moves according to the flow of narrative, rather than history; that the Wyrd is a tempo measured by destiny and fate. In this, the Rhapsodes claim to make their mark. Whereas humanity live according to the entropic flow of time, changelings are freed from the fiction of time and given power to set their own measure, empowered to forge their own fictions by their own pen. A truly canny narrator can even write their own fiction in such a way as to sway and move masses.
The ultimate agenda of the House of Rhapsody, is to wage psychological warfare against the Gentry, using the dreams, hopes and ideas of the human masses as their arsenal. The Rhapsodes know they cannot turn and fight the Others alone, but they can manipulate and cultivate stories about the Fae in the collective consciousness of humanity. When asked, the Rhapsodes will point to the fairy tales of old, and show how hidden in these simply parables are coded warnings, secret gleanings and hidden messages about the Gentry that are taught from generation to generation.
Through the crafting of new tales that infect the human psyche in même fashion, the House of Rhapsody can hope to infuse humanity with new information and tales to prepare them against the Fae. The affinity of stories, rhyme to the unreason of dreaming has cultivates for the Rhapsodes an intuitive love of dreams, and it is not uncommon for a Rhapsode to become a proficient oneiromancer. Indeed, the House of Rhapsody has a developed reputation for producing some of the finest oneiromancers known to the Lost. However, the House’s foremost reputation comes from being spinners of tales, master propagandists, potent heralds, shills and mouthpieces. For each member has learned to understand all the arts of fiction, from subtle lies, deception and misdirection to propaganda, misinformation and many other arts of psychological warfare.
Many of the practices of the House of Rhapsody revolve around the artful telling of lies. Each Rhapsode is taught to cultivate lies like living stories. One must never be so gauche as to lie all the time, as that is merely being contrary. No, to be an artful liar, the many members cultivate certain expressive obfuscations; learning to speak with circumlocution; the application of riddles and rhyme; the purveyance of masks, make ups, and disguises. Though beyond this simple training, nearly every Rhapsode has come to be fond of the art of telling stories in its own right; with so much of their work caught up in the fabrication of meaningful fiction, it can be a powerful outlet to find some non-urgent form of literary expression that they can pour their creativity into. Typically, this will be in the form of poetry, oration, rhetoric and debate, but the occasional Rhapsode has found harmony in song and sonnet to. Whatever the device, there is a fixation on oral communication.
The Rhapsodes are like spiders in the dreams of mortal minds, which spools its threads of intrigue throughout a vast network of mortal agents. The greatest strength of the House of Rhapsody is that even these agents work for the Rhapsodes without realizing. They have managed to cultivate a reputation as masterful manipulators, and consequently unforeseen political machinations are sometimes levelled as the product of Rhapsode interference. Whenever a treaty turns sour the House of Rhapsody are suspected of tainting the negotiations. When feuds or fights lead to the death of one of the court, the courtiers whisper darkly whom they suspect as being the traitor. In the worst cases, every single black act and every single dark mark is levelled at the manipulations of the House of Rhapsody leading to witch hunts of the worst sort. Of course, some changelings posit that the subterfuge of the House lies not in their deeds, but a carefully cultivated reputation instead. As a courtesy, and in some effort to counter-act this terrible reputation, the House of Rhapsody avow not to use their arts of manipulation to directly affect the politics of a local freehold, sometimes even formally pledging so.
Titles: Lord or Lady Rhapsode, often Maestro for less formal occasions. Also, Marquis (male) or Marchioness (female) for those who have earned special acclaim (see below).
Prerequisites: Wyrd 2, Manipulation 3, Expression 3 & Subterfuge 2
Joining: The House of Rhapsody demands one major thing from their supplicants, namely; adaptability and a talent for performing. Those who can demonstrate a delicate sophistication and an aptitude for dissembling are quickly noticed.
Such individuals are usually carefully solicited by the order and will be tested by being set an elaborate web of fiction. The objective of this trap is to lead the potential candidate away from the true objective and see if they can unravel its complexities. Usually these lies are decidedly more comforting than the stark realization of truth, and only those with a certain mental fortitude can turn willingly towards the unpleasant truth. Sometimes it will be uncovering an unpleasant truth about the changeling herself, or even confronting her with facts about her durance in Faerie or the nature of her mortals ties. Only certain people can truly face the naked truth, and the Rhapsodes seek to ensure that those who face it are prepared. Thus, the Rhapsodes see themselves as guardians of the truth.
Once they have passed this little initiation, the new Rhapsode is asked to swear the formal oaths of the House, and groomed to be worthy of the role as a maestro of fiction.
Mien: The attire of the Rhapsodes is highly varied. Each and every-one of them, however, wears a mirror about their person. It can be as blatant or discreet as the Rhapsode likes, such as a glittering crown of mirror shards, a mighty shield with a mirrored surface. The other feature that a Rhapsode cannot do without is their mask. Each Rhapsode has at least one mask, some designed to completely cover their face like ornate hood, others are more Venetian masks that are worn over their eyes, and others not even worn upon the face at all.
So too, does their Mien change. Their eyes take on a certain mirror-like quality, reflecting the nature of whatever they see. Within these eyes, something quintessential about who they observe will manifest. Beasts will see something feral and savage, Wizened will see eyes of great age and wisdom, Elementals might see a flinty steel or glimmer of fire, Ogres see a glint of ferocity and fury, while Fairest a beauty glimmer and glow and Darklings see rounded black stares. As the changeling’s Wyrd gets to higher levels, they Mien begins to blur slightly, as though attempting to see them through mist, smoke, haze or vapors. It becomes difficult to see the perfect outline of features and markings, shrouding their features.
Background: Theoretically speaking, anyone with the right suave affair could be a member of the House. Each of the different Seasonal Courts has offered new and unique methods of how to cultivate fiction. The courtiers of Summer are trained to powerful Oneiromachists (dream warriors), or Hedge Duelists for the Houses’ honour. The courtiers of Autumn are cultivated as the main propagandists, using the techniques to create powerful fearful tales to surreptitiously warn humanity of the Fae. The courtiers of Winter typically maintain the networks of subterfuge and misinformation, creating lie upon lie upon fiction, to keep both the House safe and the mortals they protect. Finally, the courtiers of Spring are the well versed diplomats and emissaries, they are the troubadours and wandering minstrels that carry the stories with them.
Similarly, the obvious choices amongst the Seemings are both the Wizened and Darklings who have a penchant for such deceit. In close suit are the Fairest (especially muses) whose social graces often allow for masterful manipulation. Beasts, Ogres and Elementals are less common, though sometimes the cunning of the Beasts and Ogres, or the enigmatic inscrutability of the Elementals make for a reasonable and disarming rogue.
In terms of Attributes, characters should demonstrate high levels Finesse Attributes, particularly Manipulation and Wits. In contrast, characters should not have high Power Attributes, especially Strength and Presence as these character’s have a terrible tendency to dominate and overwhelm their opponents, which is an undesirable method to the softly focused Rhapsodes. One must direct the attentions of the Freehold without actually being the focus of it. Naturally, Rhapsodes favor both Subterfuge and Expression, but must also excel at Empathy. Occasionally, a Rhapsode will dabble in the arts of Larceny for whatever nefarious purpose.
Organization: There is rarely ever more than one or two Rhapsodes in a single Freehold. Though each individual Rhapsode may stand alone, they are never far from the words of their fellows. Long ago, they developed a startlingly proficient method of communication, using the Hedge itself as a medium, this network is a far spanning connection known as the Web of Lies.
Beyond this, the Rhapsodes have a very informal arrangement. Gatherings of Rhapsodes is rather like a Munchausean competition, where each of them attempts to spin the largest and wildest lie imaginable. Such gambits can run to the impossibly absurd, where the claims are laudably false and the objective is to be as convincing as one can despite them, to the obtusely arcane, where the objective is to hide a real truth amongst a plethora of falsehoods.
On occasion, the gathered Rhapsodes will nominate amongst themselves a candidate of great worth and repute, champions of the arts of deceit. To these individuals they award the title of Marquis or Marchioness. Such accolade is to demonstrate that they are a paragon of what the House espouses, and usually comes with a descriptive attachment. The best known example is Lord Valentine, creator of the Manual of Perfidy, as it was a lie so great that people would accept it as the truth behind the House itself. For this he was awarded the title of the Marquis of Perfidy.
Outside of the formal titles, the House of Rhapsody employs a number of internal titles to denote a kind of rank. Each of the ranks of the House resembles that of a chess piece. Pawns are the changelings who are manipulated by the House of Rhapsody, but not members of the House itself. Rooks are those who collect and decimate disinformation amongst the various freeholds and collect information back for their own use. They are often trained in the arts of espionage and capable of reasonable self-defense. Knights are the next rank up, for they are the assassins, and contaminators of the games of the courts. Knights are reasonably trusted to work on their own without higher supervision. Bishops, they are the ones who oversee large regional plots and set in motion the wheels of the various games. They are often well versed in magical arts and provide many philters and concoctions for the House’s use. Rumor exists that the leading roles of the House are overseen by a King and Queen, but their roles, duties and identities lie at the center of a web of lies.
Concepts: Flowering knaves, man of riddles, keeper of secrets, venomous courtesan, the manifold masquer, the court gossip, war propagandist, peace propagandist, dream merchant.
Privileges
Privilege into the House of Rhapsode grants an ability gained from the way their Mien manifests.
Bardic Gift
The privilege granted by membership in the House is the alluring and enthralling qualities granted. These features are part of their Mien, but also leak through the Mask. How this manifests is different for each Rhapsode, some have mesmerizing eyes one could lose oneself in, others have entrancing voices with lyrical and silver tongued qualities and yet others have bedazzling auras, where slips of light and shadow and dizzying colours fugue the opponent’s mind.
By spending a point of glamour, then for the duration of the scene, a Rhapsode’s Mantle becomes more directly infused with their Mask (meaning more of their court aspected mien begins to slip through). This transformation colours the Rhapsode’s appearance with the energies of the Court, making it harder to read anything but that season’s radiance.
This has a two-fold effect, it causes a negative modifier equal to the Rhapsode’s dots in Mantle on any test attempts to discern the true motivations, or break through their lies. It also invests the emotional resonance of their Mantle into any performance they give, allowing them to add their dots in Mantle to any test related to telling a fiction story they are telling, but it will colour the story with the emotional affinity of that Court.
OOC Notes
This Entitlement is currently not sanctioned for play. Discussion currently exists to determine how the global game wishes to handle Custom Entitlements.
Until such time as Custom Entitlements are permitted in game, the House of Rhapsody will exist solely as an dynastic house. The purpose of this is to create the society before it properly becomes an Entitlement. Characters who are members can participate in the social dynamic and portray their characters according to the background presented but may not take benefit from the mechanical features of the Entitlement.
Membership
Lord Valentine - Flowering, Court of Spring (played by Angelus Michaels - AU2005120007), founding member
Alex Crutach - Leechfinger, Court of Spring, (played by Jeremy Thio US2002034923).
Anastacia Argent - Mirrorskin, Court of Winter (played by Emma O'Dea - AU2003100566 ), founding member
Joseph Knecht - Fairest, Court of Autumn (played by Damian O'Dea - AU2003100567), founding member
Rufus Arrowny - Mirrorskin, Courtless (played by Travis McLaughlin US2007059925).
Selene Brooks - Oracle, Court of Winter (played by Tieshia Montgomery - US2005075876 ), founding member.
Squire Pellegro - Bright One, Court of Autumn (played by Max Brooks - US2004122570).
Lucianne Ember - Mirrorskin, Court of Autumn (played by Jessica Earl).
Holly Poppet - Muse, Court of Spring (played by Sharon Yarbrough - US20020222477).
Registrations of Interest
OOC Note: If you want to tie your char in some way but don't know how there are two options, either e-mail me at this address or put your link in the space below, including a potential direction you want to take it.
Hannah - Mirrorskin, Spring Court (played by [Justin Melton] - US2002021401).
Given the similarities between Hannah's Mien and the appearance House members, her history and who she was before, and her interest/slight obsession with mirrors I think it would be interesting for there to be tie between her and the House though I can't see her wanting to be a member... at least not yet.
