Drumheller's ramblings

[Bard]

This will serve as a place for rambling thoughts and poems, and anything that at the time of their creation seemed like a good idea.

Reader's note: this is a poem I wrote, long ago, which was influenced by real life events. Since I use part of it as my signature, I figured somebody might be interested in its entireity.

And behold there came a day when one having the perceptions of all the senses and the sensations brought there of, sat with two lacking in some form one of those which the other held. And so it came to pass that questions asked and answers given those lacking in one form, but holding more in another imparted all that they had to the one have all the capabilities of sensation and perception; so, that by so doing that one could better understand the world as those lacking understood it. Read then of the words taken down of that day, for the loving hand that took them desires that something here by might be gained that was not yet held before the viewing.

You asked me on one fair day, your eyes dreamy and far away, what it is like to be without sight, to see only the dark & the light. You asked me of color and what is now denied me, you asked, most curiously,

What does a blind man call beauty?

I replied by and by if you know the smell of the sky, of the scent of life and death, if you knew or could guess. And then my retort was thus, and thus, for many things unlike my peers I give no fuss.

Why should I care to the color of your hair, or even if your head were bare.

Why should I shout with rage, because of hue or shade.

If it were long, straight, kinky, or Mohawk shaped.

Black, bronze, or brown, why should my mirth be struck down.

Why should I care how much waves in the breeze, but back to the question,

What does a blind man call beauty?

What then of attractiveness, to this I say, why should there be a tempest in my brain as to the form of your frame. If you be plump, or bone thin, squat, or smaller than a sapling; for what then if I am shorter than thee,

Ah, to the question what does a blind man call beauty?

To this question I declare what physical things can compare to when I saw your soul laid bare, in past action, voiced thought, and present deed, most lovely in it’s entirety. Thus, thus, is what I hold close for all eternity, this is what the blind man calls beauty.

[Drumheller]

We all have aspects of our lives we aren’t proud of, moments where we think I should have done this, or that. We all look back on those events and say have
I wasted my life, have I given too much of myself to something when I shouldn’t have? These moments are important, the wise person regularly reexamines
their life and evaluates when changes should be made. The problem is that during such moments one can often fall into despair. Remember as long as one
lives there is hope; the events of the past can still be shaped in the present to lead towards a better future, so long as we are willing to act. Despair
though, can keep us from acting with the full power at our disposal and thus, we must defeat it first.

Remember my friend that when times seem at there most desperate and all seems lost, we are most capable to show the gem that is our mind more fully, we
can show are strength more completely, and our endurance entirely. IN short, times of desperation are those moments when we can choose to rise above the
trap set before us, and thus grow more fully into the being we are capable of being. With these words I close,

the child came to me with a quivering lip,
the day was done,
do you have a new lesson for me dear teacher? I’ve spoiled this one.

I took his lesson all soiled and spotted,
and gave him a new one all unblotted
and into his tired heart I cried,
go forth and do better now my child.

I came before the throne with a quivering lip,
the day was done.
Do you have a new day dear master?
I’ve spoiled this one.

He took my day all soiled and spotted,
and gave me one all unblotted
and into my tired heart he cried,
go forth and do better now my child.

[Bard]

I originally designed this for a friend's D&D game, but thought folks might be interested.

Sword Play.

“Doctor Pierce O'Hiram, good soul that he is, doesn't run the only blade school in this wild town of Waterdeep. No, I'm not going to name them all, I've not the time, nor the inclination, but as anyone with a lick of sense can guess, their be plenty within these walls. Some being founded and run by a few of the old Doc's students. Gaidon Ack-Nigel, a northerner by birth, be one. He runs a school down in South ward for folks going into the sellsword and merchant guard trade. His school, named simply “The Academy for Guards,” is a simple stone building that could have been confused for a wearhouse, if not for the four stories. I should mention that Master Gaidon fights in what is often refered to as the Dragon-wing style, quite useful, but less inclined to the chatbook publicity of the twin swords utilized by his original instructor. No, hand and a half swords and larger, used by both hands are his bread and butter, and any that are interested in such a form are welcome in his establishment; until poor manners forces them out again. What I shall now relate, is not anything I dreamed up. Oh, No, I am a master of the pen not the blade. I was however quite interested in some simple facts, which the good instructor happily related, which I dear reader, gladly impart, with his blessing, to you”(Abarr Brandybuck, in the hin Herold, published in Waterdeep in the Year of Wild Magic, 1372 DR).
I should note, that initially all this was something that I developed for creative flare. A little something to add a more narrative sparkle to the game. My DM liked it so much, that mechanical elements were added to most of the form. These forms were initially created for the 3.5 game system, but with a little work, I suspect that they can be added to any other version of D&D. Having said all that, and before relating each form individually, it might be helpful to define a few terms that will be utilized extremely frequently throughout this work.

Los'Val (forward guard) - The sword is held in both hands, on your
strong side. Your hands, and the rest of the hilt of the blade, are level with and behind your ear, and the sword, pointing towards your opponent, has a slight diagonal rise in it.

Taer'Val (straight guard) - Both your hands gripping the sword, the top of the hilt is level with and close to your waist and the sword is pointed upwards
towards your opponent's face or throat.

Mosiev'Val (lowered guard) - Both your hands gripping the sword, the top of the hilt is level with and close to your waist and the sword is pointed downwards
towards your opponent's shins or feet.

Rahien'Val (dawn guard) - With both hands the sword is held above your head, your arms slightly bent so that sword is almost as far above your head as it can be. It is sloped upwards, the hilt aiming for the space between an opponent's eyes.

Ji'Val (side guard) - The blade is held by both hands on your strong side
level with your waist. The sword is held low and on the side, and the blade is pointed backwards and down.

“… now remember lads and lasses, as the Master says, Every sword form must be started off from a form and flow back into another so that the movement of swordplay is smooth and continuous. Forget that, and you'll probably not be living to curse yourself for a fool. At least that's what the Master Gaidon claims. He has provided me with a number of good strong forms that will greatly aid the young learning in that heart racing dance called swordplay. Gaidon has also attempted to keep the overall concept neat, if you will, and has even provided names for each, as known here, and abroad.”

The Forms:

This first is called “Feathers in the wind, by us Waterdavians, with the form being called “Rose peddles in the wing,” in Moonsea; “Lilies in the breeze,” among Heart landers; “ and Wind through the grasses,” by folks round the Lake of Steam. The form begins in Mosiev'Val and ends with Mosiev'Val. Thus, it start with both your hands gripping the sword, the top of the hilt is level with and close to your waist and the sword is pointed downwards towards your opponent's shins or feet. It is to return to this stance at the end of the form. A good initiator, many a guardsman takes this form, while appearing at rest. A versatile technique, intended for use against a sudden attack by multiple assailants. The blade is held low, but ready for use in a number of strikes. For this reason, Many guards naturally assume the pose while standing on duty. You'll never be caught entirely flat footed, unless you fall asleep, or forget to protect your back, while holding this form.

Game benafit: This form provides the weapon weilder an additional plus one to their defense, and usually when in this case they cannot be considered flat footed, so long, as the text previously mentions, if they don't fall asleep. Individuals in this form, are not immuned from sneak attacks.

Selunes arc, comes next, which is called “Shar's Kiss,” in Moonsea, interestingly enough; “Selune's shadow,” among Heart landers; and simply, “No moon,” round the Lake of Steam. This form begins in Los'Val and ends in Taer'Val; or it start with your sword on your strong side. Your hands, and the rest of the hilt of the blade, are level with and behind your ear, and the sword, pointing towards your opponent, has a slight diagonal rise in it. When you are done, the sword should be so that the top of the hilt is level with and close to your waist and the sword is pointed upwards towards your opponent's face or throat. To put it bluntly, this is a simple slash, meant to take off an opponent's head. Probably begins at mid body level, arcs to neck, and could end back at a guard stance, either to launch another attack on your current fow, or to block an on coming attack by another. If done appropriately, with the correct level of quickness, one can end a fight with this form alone.

Mechanical benafit: A player must declare this form before making his attack, if the player succeeds, he/she rolls 1D6 and consults the following table

Roll Outcome
1 Ear wound, minus 1/5 to listen checks.
2 Facal wound, scarring, but no additional damage.
3 Facal wound, loose of an eye, munus 1/5 to spot checks.
4 Facal wound, no additional damage.
5 Throat wound, loose of the ability to speak at normal volumes, unable to shout, and a minus 1 to Cha.
6 Additional five points of damage, and players choice on wound. If this drops the PC/NPC to zero hit points, then it should be considered a finishing move.

On rolls 1 & 3, the DM desides the level of skill loose, no additional rolls are necessary. If the apponent is wearing a helmit, then he is given a defense roll to see if the helmet protects him from the attack. If he is wearing a helmet with a face plate, then he is given an additional +1 to his defense roll. This is in addition to the +1 to AC, that a helmet imparts. If the weapon is a bludgeon, then the +1 is ignored, but all other rules apply.

Hailstones on Cobbles: Also known as “ash on the street,” or “ blood on the road,” in Moonsea, the term reflecting the level of anger in it's user; “Snow flakes on rocks,” by Heart landers; and “rain on grass,” by folks around the Lake of Steam. It begins in Ji'Val and ends in Taer'Val. Meaning that one starts with the blade being held in both hands on your strong side level with your waist. The sword is held low and on the side, and the blade is pointed backwards and down. The form ends with the top of the hilt level with and close to your waist and the sword is pointed upwards towards your opponent's face or throat. The form produces a low, horizontal slash that is directed at the opponent's ribs.

Mechanical benafit: none, same as a standard attack.

The Griffin dives: Known as the “charging stag,” among Heart landers; “The downhill charge,” in Moonsea; and “ The charger,” along the Lake of Steam,” is a vertical slash, but one that can alter course in mid-swing quickly. the sword is held above your head, your arms slightly bent so that sword is almost as far above your head as it
can be. It is sloped upwards, the hilt aiming for the space between an opponent's eyes. The form ends with the top of the hilt is level with and close to your waist and the sword is pointed downwards towards your opponent's shins or feet.

Mechanical benafit: The player can roll a bluff check to deceive his apponent where the strike will come. Standard bluff/sense motive roll off.

The Griffin Flies: Known as the “running stag,” among Heart landers; “The reckless stallion,” in Moonsea; and “ The rash horselord,” along the Lake of Steam,” is very similar to the "Griffin dives", only with a more diagonal cut instead of a vertical. . It is one of the best counter's to "The Lady dances on the post." The sword form begins in Los'Val (forward guard) - The sword is held in both hands, on your strong side.
Your hands, and the rest of the hilt of the blade, are level with and behind your ear, and the sword, pointing towards your opponent, has a slight diagonal rise in it; and ends in Mosiev'Val (lowered guard) - Both your hands gripping the sword, the top of the hilt is level with and close to your waist and the sword is pointed downwards towards your opponent's shins or feet.

Mechanical benafit: none.

Tossing Hay: Known by many as "The fool at harvest," this is one of the few forms called by the same name both in Moonsea and round the Lake of Steam." Among Heart Landers the form is called the "drunken farmer," Gods above only knows why. The form consists of several quick chest-level thrusts, followed by an arc and a paired return arc that can , and often does, end the blade in a guard position. The master suggests that this form begin in straight guard, with Both your hands gripping the sword, the top of the hilt is level with and close to your waist and the sword is pointed upwards towards your opponent's face or throat. He says that it is best if it ends in a forward guard, or on your strong side; your hands, and the rest of the hilt of the blade, are level with and behind your ear, and the sword, pointing towards your opponent, has a slight diagonal rise in it. Gaidon states that this is a particularly good form to use against a polearmsmean.

Mechanical benafit: none.

The Lady dances on the post: The master doesn't know who invented this form, but it's the only one he knows that goes by the same name in all places previously mentioned. This is in truth one of the losest forms, in that any beginning, or ending is exceptable, making it one of the most versitle forms in one's repature. It is in short, a feinting, tentative series of short slashes, thrusts, and parries. The swordsman must have good wrists and quick feet for this to be effective. Useful for buying time.

Mechanical benafit: the player can make up to three attacks, but most sacrafice his movement for the following turn. the first two attacks are to be considered at his/her highest base attack bonus, with the third recieving a minus 2. If the player can already make multiple attacks, then the first two are at the highest, and the dicrease follows normally (so far no one has used this benafit, although I've used the form in combat ounder standard rules).

Dancing on hot sand: : All of the names for this form involve hote sand, even in places where there isn't any. Around the Lake of steam, for instance, it's called "Shifting hot sand"; in the Heart Lands, it's called "Lady on Hot sand;" and in Moonsea it's called "the shadow on hot sand." A faster, less tentative version of The Lady dances on the post.

Mechanical benafit: see "The Lady dances on the post" (so far the only one to use this one too.)


The Courtier bows", Originally, this form was refered to as the "lordling's touch," in the heart Lands, "the Nobleman's pinch," in Moonsea, and "the Fey's kiss," along the Lake of Steam. Now, however, one can find these three terms used by folks in all three places for the same thing; a product of trade I guess. This is a quick, powerful overhand blow, meant to split the head. From a wielders stand point, this form begins at Rahien'Val, or with both hands the sword is held above your head, your arms slightly bent so that sword is almost as far above your head as it can be. It is sloped upwards, the hilt aiming for the space between an opponent's eyes. When finished, whether you succeed or no, the blade should end up with Both your hands gripping the sword, the top of the hilt is level with and close to your waist and the sword is pointed downwards towards your opponent's shins or feet.

Mechanical benafit: If this form is declared, and a critical hit is rolled, then, the apponent is considered dead, unless having his skull cleaved wont do the job. Helmets give the apponent a Fort Save. (note, originally this form was used when I rolled a critical and thought that the form was a good one to use, whether the blow landed on his head, or on his sholder, depended on if the attack was a killing blow. Dwarf skulls for instance, being part of the greater Saxon effect. Yes, this is a joke dealing with Ivenhoe).

Selune smiles: Also known as "Selune rises" "Selune on the water," or "Clouds touch the ground," this is another form that one can find spoken by anyone from any of the lands mentioned thus far. Historically, Heart Landers called it "Selune rises" with folks round the Lake of Steam calling it "Selune on the water," and folks from Moonsea calling it "Clouds touch the ground." This form begins & ends in a Taer'Val, or with Both your hands gripping the sword, the top of the hilt is level with and close to your waist and the sword is pointed upwards towards your opponent's face or throat. In other words, this is a vertical arc after a horizontal, tentative slash. The blade should begin and end in the same position - near the waist.

Mechanical benafit: none.

Lathander's circitte : Initially, or so I'm told, Heart Landers called this form "Lathander circles the pond" I am told that this term fail out of common usage round the time Elmenster settled in Shadowdale. The idea that there was a time before the old saige was a common feature of that near paradise of terf boggles the mind. In Moonsea the form is called Embracing the Oak, while round the Lake, it's called "the Sun's ride." This is so far our first truely defensive form, a slow, circling stance. The blade goes from high to low and back to constantly offer a new threat and to guard against others. Forms to use out of this are Lightening flashes, and "the wind rises". It begins with the top of the hilt being level with and close to your waist and the sword is pointed upwards towards your opponent's face or throat. It ends with your hands, and the rest of the hilt of the blade, are level with and behind your ear, and the sword, pointing towards your opponent, has a slight diagonal rise in it.

Mechanical benafit: +1 to AC.

Cutting the Wind: This term has either made it's way so neatly into Moonsea termenology that they can't remember the technique by any other name, or the form itself has come in from outside, and thus is known by the same name as used round here. The Master says that there's a rumor that the form was part of some elvan style, but doesn't know what. If any of you lovely Elvan folks know, then drop on by and let one of us know. In the Heart lands the form is called "folding the fan," and the Lake folk call it, "Taker's at hhigh sun." The blade begins and ends in both hands on your
strong side level with your waist. The sword is held low and on the side, and the blade is pointed backwards and down. This is a wide arc of the sword begun at the waist into an over hand strike at the opponent's wrists. It is, I'm told a good form against duel weilders.

Mechanical benafit: Limb damage, if the DM allows. Also as a good descriptor for a disarm maneuver.

The Falcon's claw: Also known as the “Falcon's talon”, among the Heart Lands; the “Monster's claw” in Moonsea ; and the “Serpent's fangs,” around the Lake of Steam; is an abbreviated form of the “Seadragon claims it's prise,” or a quick overhand thrust, returning to a guard position, such as “Lightening flashes.” The form begins in Taer'Val, or straight guard- Both your hands gripping the sword, the top of the hilt is level with and close to your waist and the sword is pointed upwards towards your opponent's face or throat - and ends at Taer'Val.

Seadragon claims it's prise: this form, widely known and used both here in Waterdeep, and in the Heart lands, is called “The Blackdragon's reward,” in Moonsea; and “Eel Among the Lily Pads,” round the Lake of Steam; is somewhat confusing when first being learned, as it consists of two slightly different styles. The first style, so to speak, begins while the sword is at shoulder height or higher, a downward stab for the abdomen. The second style, begins when the sword is lower than shoulder height, and is a downward stab meant to go for a leg or the groin. The form on the whole, May also be used to parry a midlevel strike. In either style, the beginning and endings are the same, in both cases the blade begins in Los'Val, or forward guard - The sword is held in both hands, on your strong side. Your hands, and the rest of the hilt of the blade, are level with and behind your ear, and the sword, pointing towards your opponent, has a slight diagonal rise in it. It ends in Taer'Val, straight guard - Both your hands gripping the sword, the top of the hilt is level with and close to your waist and the sword is pointed upwardstowards your opponent's face or throat. It should be noted, that with the second style, the initial Los'Val is slightly lower than normal, but otherwise is exactly the same. The legs are also usually slightly bent at the knee, to give a better center of balance for the stab for the apponents legs.

Mechanical benafit: none (when a normal attack, I use the first style, or a stomach blow; when I roll a critical, then I use the second style.)

Lightening flashes: Known as "Lightening of two prongs," among the Heart lands, "Two headed thunder," around the Lake of Steam, and "fist of the Stormlord," in Moonsea; and as already mentioned is a good followup for "Lathander's circitte", "Falcon's claw," and "Seadragon claims it's prise." This form can be used either defensively, or offensively, and thus is a good one to learn early on. A simple form, it begins as a thrust that can either continue as a thrust, or slash to either side. Can also be used to parry. The main reason, according to the master why it's such a good form to know and why it should be a natural to the other three forms, is it begins in Taer'Val, where the other three forms end in, and moves to end in Los’Val.

Summer Queen's kiss: This is another form where the name round here is the same used by Heart Landers, while folks round the Lake of Steam call it "The last Goodnight," and those in Moonsea call it "Bane's come a calling." it's another form that can easily take the place of "Lightening Flashes," because of it's natural flow. It begins, unsuprisingly, in Taer’Val and ends at Los’Val. The form itself is a hard quick thrust, meant to be aimed at the apponents heart. The difference here between this form and the one mentioned previously, is the former is aimed, while the latter is not.

Leaf floating on the pond: Only in Moonsea is this called differently. There folks call this either "Bane's greeting," or " shadow of the tyrant." A horizontal guard position where the blade will move up and down according to the threat while moving horizontally to
offer new threats. A good basic form. The form begins in Mosiev’Val, or lowered guard — Both your hands gripping the sword, the top of the hilt is level with and close to your waist and the sword is pointed downwards towards your opponent’s shins or feet. It ends at Los’Val, and is a good defensive position from which several attacks can be launched from.

The Wind rises: This form is called "rain on grass" round the Lake of Steam, as for what it's called elsewhere the Master doesn't know. This form is meant to engage the enemies sword arm, and begins in Rahien’Val and ends in Ji’Val. The idea is to suddenly change direction and slash the fellows main sword arm. With this we end our brief lesson in sword's play, but those interested can definitly see the Master for further instruction.

(If the latter forms had mechanical benafits, either we never developed them, or they are on another tape, which is more than possible. If I come across anything else, I'll add them as subsequent posts. Comments are always welcome.)