The Gentlefae of Cremona

A Shakespearean role-playing game by Daniele Di Rubbo, designed for Game Chef 2011 Version 25/07/2011

ArgonauticA

Dedicated to Alessandra Then happy I that love and am beloved Where I may not remove, nor be removed. William Shakespeare, Sonnet XXV, 13-14 But I, being poor, have only my dreams; I have spread my dreams under your feet; Tread softly because you tread on my dreams. William Butler Yeats, He Wishes for the Cloths of Heaven, 6-8

Written with Microsoft Word 2011 for Mac on an Apple MacBook 5,1. This draft is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License. Set of fonts: Trinigan FG Gill Sans MT Special thanks to: Francesco DArcadia Alex il mietitore Isabelle Without their incentive I wouldnt have joined Game Chef 2011. My contacts: E-mail: daniele.dirubbo@yahoo.it Website: http://argonauticagames.blogspot.com/ English is not my mother language, so sorry for any error. 1

Premise

Desdemona daughter of Oberon and Titania, king and queen of Fae has vanquished from their seat in the fairy realm. There are rumors she was seen around the Late Renaissance City of Cremona, Northern Italy (circa 57 miles south-east from Milan). The Protagonists are Fallen: exiled Fae who have forsworn their ancient Oath and thus banished on the World, bound in mortal flesh. They have the power of Nature on their behalf, but can they strive with their distrustful past? Can they make their way back to their Fae nature? And what part does the disappearing of Desdemona play into this? (for more see Setting on p. 9).

What Do You Need to Play?

3-5 Players1: each one takes the role of a Protagonist; no need for a Game Master; One Protagonist sheet for Player; One deck of Tarots2 (22 Major Arcana and 56 Minor Arcana); or one deck of 22 Major Arcana and one deck of 52 poker (French) playing cards; Index cards (for Aspect Cards; see p. 4); Glass beads (to track Path scores; see p. 3); One d6 for Player (to track Fate; see p. 3); Pencils, paper, rubbers, and the hospitality of some of your friends3.

Protagonist Creation

Enter the PROTAGONISTS

Each Player creates the Protagonist he will Lead during Play. Create one Protagonist at a time; meanwhile the other Players should ask questions and make suggestions about him.

Aspect Tarots

The Player on your left (called Cartomancer) shuffles the Tarot deck, then you cut the deck and deal 10 Tarots as in the Celtic Cross game. The Player writes 1-2 lines for Tarot (which represents a Players Aspect), according to its meaning (even if reversed), its imagery, his impressions etc. 1. Self: This represents the Protagonist. 2. Daughter: This is your bond with Desdemona (see Particular Aspects on p. 4). 3. Forsworn Oath: This is your ancient Oath you forsworn and thus be exiled. 4. Dark Passion: This is your inner demon who drives you to commit fell acts. 5. Nature: This is your bond with Nature and your Fae heritage. 6. Exile: This is your bond with the mortal World and their inhabitants. 7. Intimate Emotions: This is something you hide under your heart. If you try with more let me know what happens. Of course, the best choice is for Italian Tarots. If you are too poor or dont know ho to get them, you can find plenty of them (entirely free) at http://freeware.esoterica.free.fr/html/freecards.html. 3 Hospitality is a sacred thing among Fae too (of course not Unseelie ones).
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8. Outer Forces: This is something or someone who opposes you. 9. Hopes and Fears: This is bound with your hopes and fears. 10. Destiny: This is your ideal destiny, your happy ending (if Fate wasnt there).

Paths

Four of the Aspect Tarots also have a score and are called Paths. When used as Paths they have to be intended in the broadest sense (not only connected to their Aspects), because they are cosmic forces and are linked in opposite couples: Forsworn Oath vs. Dark Passion; Nature vs. Exile. Forsworn Oath and Nature start at 0; Dark Passion and Exile start at 1. There is no cap score, while the minimum score is equal to the starting one. Take trace of the Paths putting some glass beads aside the related Aspect Tarot. Path scores can (should!) vary during Play (see p. 5 and p. 7).

Elements

You have 13 points to distribute among your 4 Element scores in a 2-5 range: Fire: thought, speech, intellect; Air: action, strength, speed; Earth: might, health, endurance; Water: feeling, intuition, sensitivity.

Fate

Protagonists start whit a Fate score of 6, represented by a d6. Its impossible to raise Fate over 6; when it drops to 0 the Protagonist confront his Final Moment of Truth (see p. 8).

Game Play

The Play proceeds clockwise from one Leading Player to another. Each Scene is focused on one Protagonist at a time. Other Protagonists can participate in the Scene of the Leading Protagonist as supporting Characters (Players always maintain control of their Protagonists), with the permission of the Leading Player. The Player on the left of the Leading Player is the Cartomancer; the one on his right is the Playwright; all the other Players are Prompters. Everyone is in charge of the Guides for their Hand of Tarots. So, the roles change with every Scene.

The Scene

At the beginning of each Scene, the Cartomancer collects all the Tarots, reshuffles the deck (the Leading Player cuts) and deals the Tarots again, clockwise and starting from the Player on his left. Then the Playwright Raises the Curtain framing the Scene, but any other Player can make suggestions or requests. Each Scene is of three types:

 Protagonist Development: The focus is on the Leading Protagonist, his Aspect Tarots and the revelation of something about him; Plot Development: The focus is on the plot and the events to occur to unravel the story; Stage Development: The focus in on the creation or the development of new and old Aspects. Read this types as a broad classification. In your Scenes can be present one or more types of development. Note that this is only a metaphor for theatre: a Scene has not to be set only in one location or at one time. Bend it to your goals!

Aspects and Aspect Cards

When the Play begins the Troupe has a number of Aspect Cards in the centre of the Wooden O created during Protagonists Creation (see p. 2). Each Tarot Guides one or more Aspects, and each Aspect is represented by an Aspect Card lying in the middle of the Wooden O. During Play new Aspect Cards will be created when something important needs an Aspect Card. Every Player can propose to, but the Player who introduced the Aspect has authority in compiling the Card. You have to write down: 1. The name of the Aspect; 2. The type of the Aspect: Character4, Place, Event or Item; 3. The Tarot which grants the Guide for the Aspect; 4. A 1-2 lines (brief and significant) description. From now on the Aspect is under the Guide of the Player who possesses the related Tarot. Everyone can propose additions (1-2 lines at a time: keep short!) to Aspects when relevant, but the Guide has final authority (and the right of Veto). Particular Aspects Aspect Tarots are played by their Guide, but the right of Veto about them is shared between the Leading Player and the Cartomancer. The Daughter Aspect Tarot, that is Desdemona, is played by its Guide, but the Troupe wholly has the right of Veto on it. Moreover Desdemona is the only Aspect which points to more than one Tarot: each Protagonist will see her Guided by his Daughter Aspect Tarot owner.

Players Tasks

Some of the following roles are inclusive of others. Please, read carefully. Protagonist Player You have to talk as your Protagonist, describe his actions and will, and speak in his name during Conflicts. You share the right of Veto with the Cartomancer regarding your Aspect Tarots. You have to look for the story you want for your Protagonist, but also be inclusive for the work of other Players, and accept their twists to the story. You also have some Guides relating to the Tarots were given you this Scene.
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A Secondary one, since Extras are never Aspects. 4

Guide You have to talk in name of the Aspects related to your current Scene Tarots, to let them emerge in the story and contract for them during Conflicts, also playing Cards for them. You have to propose new Aspects emerging from the Play and to write down on Aspect Cards. If you cant manage all your Guides, you can delegate their patronage to another Player (who must accept). You have the right of Veto regarding your Guides. Leading Protagonist Player The same as Protagonist Player and Guide. Remember the spotlight is over you this Scene: make it yours! Pull for you story, until it ends. You share with the Cartomancer the right of Veto on your Aspect Tarots. You can reduce you Fate by one thus adding two Cards to your hand during a Conflict. You also have some Guides, according to your Scene Tarots. Its always you who cuts the deck. Cartomancer You have to look on the Leading Protagonists Aspect Tarots and let them emerge in Play. You share with the Leading Player the right of Veto regarding his Aspect Tarots. You have to collect, shuffle and deal the Tarots (clockwise, from you left) at the beginning of the Scene. You have also to deal the Cards to each Player during the Scene and reshuffle the Card deck after every Conflict. You can increase the Leading Protagonist Fate by one giving to his Antagonist Guide 2 additional Cards in the Conflict. You also have some Guides, according to your Scene Tarots. Playwright You must Raise the Curtain over the Scene, also relying on other Players suggestions. You decide on the number of Cards the Antagonist Guide has to deal for the Conflict, and also the two Elements the Leading Protagonist has to sum up (and the Main Element between them). You have to assure the Scene and the story flows naturally, and avoid too flat (boring) moments. When the time has come you have to Drop the Curtain over the Scene (other Players can make suggestions). You also have some Guides, according to your Scene Tarots. Prompter The same as Protagonist Player, when your Protagonist is in scene (as a supporting Character), the same as Guide (since you have some Guides, according to your Scene Tarots) and above all make suggestions!

Conflict

When you, as a Leading Player, disagree with the course of action another Player (be he the Playwright, the Cartomancer or a Prompter) wants for the story here we have a Conflict! A Conflict must be in some way: a) An obstacle for the Leading Protagonist or against his will; b) Relevant for the Play (no one wants a Conflict about lacing up shoes); c) Potentially dangerous and interesting for the Protagonist or the Play to be won or lost (no Conflict must result in nothing). If the Antagonism in question hasnt an actual Guide, then the Playwright is temporarily invested with this task. Stakes and Path-Following Before the Cartomancer deals the Cards, the Leading Player and the Player who has the Guide of your Antagonism must agree on the Conflict Stakes. The Stake must be a declaration of intents, 5

on quite opposite wills, for what happens if the Players adjudicates the Conflict. Keep it short and synthetic: since narration comes after the Card deal, its awfully boring listening again a paraphrase of the Stakes. The Playwright must assure the Stakes are appropriate; otherwise he can request the Players to change them. He also has to establish the number of cards the Antagonist Guide has to draw. Then, the Cartomancer declares if the winning or losing of the Conflict will increase or decrease one or more of the Protagonists Paths. The Leading Player draws a number of cards equal to the sum of the two Elements (the Playwright must approve the choice) relevant to the Conflict. The Call of the Wyrld 5 and Cold Iron If one Protagonists Aspect Tarot is relevant, the Player can reduce his Fate by one and add 2 Cards to his hand for the Conflict. In fiction, the Protagonist is summoning the forces of Nature and the Wyrld to help him. The result is Magic: the Player can add a brief colourful description to the Conflict resolution, narrating the happening of something strange (even if he lose). Moreover, should he win, he can restore one point for each of the Elements used in the Conflict (up to their original maximum). If the Cartomancer wants to he can increase Protagonists Fate by one adding 2 Cards to the hand of the Antagonist Guide. In fiction, Cold Iron is somehow present in Scene, and all gets harder for Fae. The Cartomancer can add a brief colourful description to the Conflict resolution, narrating how Cold Iron obstacles the Protagonist. The Cartomancer has the last word on it: so if you Call the Wyrld look at the Cartomancer. Should he decide to declare Cold Iron your Call of the Wyrld fails; instead you increase Fate by one and you Antagonist gets 2 additional Cards. If the Protagonists Fate is 6 Cold Iron cannot be declared. Ranking of Cards and Elements The Cards rank in this way, highest to lowest: Ace, King, Queen, Knight (if present), Page (or Jack), 10, 9, 8, 7, 6, 5, 4, 3, 2. The suits rank in this way, highest to lowest: cups/hearts, pentacles/diamonds, wands/clubs, swords/spades. Each Element corresponds to one suit: Air (swords/spades), Fire (wands/clubs), Earth (diamonds/pentacles), Water (hearts/cups). Elements rank according to the following table: Main Element Fire (wands/clubs) Air (swords/spades) Earth (diamonds/pentacles) Water (hearts/cups) Related Element Air (swords/spades) Fire (wands/clubs) Water (hearts/cups) Earth (diamonds/pentacles) Near Opposite Element Earth (diamonds/pentacles) Water (hearts/cups) Fire (wands/clubs) Air (swords/spades) Opposite Element Water (hearts/cups) Earth (diamonds/pentacles) Air (swords/spades) Fire (wands/clubs)

Quot. London, J. (1903). The Call of the Wild. New York, US-NY: Macmillan Publishers. Another of my puns. 6

Aiding and Honour Bonds A Player can help the Leading Protagonist if his Protagonist is in Scene. During the Conflict declare you are helping (and how and with which Element) the Leading Protagonist: he gets to deal an additional Card. In case he should lose, the aiding Protagonist gets his Element Harmed. However the Leading Protagonist contracts an Honour Bond towards the aiding one (even if the aid was unrequired). The Protagonist benefitting from an Honour Bond can request its satisfaction at any time (and the owing Protagonist is Honour-Bound to aid, otherwise his Fate immediately drops by one). When satisfying or not a Honour Bond you follow or refuse to follow one of your Paths, increase or decrease that Path score by one accordingly (the Cartomancer judges). After the request of honouring an Honour Bond cancel it (be it satisfied or not) from the Protagonists sheet. You can have multiple Honour Bonds at a time (even with the same Protagonist). Harm When you lose a Conflict you must reduce both the used Elements by one. When the winning Player narrates the Conflict outcome, be sure to add some brief, colourful and relevant description of how and why your Elements gets Harmed. Conflict Resolution and Narration The Player with the highest Card in his hand adjudicates the Conflict and obtains the right of Narration concerning its resolution (according to the Stakes). After a Conflict has been resolved the Playwright (also solicited by other Players) can Drop the Curtain on the current Scene. Note this isnt mandatory: a Scene can have both one Conflict, no Conflict or multiple Conflicts. It is the duty of the Players (and especially the Playwright) to point when a Scene has nothing more to say to the Play and Drop the Curtain.

Moments of the Play

Free Play Not everything happens must be a Conflict: most of the Play is Free Play, that is you describe the actions of the Characters you have to Guide (or to Lead), speak in their name, and narrate facts relating your Guide Aspects or even other Players (as long as they dont call on Veto). Rejuvenation: that is The Quiet before the Tempest 6 If one or more Elements of your Protagonist dropped to 0, then you have a moment of Rejuvenation. Fate drops by one, but all the Elements are refreshed to their initial score. In terms of fiction, the Protagonist just had a moment of stress and of burn-out, but now the wheel of Fate begins to turn, conceding him a moment of insight and immersion into Nature. The Quiet before the Tempest is always an intermezzo Scene, set after the Drop of the Curtain and before the Raise of the Curtain over the next Protagonist. It is set (metaphorically or not) in dim light and is framed by the Leading Player; as a rule it is also set among Nature, or somehow into the wild, its imbued in some way of mysticism and it must be centred on the Protagonists self. The other Players have to make questions to him, both in Scene or in the Backstage. The questions can be made by other Characters, but remember the spotlight is over the Protagonist. Cut the Scene when you think you have several irons in the fire.

The expression is an opposite paraphrase of Giacomo Leopardis poem La quiete dopo la tempesta (The Quiet after the Tempest). 7

In your next Leading Scene the Tempest will come, that is a further complication to Protagonists story. The Playwright and the Cartomancer confront each other deciding on a Raising of the Curtain which concerns both Protagonists Aspect Tarots and is a potential threat to him. The Final Moment of Truth The Play goes on until a Protagonist Fate drops to 0. From now on jump his turn on the Lead: the Protagonist can only appear in other Protagonists Scenes as a supporting Character. When all the Protagonists Fate has dropped to 0 then the Play enters the Final Moments of Truth phase. Now each Player in turn will Lead (and Raise the Curtain over) one last scene focused on the Protagonist; all the other Characters must be in support. The Leading Player has to pull for whatever Finale (see Errore. L'origine riferimento non stata trovata.) he wants for the Protagonist. his last Scene must revolve around the Aspect Tarots, the disappearing of Desdemona and the Forsworn Oath. The Scene must include a (last) Conflict. The Scene is cut just before narration. Pass the Lead clockwise until all the Protagonists had their Final Moment of Truth, then go to the Finale. Epilogue or Finale Now the Players take turns clockwise narrating their Protagonists Finale. They are only bound to the outcome of the former Conflict and to the scores of their Paths, according to the following indications (ties are Players choice). When needed, after subtraction, consider only absolute value. Nature > Exile: The Protagonist becomes Fae again; Nature < Exile: The Protagonist remains a mortal forever; If Nature > Exile: Forsworn Oath > Dark Passion: The Protagonist enters the Seelie Court; If: Forsworn Oath - Nature > Dark Passion - Exile: Happy ending; Forsworn Oath - Nature < Dark Passion - Exile: Bad ending; Forsworn Oath < Dark Passion: The Protagonist enters the Unseelie Court; If: Dark Passion - Nature > Forsworn Oath - Exile: Happy ending; Dark Passion - Nature > Forsworn Oath - Exile: Bad ending; If Nature < Exile: Forsworn Oath > Dark Passion: The Protagonist re-establishes his honour; If: Forsworn Oath - Exile > Dark Passion - Nature: Happy ending; Forsworn Oath - Exile < Dark Passion - Nature: Bad ending; Forsworn Oath < Dark Passion: The Protagonist honour is forever broken; If: Dark Passion - Exile > Forsworn Oath - Nature: Happy ending; Dark Passion - Exile < Forsworn Oath - Nature: Bad ending. 8

For what is not written above, Finales narration follows the Conflict Stakes, other Players suggestions and the story developed during Play. Exeunt

Optional Supplemental Material

Setting
Desdemona7 the daughter of Oberon and Titania, king and queen of Fae has vanquished from their fairy palace in the Wyrld. The Wyrld is the fairy realm where imagination, dreams and fears (and Fae) dwell; just a step aside from the World, beyond the Threshold: the mystic boundary between the World the realm of Men and the Wyrld the realm of Fae. The Protagonists are Fae fallen to the World and struck in human bodies. By mankind they are called Changelings, but by Fae they are called Fallen8, for in an undefined past they have forsworn ancient Oaths. Among Fae, Oaths are a sacred thing and no one trusts a Fae who has broken a formerly sworn Oath. For this reason, Oberon, king of Fae, exiled the Fallen on the World and constrained them to wear the flesh of mankind. Now, there are voices which say Desdemona was seen around the city of Cremona, Italy; circa 57 miles south-east from Milan. The Protagonists the Dramatis Personae of our Play being Fallen, hope that finding Desdemona and bringing her back to her father could grant them the right to be reintegrated in the realm of Fae, so they can get rid of their human flesh once and for all. The historic time of the Play is Late Renaissance. A Fae can cross the Threshold when in presence of a mirroring surface (such as a mirror or a water surface) or a natural or imaginary gate (such as a slit on a big tree trunk, a rift in a rock wall, an arch of any sort, a doorstep etc.). He must touch the Threshold and say shylock; then the Threshold remains open in a mystic glow for a few moments after someone has crossed it. A mortal can cross a Threshold by turning over and over three times and finally saying shylock three times. This is a secret very few mortals keep inside their hearts and pass down to their children and grandchildren. No one, man or Fae, knows why that word must be spelled, but the tradition rested whit it for countless centuries. Fae are in all regards immortal, that is their flesh is everlasting nor they get sick and can only be hurt and killed if you use pure and not tempered iron (called by the folks Cold Iron) against them. Cold Iron is real bane to Fae; nonetheless it is said to stop Faes connection with Nature, the Elements (and thus Magic). The Fallen get old and sick, and can be killed only with Cold Iron just as their fellow Fae. When the Fallen are killed by iron or die of natural age they simply fade away. They think nothing of them remains and their conscience is simply annihilated; but actually mortals confront themselves with the unknown after death from the dawn of time. Nothing to mention that this is the main reason because the Fallen strive whit each single fiber of their body to come back to their fairy nature. Fae have the power of the Elements inside them, and can bow Nature to their whim more or less covertly, in a way that can or cannot resemble what mortals call Magic. As previously said, Oaths are sacred for Fae and they are obliged respect them. If a Fae doesnt honour a taken Oath The name, of course, is taken from Shakespeares Othello. It sounded right to me and, after all, Desdemona despleased her father, that is a hint to the reader (which can of course be ignored). 8 Methaphorically they have lost their Fae wings and thus fallen. 9
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he can ben exiled to the World or worse. Also, in one way or another Fate grants to Fae the blessing (or the course?) of never dying until the stars are right9. Till then they have to fight whatever Fate presents before them. Is it a sort of torment or what else? Fae are divided in two rival Courts: the Seelie Court which is benevolent towards mortals and the Unseelie Court which is malevolent towards mortals. Oberon and Titania are the regnants of the Seelie Court. Never to mention that Unseelie Fae have a totally different philosophy in fact of Oaths. This is one of the many reason because the two Courts have been had constantly at war since the dawn of time. Some rumourmongers insinuate the Unseelie Court is behind Desdemonas disappearing.

Glossary

Antagonist Guide: The Guide who is opposing the Leading Protagonist in a Conflict. Antagonism: The number of Cards the Antagonist Guide will draw in a Conflict, as established by the Playwright. Also the position of an Antagonist Guide. Aspect: A relevant (Secondary) Character, Place, Event or Item in Play, connected to a Guide Tarot (see p. 4). Aspect Card: An index card representing an Aspect in the middle of the Wooden O (see p. 4). Aspect Tarots: The ten Tarots representing each Protagonists Aspects; their Guide not controlled by Guide Tarot, but its shared between the Leading Player and the Cartomancer (see p. 2). Backstage: Everything happens between the Players, not concerning the Protagonists. Sometimes called metagaming. Call of the Wyrld: Protagonists recourse to Magic to win the Conflict (see p. 6). Card: A Minor Arcanum or poker (French) card. Cartomancer: The Player on the left of the Leading Player (see p. 5). Cold Iron: A Cartomancers expedient to win the Conflict (see p. 6). Character: Every fictional persona in the Play (either Protagonist, Secondary or Extra). Drop the Curtain: To cut the Scene. Epilogue: see Finale (below). Extra: A Character (nor Protagonist or Secondary) in the background of the Play. Finale: The narration of the Protagonists ultimate destiny. Also Epilogue (see p. 8). Final Moment of Truth: Protagonists last revelatory Scene (see p. 8). Free Play: The part of the Play that is not Conflict, in which Characters act and talk. Guide: The changing, Scene by Scene, authority of a Player over the Aspects related to the Tarots dealt to him. Guide Tarot: A Tarot which invest of one ore more Guides who possesses it this Scene. Hand of Cards: The Cards the Cartomancer deals to each Antagonist Player in a Conflict. Hand of Tarots: The Tarots the Cartomancer deals to each Player at the beginning of the Scene.

Quot. Lovecraft, H. P. (1928, February). The Call of Cthulhu. Weird Tales. 10

Lead: The exclusive authority on a Protagonist as a Player. Also related to the main Protagonist in Scene. Path: One of the 4 scores, each related to an Aspect Tarot, which makes Protagonists way to the Finale (see p. 3). Play: Both the game as a whole and a metaphor for the fictional play (pice de thtre) the Players are creating. Playwright: The Player on the right of the Leading Player (see p. 5). Prompter: A Player who in this Scene is not on the Lead, the Playwright or the Cartomancer (see p. 5). Protagonist: The Character a Player Leads. Raise the Curtain: To frame the Scene, saying where, when it begins, who is present and what initially happens. Secondary Character: A Character (nor Protagonist or Extra) Guided by an Aspect Tarot. Tarot: A Major Arcanum. Troupe: The Players as a whole. Scene: The imaginary fiction which happens between the Raising and the Dropping of the Curtain (see p. 3). Stakes: The two Antagonist Players intentions for the Conflict resolution (see p. 5). Veto: The unilateral right of a Player to stop another Players affirmation relating one of his Guides. Wooden O: Metaphorically the Globe Theatre, London. In our game it refers to the game table, and everything happens around and across it.

Sources of Inspiration
Story Games
Achilli, J., Carriker, J., Hartley, J., Ingham, W., McFarland, M., Schaefer, P., et al. (2007). Changeling: The Lost. Stone Mountain, US-GA: White Wolf Publishing. The setting is mostly inspired by this Campbell, B., Cassada, J., Dansky, R., Howard, C., Kenson, S., Lemke, I., et al. (1997). Changeling: The Dreaming. Clarkston, US-GA: White Wolf Publishing. and this. Czege, P. (2003). My Life With Master. Half Meme Press. I think my idea of Finale was born here. Harper, J. (2006). Agon. For the idea of Honour Bonds between Protagonists. Harper, J. (2010). Lady Blackbird. Here comes my inspiration for Rejuvenation Scenes. 11

Hicks, F. (2006). Dont Rest Your Head. Evil Hat Productions. My Aspect Tarots are only a rude imitation of his Character Questions. Holter, M., & Morningstar, J. (2010). Love in the Time of Sei. For the general structure of my game I have expecially to thank this little jewel. Lambert, R., Rilstone, A., & Wallis, J. (1999). Once Upon a Time. Roseville, US-MN: Atlas Games. Aspect Cards and their use during Play are inspired by this game cards. Lehman, B. (2005). Polaris. TAO Games. A collaborative narration game who is also a tragedy. Perfect to stole from! Moretti, L., & Cortini, M. (2007). Sine Requie Anno XIII. Correggio, IT-RE: Asterion Press. For the use of Tarots in Character creation and in Conflict (here is Task) Resolution. Prince, J. (2010). Hell 4 Leather. Prince of Darkness. For the use of Tarots for authorithy rights during Play. Snyder, M. (2006). Dust Devils. Chimera Creative. For the core mechanics of Conflict (including Harm). Tweet, J. (1995). Everway. Renton, US-WA: Wizards of the Coast. Hey, can you believe the Elements come here really from 90s?

Music

Loreena McKennitt Her Celtic and melodic music really spoke beautiful words to my heart during the creation of The Gentlefae of Cremona. Birkin Tree Who did say Italian people cannot make wonderful Irish music?

Literature
Expecially:

Of course, all the works by WILLIAM SHAKESPEARE I read, watched or heard of. The Two Gentlemen of Verona I stole and plagiarized my title from here. A Midsummer Nights Dream For the basic fairy theme, including Oberon and Titania. I keep wonderful memories of using this play as exercise for the theatre course at the high school. Othello Of course for the name of Desdemona, which impressed me since Walt Disneys Gargoyles.

Other

The joss sticks I bought at the beginning of the week to charge me for Game Chef 2011. What a wonderful smell of burning. 12

The Gentlefae of Cremona

Forsworn Oath

Honour Bonds _______________________ _______________________ _______________________ Fire Tr

_________ _________ _________ _________ _________ _________

Air Tr

_________ _________ _________ _________ _________

3. Forsworn Oath

10. Destiny

Nature
_________ _________ _________ _________ _________ _________

5. Nature

_________________ _________________ _________________ _________ _________ _________ _________ _________

2. Daughter

Exile
_________ _________ _________ _________ _________ _________

6. Exile

1. Self

_________ _________ _________ _________ _________

9. Hopes and Fears

Tr Water

Dark Passion 4. Dark Passion

Tr Earth

_________ _________ _________ _________ _________

8. Outer Forces

_________ _________ _________ _________ _________

_________ _________ _________ _________ _________

7. Intimate Emotions