Angelus Morningstar

Dream Shard
Book of Peerage

Author: A ngelus Morningstar Additional Writings: John Newman Artwork: Gavin Hargest

Acknowledgments
Lost Shards are fan- made products designed for use with the World of Darkness book, Changeling: the Lost. A bsence of trademarks from copyrighted materials does not constitute a legal challenge to the original owners. A ny original material is the intellectual property of A ngelus Morningstar unless otherwise credited.

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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 humanitys 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- toadults, 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 2 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 mme 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 Houses 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.

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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. A s 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. A lso, 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. A s the changelings Wyrd gets to higher levels, they Mien begins to blur slightly, as though attempting to see them through mist, smoke, haze or vapours. 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 Duellists for the Houses honour. The courtiers of A utumn 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 A ttributes, characters should demonstrate high levels Finesse A ttributes, particularly Manipulation and Wits. In contrast, characters should not have high Power A ttributes, especially Strength and Presence as these characters 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 favour 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 Mnchhausen 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 3

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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 Carabas, 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- defence. 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 philtres and concoctions for the Houses use. Rumour exists that the leading roles of the House are overseen by a King and Queen, but their roles, duties and identities lie at the centre 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.

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 opponents 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 Mantle begins to slip through) . This transformation colours the Rhapsodes appearance with the energies of the Court, making it harder to read anything but that seasons radiance. This has a two- fold effect, it causes a negative modifier equal to the Rhapsodes 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.

Rumours of the House of Rhapsody

Characters might hear the rumours below about the Inquisition spoken in hushed tones: The House of Rhapsody are nothing but a dirty bunch of liars, cads and scoundrels. Never let them hear you say that. The truth is questionable. The House has been subsisting on lies and deceit for so long they can no longer tell what exactly is the truth any more. The House has been collecting secrets on you, and they're going to use it as blackmail if you don't take care of it.

Privileges

Privilege into the House of Rhapsode grants an ability gained from the way their Mien manifests.

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Inquisition Ferrum
I Vow To Seek Out those Lost who would serve their old masters.
In every freehold are tales of changelings who work for the Others. Whether they are Loyalists of their own deluded free will, or coerced into taking the part of traitor doesnt matter to the changelings caught up in their schemes. The constant paranoia of changeling life is due, in no small part, to these betrayers. Someone you trust today might sell you to the Fae tomorrow. The oaths and pledges that form the backbone of changeling society help to ameliorate this threat amongst changelings dealt with regularly, but nothing but quick wits, or quick feet, can protect a changeling who is set upon by privateers. Privateers recognize no mortal or changeling authority, and willingly deal with the Others exchanging information, favours and captured changelings in return for the table scraps left for them by the Fae. Occasionally a Loyalist or privateer will work in the open, privateers raiding freeholds or Loyalists too powerful to be directly confronted, but far more insidious is the traitor that lurks in the background of a freehold, reporting back to their true masters and sowing discord in the fragile society. Changelings do their best to guard their own backs, and those of their motley, but some of the Lost take this watchfulness one step further and actively investigate and engage these traitors in their midst. The very best of these investigators belong to the Inquisition Ferrum. Founded by a motley of changelings who suffered at the hands of a Loyalist, the Inquisition Ferrum looks inside changeling society for hints of outside threats. The name of the order speaks volumes about the order itself. The root of the word inquisition is inquiry, which is defined as a systematic investigation. Ferrum is the Latin word for iron, and iron is poison to the Fae. Thus through their works of investigation, the Inquisitors hope to poison the works of the Others in the mortal world by targeting their spies and mercenaries. Unlike most noble orders, the Inquisitors work in secret. They present no public face, and their true numbers are unknown, even to themselves. This secrecy extends even to their mien, which, unlike other entitled changelings, exhibits almost no visible change ( see Mien for details) . There are a number of valid reasons for this secrecy, but chief among them are two facts. No one likes being spied upon, or enjoys being the target of suspicion. Further, knowledge of being investigated might lead changes in patterns of behaviour or allow a guilty subject to lie low until the investigation has ended. Neither of these is helpful to an Inquisitor. The other, and most important, reason for secrecy is the very real threat of reprisal. The Fae dont like having their schemes thwarted, nor do Loyalists or privateers like thinking of themselves as prey rather than predator. Only by keeping their work a secret do the Inquisitors have any chance to continue that work beyond a single success. Each Inquisitor operates in his own way. Some Inquisitors form motley specifically for forays into the Hedge to make attacks on known privateer lairs. Some Inquisitors work alone, slowly gathering information about suspected Loyalists before either indirectly unmasking the Loyalist for what they are, or taking more direct measures. One Inquisitor might be the trusted advisor to a Court, while another might appear to be a social butterfly, using connections made at parties and events to further his hunt. Regardless of method, all Inquisitors work towards the same end; disrupting the activities of the traitors in their midst. Regardless of the secrecy surrounding the Inquisition, whispers about them circulate amongst changelings. Stories of privateer Hollows burned out, of known Loyalists left bound and gagged for a freehold to find, as well as darker tales of torture and mass killings are told as cautionary tales by Loyalists and privateers, who hate and fear the Inquisitors. Worst of all, the Fae have heard the name Inquisition Ferrum. The greatest fear of every Inquisitor is to be captured by the Gentry. Loyalists and privateers would likely kill even a suspected Inquisitor out of hand, but the Fae are more fiendishly creative. A fter being dragged back to A rcadia the suffering of an ant that chose to defy the gods would be legendary and eternal. It is for this reason that the Inquisition avoids encounters with the Others at all cost. A ny Fae can tell at a glance if a changeling is ennobled, and any entitled changeling without obvious markings of an order in their mien is probably in for serious trouble. Titles: Inquisitor ( male and female) Prerequisites: Wyrd 2, Investigation 3, Subterfuge 3 Joining: Because the Inquisition Ferrum is a secret order, joining is more difficult and dangerous than with other orders. Each Inquisitor is tasked with the responsibility of finding and training new members on his own, and only a changeling that has proven himself to be trustworthy ( no small feat amongst the Lost) and has already taken the fight to a Loyalist or privateer will be considered for membership. Before being approached by an Inquisitor, the candidate will undergo thorough investigation and scrutiny. Secret tests of the candidate may well be set up that place the candidate in danger, or that test their loyalties in oblique and difficult ways. This period of candidacy can last as long as an Inquisitor deems necessary. Once the Inquisitor feels the changeling is worth the risk of approaching he will arrange a meeting to speak with candidate alone about joining the Inquisition. These meetings are always arranged in such a way as to conceal the identity of the Inquisitor from the candidate in case the changeling refuses the invitation. Popular methods for such meetings include phone calls and Internet instant messaging, while more extreme methods include outright kidnapping to interview the candidate while he is blindfolded and bound. If the invitation is refused, the Inquisitor advises the changeling to tell no one of the offer and not to seek out the Inquisitors identity. Persistent 5

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curiosity is met with unpleasantness; even up to the death of the changeling that had been considered a candidate. Once a candidate agrees to join the Inquisition, he is placed under strict oaths of secrecy before the Inquisitor reveals himself. Changelings entering this phase of training with the Inquisition are referred to as Initiates or A colytes. A n Initiate is trained in a variety of skills during their training with an emphasis placed on information gathering skills and the art of detecting spoken and written lies. No Initiate joins the Inquisition without a fair degree of competence in investigation and subterfuge, but their training sharpens these abilities to a razor edge. A lthough fighting can play an important part in the life of an Inquisitor, more important is the ability to identify the goats from the sheep, so training in the more physical side of inquisitorial activities is only encouraged if the Initiate shows no current aptitude for self- defence. There is no set time period for the training of an Initiate. A particularly gifted student might spend only a few months under the guidance of an Inquisitor, while an Initiate with rawer skills may require several years of training before they are ready to face the challenges of the Inquisition alone. Once an Inquisitor is satisfied with his students abilities, the Initiate undergoes one final test. This test varies from Inquisitor to Inquisitor, but the most common test is to track and catch a Loyalist or privateer and bring them to justice. When this last hurdle has been overcome the Initiate stands before his teacher who makes the final decision of competence. The secrecy surrounding the Inquisition allows for no council or membership committee, every Initiate admitted into the order as a full member is inducted by a single Inquisitor. Mien: Inquisitors carry no emblem, and the style of dress chosen by Inquisitors tends towards the more sombre and serious end of local fashion, but not always. A s stated above, the mien of an Inquisitor undergoes very little in the way of changes that might announce his entitlement. Having an obvious mark or badge would be antithetical to the secrecy that surrounds the Inquisition and their work. Nevertheless, there are slight changes to the mien of an Inquisitor that an incredibly well informed and perceptive observer might notice to aid them in identifying an Inquisitor. The mien of an Inquisitor takes on a slight dulling of features, as though the changeling was trying to avoid notice by fading into the background. The shining scales of a Draconic might lose their lustre, or a Gargantuan might seem to shrink slightly. The changes are always in a way to make the Inquisitor less obvious. A s their Wyrd increases the changes to mien increase in other subtle ways. The footsteps of an Inquisitor seem to make less noise than normal and leave only slight tracks, their eyes take on a flat sheen that only reflects what they see, never what they feel, and humans they pass that are guilty of some awful secret ( such as kidnapping, murder or torture) feel uneasy, as though someone were watching them. Background: A s a result of their manner of recruitment, the majority of the Inquisition is made up of changelings with similar backgrounds. Most fought personal battles against Loyalists and privateers before they were entitled, and a high percentage of Inquisitors have lost prized possessions, friends, and even family members, 6 to the machinations of their betrayers. A lthough many Inquisitors were viewed as candidates after their first battle with a Loyalist or privateer, some became candidates after they aided an Inquisitor during his battle with a traitor providing both physical and intellectual assistance. Even before induction, Inquisitors were changelings with concrete notions of loyalty and morality that found the ideals and methods of Loyalist and privateer forces repugnant. Socially, the Inquisition is made up from changelings from every Court, including the Courtless. The flavour of an Inquisitors Court has an effect on the way they fulfil their duties. Inquisitors of the Summer Court respond to a threat with direct physical action, members of the Spring Court use their charm and charisma to single out a target, while A utumn Court members seek to terrify and bewilder a traitor, and Winter Court Inquisitors work from the shadows, never revealing themselves to their foes. The Courtless members of the Inquisition feel themselves to be superior hunters because they may attack a threat from multiple angles without feeling the urge to respond in a manner consistent with a specific Court ideal. Needless to say, Inquisitors belonging to Courts decry that idea as nonsense. The skills acquired by Inquisitors will vary from one to the next depending on their particular methodology, but Inquisition characters place emphasis on Investigation and Subterfuge skills and specialities, with secondary emphasis placed on Physical skills for when a fight turns bloody. Mental A ttributes are generally high, and Merits such as Danger Sense, Eidetic Memory, A llies and Contacts are all considered useful for obvious reasons. Organization: The Inquisition is formed into local cells that have very little communication with outside members. There are secret phrases and signals that allow members of different cells to recognize each other, but large- scale cooperation is rare. Who can tell if the Fae have compromised a cell from another city? Inside each local cell every Inquisitor is considered equal and when they meet, in what are called Congregations, each Inquisitor takes a turn in reporting what his investigations and activities have uncovered. Because of the nature of the Inquisition, Congregations are called on an irregular basis when an Inquisitor has a particularly important piece of information to share, requires assistance, or wishes to celebrate a victory with his peers. Congregations are generally small, including no more than two or three Inquisitors, and Initiates are never invited. If physical force is required beyond the capabilities of the lone Inquisitor, or he and his unsuspecting motley, the Inquisitor seeks outside aid. No more than one Inquisitor will ever be present in a fight. The numbers of the Inquisition are too small to risk an entire cell being wiped out by a surprise counter- attack or trap. Where they are available, Inquisitors take advantage of the services of the Tolltaker Knighthood, but in freeholds where the Tolltakers have no presence, there are usually changelings willing to perform dirty deeds for a price, no explanations required. If the situation is especially dire, and local changelings are unwilling or unable to help, an Inquisitor will turn to mortals to serve as foot soldiers. A number of

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Inquisitors have found local police to be an excellent source of help, with the right kind of encouragement. Concepts: ex- cop, social butterfly, power behind the throne, disciplined vigilante, private investigator, information broker, retired military Special Ops, watcher in the shadows over most of recorded time has been decided by use of instruments of torture the echoes of their pain come to haunt changelings who use such devices, even in a passive manner. Whatever the reason, Inquisitors suffer one level of bashing damage per scene whenever they use the Excruciator to question a subject. Catch: If a changeling chooses not to, or is unable to pay Glamour to activate the token, he suffers an additional level of lethal damage from use of the Excruciator. A physical device, such as a thumbscrew, will latch onto the character as they touch it, while more psychological objects inflict extreme mental anguish that causes the changeling to commit damage to himself.

Privileges
The following token is available to all Inquisitors.

Excruciator ()
Excruciator is a catch- all word for any small item that is designed to cause severe mental or physical pain while leaving behind no, or minor, traces of its use. The token itself can take the form of thumbscrews, long twisting needles, blackmail pictures, or any object intended to cause pain that will fit into a coat pocket. When activated an Inquisitor neednt use, or even show the token to his subject, he must merely be touching the Excruciator as he questions his subject. For the remainder of the scene while touching the Excruciator, the Inquisitor gains +2 to any Subterfuge rolls made while questioning his subject. A dditional activation costs must be paid for each additional subject the Inquisitor wishes to question during the scene. Action: Instant Drawback: Changelings are bound to fate and time in strange ways. Perhaps because the fate of so many people

Rumours of the Inquisition Ferrum

Characters might hear the rumours below about the Inquisition spoken in hushed tones: A n Inquisitor was caught red- handed standing over the bodies of a group of mortals. He managed to escape and since then more mortals have been found killed with the same MO in other towns. The Inquisition actually works for the Others by tracking down and eliminating Loyalists and privateers that have betrayed the Fae. The Inquisition has begun killing Kings and Queens of the Courts in a scheme to take over changeling society. Once they take control they plan on forming up armies of changelings to scour the Hedge clean of privateers, Loyalists and worse.