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The Jongleur: A New Kith

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  • The Jongleur: A New Kith

    Basically I'm going to repost my Jongleur Kith so that it can get feedback.

  • #2
    Now for a promised Kith.
    Jongleurs
    ​"Of course the show must go on. We are the show, and the show is us."
    ​The Jongleurs are a new kith. Basically a Changeling of unknown kith was experimented on by a member of the
    N.W.O. before they achieved Chrysalis. Freed by an attack of Mages and Fera on the Technomancer's lab, the changeling wandered lost and broken until he encountered chimeras linked to theatre and show biz. These Chimeras linked with the broken changeling and together they became something new.
    ​They became a new type of changeling linked to the glamour of the stage, performance, and show biz.
    ​The Jongleurs always stand out, mainly because they make the effort to do so. Jongleurs never dress normally unless forced to. They'll walk down the street dressed as circus ringleaders, Wagnerian Valkyries, clowns, and escapees from sci fi conventions. Cos-play is their norm.


    Lifestyles
    : Basically they mainly live like working performers who hang out in the same neighborhoods as other working performers. The flamboyance of the jongleur turns the other performers off at first, however, as they show they've got talent and the work ethic to back it up, they gain acceptance.
    Jongleurs, both seelie and unseelie, take it on themselves to guard performers as a community. With the seelie this involves protection and nurture. The unseelie tend toward hyper dramatic vengeance.
    ​Jongleurs are normally either city folk or nomads traveling with shows. However, if there are small towns that have substantial performing arts work, like a year round amusement park with shows or a Shakespeare festival, Jongleurs can take to that kind of a small town.
    Appearance :
    Jongleur tend to be slim and muscular, wiry. This is a typical body type for performers. Jongleurs otherwise tend to be fairly average in height, complexion, and most other traits. They do tend to have mismatched eyes, or some other odd trait that's more visible close up. But it's mainly their costumes and behavior that make them stand out.
    ​Jongleurs always have odd accents for their community. Most American jongleurs speak with a Mid-Atlantic Accent , however any odd or old fashioned sounding accent is likely.
    Childling :
    This is the kid who turns their dolls and action figures into puppets and acts out shows. They wear their Halloween costume to school in February. They've taught their cat to jump through hoops and walk a tightrope, and the cat liked it. They practice jokes to enhance the telling and memorize lists of them for all occasions.
    Wilders
    The Wilder tends to be in the Drama Club, or Glee Club, Swing Choir, Marching Band, Garage Band, Dance Troop, or already working as a performer. Their clothing is two to three steps ahead of the trend, and they dump old trends before they rest of the kids see them as the new trend. The words "Let's put on a show" come out of their mouths so often you'd think Judy and Mickey were their patron saints. Yes, they are all
    Drama Queens, the unseelie dangerously so.

    Gumps
    Working performers, generally not actually the star of the show. They're the MC that warms the audience up to love the other acts. The Character Actor that makes the play and the Star look great. The instrumentalist that makes the rest of the band shine. They make the show magic.


    Affinity
    Actor.


    Birthrights

    Stage Magic
    This powerful birthright has three effects.
    ​First, when using performance as a bunk for casting a cantrip in front of an audience, if a Jongleur gets even one success they add one plus X successes to it. In this case X equals the difficulty reduction normally gained by that bunk. On page 195 of the main rulebook, a spontaneous monologue is a minus one to difficulty. So if a Jongleur cast a cantrip in front of an audience using a spontaneous monologue and got one success. Then they gained two more successes. Use the chart on 195 as a guideline, remembering that only performances in front of audiences gain the bonus. Note the cantrip need not be aimed at someone or something present. It's the bunk which must be performed in front of an audience.
    Second, when casting a cantrip, if both the caster and the target are in a space set aside for performance, the Jongleur gets a reduction of Banality, for that cantrip. If the space is a permanent structure set aside for performance, like a theatre or a concert hall, the reduction is three, to a minimum of four. If the space is a temporary space for performance, like a circus tent, or a meeting room set up for a school play, the reduction is two, to a minimum of four. If the space is simply marked out as a performing space, like a few props brought out on the street to mark off were a busker is performing, the reduction is one to a minimum of five.
    ​Third, Jongleurs never botch Gremayre or Kenning rolls.
    Born a Star!
    ​All Jongleurs add two to Charisma, even if this takes it above five. Jongleurs never botch Performance or Expression rolls.


    Frailties

    Always On
    ​To say Jongleurs are Drama Queens doesn't begin to cover it. Jongleur must make life into art, over the top art generally. In fact they are normally more restrained on stage than in daily life. If a Jongleur must dress conventionally, for a disguise or a court appearance, they gain one to all dice pool difficulties. Unless they are extravagantly dressed and acting in an extravagant manner (or correctly dressed for the show they are in) they can't cast cantrips or use their birthrights.
    ​A jongleur will always strive to add drama to any situation, It requires a difficulty eight willpower role to tone things down.
    ​Jongleurs always seem to see the world in terms of show biz and stage shows. All metaphors are about show biz, everything is about shows, performance, and dramaturgy.
    Last edited by Astromancer; 05-04-2018, 01:17 PM.

    Comment


    • #3
      Stereotypes

      ​Cormac MacConnamara head clown of the Starlight Circus Magic Show pronounces,

      On Boggans

      ​They are wonderful. They're skilled in coming up with beautiful costumes and props at marvelous speeds. You can't get most of them out on the stage though. Pity.

      On Cluricauns

      ​Keep them singing. And watch for the next fight they start. Sure they're exciting recreations, but they close shows down.

      On Eshu

      ​You just can't keep them around long enough. But the ideas their stories give you are golden.

      On Nockers

      Their stage machinery is fabulous, until it explodes at the wrong time.(sigh)

      On Piskies

      ​Leave shinny worthless trinkets you don't need laying around. Charmers, but you can't keep them with the show.

      On Pookas

      I love little kitty their coat is so warm. And he or she is generally a natural born clown/performer. So they lie, they never betray.

      On Redcaps

      ​Surprisingly good punk rockers. Not bad as bouncers either.

      On Satyrs

      Hey you always need a romantic lead.

      On Selkies

      Unless your show is housed by the sea forget these charmers.

      On Arcadian Sidhe

      ​Gloryhounds the lot of them. Go off and hideout in wonderland for seven hundred years and then they want to take charge and use us as serfs.

      On Autumn Sidhe

      Class and style, pretty too. Useful in any show.

      On Sluagh

      ​They know stuff. Best managers for the Halloween shows ever!

      On Trolls

      ​People see them mainly as bouncers. That's plain silly. With all that epic grandeur, they're meant to play epic heroes.

      Last edited by Astromancer; 04-28-2018, 11:08 PM.

      Comment


      • #4
        Stage magic is powerful enough alone to be two birthrights. I'd break it into:

        Stage craft:​First, when using performance as a bunk for casting a cantrip in front of an audience, if a Jongleur gets even one success they add one plus X successes to it. In this case X equals the difficulty reduction normally gained by that bunk. On page 195 of the main rulebook, a spontaneous monologue is a minus one to difficulty. So if a Jongleur cast a cantrip in front of an audience using a spontaneous monologue and got one success. Then they gained two more successes. Use the chart on 195 as a guideline, remembering that only performances in front of audiences gain the bonus. Note the cantrip need not be aimed at someone or something present. It's the bunk which must be performed in front of an audience

        Masters of the Stage:
        when casting a cantrip, if both the caster and the target are in a space set aside for performance, the Jongleur gets a reduction of Banality, for that cantrip. If the space is a permanent structure set aside for performance, like a theatre or a concert hall, the reduction is three, to a minimum of four. If the space is a temporary space for performance, like a circus tent, or a meeting room set up for a school play, the reduction is two, to a minimum of four. If the space is simply marked out as a performing space, like a few props brought out on the street to mark off were a busker is performing, the reduction is one to a minimum of five. Further they may never botch a performance or Expressions Roll.

        Frailtyramatic Soul: Actions that attempt to downplay the Drama of a scene are a banality trigger and/or add an additional point of banality to any gained in the scene.



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        • #5
          Part of my idea for a Scaramouche Thallain would be that some of the handful of first changelings that became Jongleurs were Thallain so they became the Thallain equivalent.

          Either that or Mimes or Mummers, or even Harlequins. :P


          It is a time for great deeds!

          Comment


          • #6
            Originally posted by Eldagusto View Post
            Part of my idea for a Scaramouche Thallain would be that some of the handful of first changelings that became Jongleurs were Thallain so they became the Thallain equivalent.

            Either that or Mimes or Mummers, or even Harlequins. :P
            Harlequin does come from Hellaquin; Hell's Knight. And look at the experimental film "Rabbit Moon." Harlequin is at least unseelie there.

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            • #7
              It will be done in batches, but here comes The Director! the Jongleur Thallain. We'll start with the Quote.

              "We rise against the collusion between the "director-enchanter" and the public which is submitted to the enchantment. The conscious alone can fight against magical suggestions of every kind. We need a conscious people, not an unconscious mass ready to yield to any suggestion." Malcolm Le Grice

              "Careful the tale you tell/ that is the spell." Into the Woods"

              Jongleurs are recent and their Thallain are even more so. Jongleurs are born of the glamour and excitement of show business. So are Directors, but the excitement that these Thallain seek comes from control. Jongleurs maintain their individuality while working in a team a normal requirement of show people. Theater is a collaborative art and even great solo performances come out of teamwork even if the audience never sees it. Directors, on the other hand, want to run the show. Unlike real world directors, or at least sane real world directors, Directors need to reduce both the performers and the audience to puppets. There is no limit to the control they need.

              Directors, like Jongleurs, are flamboyant, but in a seemingly more controlled way or style. There will always be a formal perfection to their look and clothing. Their style won't be the norm but it won't be outlandish either. Beware, if a single drop of anything mars their clothing, or their hair gets rumpled, there will be hell to pay. They'll pick a victim, then, with quiet brutality, take their rage out on them.

              Lifestyles: Directors seek control, they can be patient in waiting to get the power. The young Director often seems like a mere toady. But Directors are the kind of assistants that make themselves indispensable slowly gaining a subtle control over those the "help." Directors make sure that they are in line to take over and run things. In any situation, Directors always work to get control. It doesn't matter if the control they seek has any purpose, in fact they prefer control with no purpose at all, purpose, in order to be fulfilled, might get in the way of control.

              Fashion Houses, art colleges, art colonies, theatre groups, arts councils, anyplace with power over creative people pulls in Directors. It doesn't need to be arts related, as long as creative work is being done, that's enough. Directors use their power to mold the creative people around them into tools to extend their control further into society.

              Appearance: Nondescript physically, generally very bland in coloring and features. This is exaggerated to a creepy doll/mannequin-like quality to fey sight. The clothing, always stylish, of a Director, seems to have more life and personality than they do.

              Directors cultivate mannerisms and quirks. Their speech is correct to an eerie/ phony level. The movements of a director never seem really natural.

              Childling: Not yet seen. This disturbs the few who are aware of Directors.

              Wilders: They aren't normally the ringleaders, but they pull the ringleader's strings. These kids seem normal but in a cold plastic way. They seem rehearsed. Everyone says they're a friend, but no one acts like that's a good thing.

              Grumps: They're in charge or more likely running those in charge. They have opinions, and their opinions are said to count. People find it is easier to do it their way. Of course, the Director's way is rarely fun or all that useful.

              Affinity: Actor.

              Birthrights:

              King of Strings: The Director adds two their Manipulation score, even if this brings it above five. Directors can never Botch Politics or Subterfuge rolls.

              Cold Nets: Any cantrip that a Director casts to undermine a character's self-confidence or their trust in another, if they gain even one success, they gain two more.

              Both revisions and stereotypes later.
              Last edited by Astromancer; 05-30-2018, 06:24 PM.

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              • #8
                Interesting Twist, another inversion. I like Thallain like this much more then Thallains like Nasties who are pretty much just Unseelie smelly Satyrs. Very curious how about their Birthrights and Frailities.


                It is a time for great deeds!

                Comment


                • #9
                  Originally posted by Eldagusto View Post
                  Interesting Twist, another inversion. I like Thallain like this much more then Thallains like Nasties who are pretty much just Unseelie smelly Satyrs. Very curious how about their Birthrights and Frailities.
                  I hope to get the time soon to gratify you. I also dislike the Nasties. An extra issue for me is that Italian, Greek, and Arab folklore all have better models for a Satry Thallain. The Italian Orcos, Orchi, and Orculli, the Arab Ghouls, and a Greek goblin whose name I can't even fake spell, are all derived from the Satyr. Each would have made far better and more interesting Thallain types.

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