[blantyr]

Originally Posted by Formendacil

Actually, AzrakhorThus far, it has received one direct answer (Blantyr's answer, while comprehensive, deals with non-canonical sources. If Paradus is looking for a Dungeons-and-Dragons synthesis, I doubt he could do better than Blantyr, but if he is looking for a Tolkien-based exegesis to back it up, recourse to the Ambarquenta website isn't like to cut it):

Ambarquenta runs 316 pages, and you are correct, it has or is no exegesis. It's a set of role playing rules, not an academic thesis. It's bulky enough without footnotes. Those trying to play the game aren't likely to want the footnotes. I also figure that those who see a D&D level break out and have a decent knowledge of the books will know where the D&D level break out came from and will be able to judge reasonably how worthy the break out is.

It also seemed to me that Paradus was asking his questions at a D&D level. At least, I wasn't up to answering it at a deeper level.

It is also interesting looking at how the Barrow Downs natives attempt other levels that just don't get touched if one looks at things from a D&D perspective. Reincarnation isn't mentioned at all in Ambarquenta, or in The Hobbit, or with the exception of Gandalf in the main body of LotR. That elves are of Arda and thus have dominion over Arda also doesn't show up. Ambarquenta sees the elves domain as in thought, speech and perception. Speaking with beasts, reading another's motive and communicating mind to mind were taken as inherently elven in terms of abilities outside our realism, rather than being close to nature. Looking at abilities actually shown in the books, I can see where AQ's author was coming from. I'm not saying he is right, all who disagree are wrong, or that I can quote a source. I can respect that he is sincerely walking a valid path. What was actually done in the books, and who could do it?

I guess my own perspective is one of immersion rather that academic abstraction and proof. In any role playing format, I tend to play female characters. I have long loved Tolkien. Thus, I had to create a Tolkienesque female character. The models that came to mind were Arwen, Galadriel, Goldberry and Eowyn… two princesses, a queen and a demi-goddess. As you might imagine, you can't get there from here given the number of skill picks allowed a beginning character. Aerlinn couldn't be as grand as Tolkien's major characters, but she I wanted to give her the potential to grow into it.

Three themes dominated the initial character development. Elves are hunter gatherers far more than farmers or herders. She had to be at home in a woods. My interpretation of the culture says elves would be artists far more than businessmen. The motive would be the search for beauty rather than profits or wealth. This spills over into morality. Rather than striving for justice or law, one strives to create a beautiful environment, to do the beautiful thing rather than the just thing.

The result was a singer who spent the fair weather months wandering the forests, gathering venison, acorns and strawberries, singing to Yavanna and Elbereth while watching for servants of the Enemy. In my mind, the songs to Elbereth were no small thing. Elrond, at one point, noted that the Shadow had grown nigh on to the Misty Mountains, and that all under the Shadow was dark to him. At least in my mind, the wandering companies in singing songs to the one who protects from the Enemy are among other things cleansing the land from Shadow. They are helping to keep Elrond's vision clear.

Can I reference an academic tome to verify this? No. Can I quote a line in the AQ rules to confirm it? Hmm… Almost, sort of. Speaking the name of a Valar does invoke the Power of Words rule, but it is very hard to stretch the rule as written to say that singing to Elbereth creates a blessing upon the land. Does my game master agree with me? I don't know. I didn't ask. I just mentioned that she tends to spend some spare time when the group isn't on the march singing songs to Yavanna and Elbereth, with a hint as to why. I don't need or want to know any effects. I don't expect it to change the adventures the group as a whole is having at all. Yet, that is part of what Aerlinn is and does.

Now, Aerlinn has high scores in attributes like grace, bearing, insight and fea. Most of the rest of the group focused on impressive strength, vitality and nimbleness. Aerlinn also has lots of skill levels in musician and singer. One might think if she sings songs dedicated to the Valar, she might have more effect than the others.

If so, it didn't make it into the AQ rules. The Power of Words section says absolutely nothing about the character's attributes, skills or race. Anyone can speak the Names in an appeal for aid.

Thing is, none of the other characters do. There is a comment in the Power of Words paragraphs saying that such invocations must be role played well. It is bad form for a player to say at every opportunity, "Elbereth! Elbereth! Elbereth! I want plus one to this dice roll!" In character, this translates to a notion that one doesn't invoke the aid of the Valar except in extreme circumstances. In practice, no one does. In the books, with rare exception such as Frodo's stand by the ford at Rivendell, one doesn't chant names prior to or in battle. Players in my game just don't do it.

Except Aerlinn. From Aerlinn's perspective, Yavanna wants the land to be sung into a greener green. Elbereth wants the land to be protected from Shadow. Ulmo wants things tainted washed clean. Este wants health and healed wounds. To sing to the Valar is not something to be done on rare occasion in moderation. Aerlinn is not strong in Power of Words magic because of skills, character and race. It is just that she is comfortable in it. By the strict rules of AQ, anyone could invoke the Valar just as well as she could. It would just be out of character, inappropriate for the cultures of most races.

Still, she also lives an appropriate lifestyle. If she would regularly manifest the virtues of the Valar, she has to embody said virtues. If I am going to have her sing regularly and invoke the Power of Words, I also feel obliged to role play her in a spirit compatible with Arwen, Galadriel and Goldberry. I also don't believe she seeks to be virtuous in order to gain power and dominion. It would be the other way around. The singing makes her aware of the beauty. The act of singing is beautiful, to be done for its own sake. It might be in some sense addictive, but it would be a glorious addiction. To feel the virtues of the Valar in song is to want to embrace them, to live them.

But that's just the Power of Words. AQ's Chapter 11 includes a spell list and rules for casting them. Chapter 11 magic does reference attributes, skills and race. Then there is Ambar, the ability to alter probability so that one might achieve one's fate or destiny. There are other game mechanics as well, ways to do things that were done in the books. I can embrace some with enthusiasm, while being dubious about others.

Some things I just avoid. Chapter 11 magic is enhanced by speaking words and making gestures. I want Aerlinn's magic to be subtle and unnoticeable. Sure, Gandalf might often wave his staff around, or speak in a commanding voice. That's Gandalf. That's not Aerlinn. If she wants to talk to a horse, she talks to the horse, and I'll eat the 6 point penalty on the dice roll rather than have her sing or gesture before she does it. The Art, or at least Aerlinn's Art, is casual, effortless and natural.

As a rule of thumb, when working elven magic, I want to play it subtly enough that if Sam Gamgee were there he wouldn't notice the magic. I might pass a note to the GM rather than let the other players know something magical is happening. If at all possible, I'd want Aerlinn to not notice she is practicing magic. She can just communicate with horses, and might not be overly aware of how she does it, and utterly unable to explain it to a Sam Gamgee. She can sing to the Valar, but so can anyone. They are just too self conscious to do so.

This is just my spin on the books. Can I prove it? No. Can I come up with academic references to support my thesis? No. Still, I'm not sure that one ought to be dismissive of the role playing perspective. Deconstructing -- practicing Saruman's heresy, working details from the bottom up -- isn't the only way one might learn of something, but neither should it be dismissed. Aerlinn's experiences might not be canon or anything approaching canon, but they might hopefully provide food for thought.