In the previous article I discussed the dominant world religion, the Unholy Church of Ergalon the Destroyer. Today I’ll give you my thoughts on the religion that players are most likely to identify with, the Counter Revolutionary Sisters of the Apostate.

Why I Created the Counter-Revolutionary Sisters of the Apostate

One thing almost never happens in roleplaying campaigns: the good guys have to hide their faith. In Ossara, a paladin of Eriskagal can’t just run around being holier-than-thou. The Sisters have to be careful about whom they trust and what they say, or they’ll be hunted.

In my previous article, I discussed the dominant religion in Ossara, the Unholy Church of Ergalon the Destroyer. Today I want to talk about the faith players are most likely to identify with: the Counter-Revolutionary Sisters of the Apostate, sometimes called the Cult of Eriskagal.

I created them because I wanted the religions in Ossara to have context and backstory, so players could get into them and understand what “Good” and “Evil” mean in the campaign. Ergalon’s rule is built around undeath. His church is responsible for carrying out his mandate: the Death Collectors take the bodies of the recently dead to the capital, where they are made undead. Eriskagal, Ergalon’s legendary spouse and the goddess of eternal rest, opposes the creation of undead.

The Sisters are not an ordinary church. They have no churches. They meet in hiding, in sacred places, caves, and hideouts, and work to resist Ergalon’s rule. They want to help people whose lives have been damaged by his death economy. They also believe Eriskagal is not dead, and will return to restore Ossara to paradise.

Their mission gives players concrete ways to act on that faith. Clerics destroy dead and undead bodies by fire, and arrange clandestine cremations—even for people who weren’t believers. Paladins seek out the undead and counter the influence of the Death Collectors. Both can help people suffering under Ergalon and try to protect others from undeath.

But they have to do all this while hiding. A paladin who advertises their beliefs may be hunted. That means the choices aren’t just about what a good person believes; they’re also about what they dare to say, whom they trust, and how much danger they’ll take on to help someone.

One major reason the church followers are so numerous is that all recently dead are granted undeath by Ergalon. His church is responsible for carrying out this mandate. In the part of the world where game play takes place, Death Collectors come monthly to collect the bodies of those who have recently died in the town. Bodies are stored at the church mortuary in-town, which is managed by the lower clergy.

That makes the Death Collectors much more than undertakers. They control the passage from death to undeath: until a body reaches the capital, the dead person is in limbo, and the capital decides when that second life begins.

It sets up several strong pressures in the world:

• A monthly countdown: Families know when the Collectors are due. A death just after their visit could mean weeks of waiting.

• A local duty of care: The town mortuary becomes a place where families keep vigil and the lower clergy prepare bodies for the journey.

• Power over the dead: Whoever controls the Collectors, roads, and mortuary controls access to undeath. That gives Ergalon’s church real political power, even far from the capital.

• Conflict over consent and belief: Some families may want their dead returned; others may fear or reject undeath, especially if they follow Eriskagal.

That gives the system its central religious conflict: Ergalon’s church treats undeath as the return granted to the dead, while Eriskagal’s faith holds that death should end in eternal rest. So the Death Collectors aren’t just moving bodies; they’re carrying people into a fate Eriskagal opposes.

It also makes each death a point of tension between the two religions. The disagreement becomes personal and practical: what should happen to this particular person’s body, and who has the right to decide?

Next time let’s look into the Cult of Eriskagal.

I don’t know, I just love the idea of Ossara. Sometimes you can’t give up on your dreams—or, in this case, your dreamworlds.

I created this elaborate universe, Mirabilisphera, which is composed of driftworlds and dreamworlds, all held together in Aetherean space. It’s a place to put all the various cool worlds I’ve developed over my lifetime, starting with my very first D&D world, which didn’t have a name I can remember, and my latest, the driftworld Ossara.

I love building worlds for fantasy. I wish I could make a living at it. I started building worlds before high school for planned novels. I wanted to be like the Screwtape Letters guy—C.S. Lewis—or his friend, J.R.R. Tolkien. Those two gentlemen could make worlds. They made the worlds I lived in, in my mind, before, during, and after school. That’s all I wanted to do. I did my best to follow in their footsteps.

I started out as a conservative Christian in high school, then went on to get three degrees in anthropology, culminating in a PhD. I became an expert in human evolution, cultural evolution, ethnography, archaeology, and regional specializations from Polynesia to Scandinavia. I would also consider myself an expert in the intercultural transmission of cultural information—that is, how cultural trends migrate across cultural lines. In particular, how religion and ideology spread throughout history.

Since I brought up religion, I should say that I no longer identify as a conservative Christian. I consider myself politically independent, and I don’t affiliate with any political party.

So I am going to come back here and revive Ossara, if for nothing else than posterity. I may as well document some of the things I built. Not necessarily in order. Not just Ossara—I’ve got Nine Realms, The Fae Queens of Mirabilis, and others.

I use AI to generate pictures to illustrate this blog, or whatever we call it. You are free to use the artwork, but it does not necessarily officially represent what is described in the text, which is not AI-generated. I think it adds to an appreciation of the text form to have these “artist’s renditions,” except I’m no artist. Would that I could afford to hire Roger Dean. I will save for that, but in the meantime, please allow me to use AI-generated images to supplement the text.

I have spent my entire life trying to understand how people build worlds that make existence bearable.

I didn’t know that was what I was doing for most of it. It looked like reading. Then it looked like fieldwork. Then it looked like a career in cultural resource management, surveying the buried remnants of civilizations that had already finished asking the question. But underneath all of it, the investigation was always the same: How do humans take a universe that offers no inherent meaning and make one anyway?

The answer, I have come to believe, is worldbuilding. Not as metaphor. As the most fundamental human act there is.

I cannot point to a single year when it started. I only know that by the fourth grade I was already living in more than one place at once.

My first real book — the first one that felt like an object with gravity — was an illustrated edition of The Wind in the Willows. Not a cartoon adaptation. A thick book with textured paper and inked drawings of Mole stepping into sunlight for the first time. What captivated me was not the plot. It was the world. The riverbank felt continuous. The Wild Wood existed whether or not Mole was in it. There were seasons, class structures, invisible boundaries between safety and wilderness. I did not yet have the word for it, but I was learning that a world could be built — not invented in a burst, but layered, sedimented, inhabited.

People assume the spark must have been Star Wars. It would make sense. An entire galaxy with religions, ruins, and a lived-in past that felt older than the screen itself. The first time I saw it I felt something shift: the recognition that a story could imply ten thousand stories behind it. But Star Wars only confirmed what Wind in the Willows had already taught me. I wasn’t watching the hero’s journey. I was asking: Who built this? What came before? What myths do these people tell about themselves?

Those are, it turns out, anthropological questions.

OMNI

The magazine was slick in a way that felt like the future. OMNI didn’t sit on the rack the way Time or Newsweek did — it practically hummed. I picked up an issue sometime in the early eighties and somewhere between the advertisements for home computers and the fiction in the back, I found the article that quietly rearranged everything.

NASA had a problem. They could build the dish. They could write the algorithms. But if something answered back — something genuinely, irreducibly other — the engineers had no framework for what came next. So they were turning to anthropologists. People trained to sit inside a culture that wasn’t their own, to learn its logic on its own terms, to resist the very human urge to assume that the way you see the world is the way the world is.

The people who mattered most at the edge of the unknown weren’t the ones who built the technology. They were the ones who understood that contact, if it ever came, would be first and foremost a problem of meaning.

Read more

• Burning days. Frozen nights.

• Death Collectors at your gates.

• Ruins that whisper of forgotten gods.

Now you can step into this world.

Not as a tourist—

but as a survivor, a conspirator, a hero in the making.

Why Play in Ossara?

• Deep Roleplay — each character is embedded in Ossara’s cultures, religions, and politics.

• Epic Storytelling — ancient bargains, fractured factions, and hidden gods shape your fate.

• Multiple Systems Supported — play in AD&D 1e or D&D 5e (2014 edition).

• Your Schedule, Your Way — multiple campaign time slots available to fit your life.

Ways to Play

• Play Online (Live DM) — $22 per 4-hour session

• Play by Post (Asynchronous) — $5 per move

Choose the pace that suits you. Both offer full immersion in Ossara’s deadly beauty.

Reserve Your Seat

Seats are limited. Ossara is a premium campaign world, carefully curated for committed players.

Your story begins when you enter. Will you give the lich your dead—or take his crown?

👉 Step into the covenant.

👉 Claim your place in Ossara.

✨ Ossara is more than a game. It’s a legend you help write.

The Order of the Sacred Archives was founded in the late Aetherian period to gather, preserve, and transmit Ossara’s written knowledge. It welcomed scholars of every kind—those who understood that collapse begins not with war, but with forgetting.

Over generations, the Ordo established scriptoriums across the continent, culminating in the High Scriptorum at Eros Talum, said to house the greatest archive in human history. For a time, it was believed impregnable.

That illusion died with the rise of Lord Morgrav. Declaring all unsanctioned knowledge heretical, the Theocracy of Ergalon proscribed the Ordo. Its scriptoriums were destroyed, and in 396 AE, the High Scriptorum burned for nine days. An estimated 96% of the archives were lost.

What remained went underground. The Order dissolved its hierarchy, and its surviving members scattered into cloisters and solitary exile, preserving fragments of culture and memory in secret. There is no master copy. No central sanctuary. Each scribe safeguards only what they know.

Yet the Order survives.

After the purges, one isolated chapter reemerged in Necropolis Lux, naming itself the Broken Quill. It claims continuity with the Ordo’s mission but operates openly under Morgrav’s regime. Though it maintains the appearance of neutrality, its archives are censored, its scribes serve state interests, and its true role as a tool of surveillance is widely suspected.

The true Ordo makes no claim to legitimacy. It does not recruit, govern, or defend its legacy. Its only task is to recover the memory of a world being rewritten—and to protect that memory until the world can remember itself.

The Cult of Erisksagal rejects the Covenant of Bones and opposes the dead god Ergalon with all their ability. Their goal is to survive Ergalon’s death economy, resist his rule, and assist those whose lives are impacted and destroyed by the Great Destroyer (ie Ergalon/Morgrav). Their guiding belief is that Eriskagal is not dead, and will return soon to restore Ossara to a state of paradise.

The Resistance

The Cult of Eriskagal is part of a collective concept of a “resistance” that vaguely exists in the minds of the Bleaklanders far from Necropolis Lux. The cult operates completely in hiding. They have no churches, but they occupy sacred spaces, caves, hideouts and other locations where they can gather and thwart Ergalon’s reign.

Your Mission as a Cleric

• Destroy all dead and undead bodies with fire and equal fervor

• Facilitate clandestine cremations, including for non-believers

• Help those who suffer under Ergalon’s rule.

• Grow your followers by promising to protect them from undeath.

Your Mission as a Paladin

• Seek and destroy undead.

• Help those who suffer under Ergalon’s rule.

• Assist the clerics in carrying out their mission.

• Counter the influence of the Death Collectors

Alignments

Most of the clergy are Lawful Good, though other “good” types are represented. Membership is open to all classes and “good” people.

Ranks

Initiates are clergy still learning the mythology and hidden teachings of Eriskagal. At third level, those who pass the Trials of Eriskagal are elevated to the rank of Acolyte. At fifth level, they become Priestesses—the highest formal rank within the faith. There is no higher title, though Priestesses who lead their own resistance cells are often referred to as High Priestesses, a title earned through leadership rather than granted through hierarchy. Paladins within the Church begin their path as Protectors. At fifth level, they are honored with the title Warden of the Faith. Upon reaching ninth level, they are recognized simply and solemnly as Paladins, having fully embodied their sacred charge.

The Congregation

The congregation is made up of both the living and the dead. However, they have separate ministries for humans and undead.

The main tenets of the Church are:

1. Undeath is a natural part of the lifecycle, and all members must strictly abide by the Covenant of Bones.

2. Lord Morgrav’s laws and proclamations are final, and his adjudicants—the clergy—shall interpret and dispense justice. The word of the Church must be obeyed as if spoken by Lord Morgrav himself.

The Covenant of Bones

The Covenant of Bones is the binding pact between the living and the dead, established by Lord Morgrav, God-King and Lich of Ergalon the Destroyer when he threatened to destroy what little was left of their planet. Living practitioners agree to donate their bodies upon death to the undead service of Morgrav’s army of the fallen. Any of the fallen who die in service to Lord Morgrav are resurrected and returned to normal life as free Ossarans—the Returned.

Clerics

The head of the Church is Lord Morgrav, bearing the title God Lich-King of Ossara. Serving beneath him are his High Priests (9th level and above), known as Cardinals. Only the Scardinals have the power to Raise the Dead; and, only Lord Morgrav himself can perform a true Resurrection.

Beneath the Cardinals are the ordinary priests, the Curates Purpurea (level 5 and above). These priests serve as judges, forming the backbone of the Church’s legal system. Below them are the Acolytes, who wear yellow cloaks and serve as attendants or junior officials. Each member of the clergy is accountable to a superior in a rigid hierarchy of obedience and oversight.

In the religion of the undead, it is believed that Ergalon grants new life—a full resurrection—to those who are spiritually or physically destroyed while serving their eternal king. This promise has given rise to a zealot class among the Fallen: undead who actively seek death in service, hoping it will earn them the divine reward of rebirth. These Fallen Zealots throw themselves into impossible missions, martyrdom rituals, and suicide pacts, all in pursuit of the Second Life. But whether Ergalon actually honors this promise remains uncertain. The masses accept the doctrine without question, but in truth, only a handful of Risen have ever been produced. The rest vanish, their fate known only to the Lich-God—or perhaps not even to him.

Anti-Paladins or Paladins who find they have wandered into the wrong pub

Church enforcers—called “Death Collectors” by the general population—are tasked with enforcing the Covenant and carrying out the will of the High Priests. They are issued specific missions and wear cloaks according to rank: black for standard collectors, white for senior agents (9th level or higher). Black cloaks take orders from white cloaks, though the hierarchy among them is murky and seems to depend more on charisma and reputation than formal rank.

Alignments—and Can You Play One?

Alignment within the Church varies widely. Corruption and abuse of power have filled the ranks with both Chaotic and Lawful Evil clerics and collectors. Still, many followers are simply trying to survive—finding in the Church a path of least resistance.

Reform is possible. Your character could be a spy for the resistance, a conflicted believer, or a hidden sympathizer of a forbidden faith. With the right narrative angle and a compelling justification, you can absolutely play a good-aligned character within the Church.

A priest’s primary responsibility is not to the living, but to ensure that the Fallen remain spiritually aligned with their obligations to the Lich-God. In addition, Ergalon’s clergy act as advocates for undead rights in society, ensuring that the terms of the Covenant are honored, that the Fallen are not abused or misused, and that each undead citizen—no matter how decayed—remains a lawful and sacred asset of the God-King’s eternal empire.

The Two Ministries of the Unholy Church of Ergalon

The Unholy Church of Ergalon, architect of the Covenant of Bones, is divided into two primary ministries—each with a distinct and terrible charge.

The Ministry of Ossaran Affairs

This branch of the Church serves the living. Its purpose is to prepare the faithful for death and ensure their obedience in life. Clergy in this ministry oversee baptisms, administer the Covenant, and enforce Ergalon’s proclamations through surveillance, sermons, and judgment. Their task is to cultivate loyalty, extract confession, and maintain order among the living population of Ossara. They are also responsible for the daily legal and spiritual operations of the Church within cities, including the rationing of water, management of burial compliance, and suppression of heretical worship. These priests are seen publicly—at trials, sermons, and executions—and their power is both feared and familiar.

The Ministry of Undead Outreach

This hidden and more sacred ministry serves the dead. Its clerics, necrosophants, and deathwardens oversee the vast armies of the Fallen, organizing undead labor forces, spiritual assemblies, and martial battalions. These priests spend their days deep in necropolises, preaching to the reanimated masses and ensuring that each soul remains bound to its divine duty. Their sermons are laced with cryptic memory-recovery rites, obedience rituals, and encouragements to complete one’s service honorably. Among the Fallen, they are both spiritual leaders and logistical officers—responsible for deploying undead soldiers, preserving discipline, and interpreting the will of Ergalon in times of doubt or decay. It is from this ministry that the Fallen Zealots emerge, encouraged to seek glorious unmaking in the hope of resurrection.

The Undying Cycle

In the theology of the Unholy Church of Ergalon, undeath is not a perversion—it is a sacred stage of existence. The Church teaches that all souls pass through a divinely ordained cycle, established by Ergalon himself. This cycle is the foundation of the Covenant of Bones, and all faithful are expected to submit to it without question.

The cycle is as follows:

1. First Life – The mortal span. A time of service, discipline, and preparation. The faithful are baptized into the Covenant and live under the watchful eye of the Church.

2. Death – The surrender of the body to the Church. Cremation or burial is forbidden. Corpses are delivered to the Death Collectors as holy tithe.

3. Undeath – The body is reanimated and enters the Fallen Host. The soul continues its service, now freed from mortal weakness. This stage is one of obligation, not glory.

4. Destruction in Service – If an undead is destroyed while fulfilling their duties, they may be chosen for resurrection.

5. Second Life – A rare and sacred return to the mortal world. Memory of prior lives is shrouded, but the Covenant remains. The Returned are watched closely by the Church.

The Chant of the Returned, or Until death again takes me, My life is my own

First life.

Death.

Undeath.

Return.

Until death again takes me,

My life is my own.

Bound by the Covenant,

Marked by the bone.

Until death again takes me,

My life is my own.

New season starts this fall.

On the distant fringe of the fey universe, scattered across a dead planet’s remains, the people of Ossara still endure—held together by ritual, memory, and the relics of powers they no longer understand. For generations, the Holy Church of Ergalon has spread across the continent like a second sky, converting or crushing what remains beneath it. The dead do not rest. Resurrection is currency. Dissent is heresy. And the old gods have been silenced—none more thoroughly than Eriskagal, whose name is now punishable by death, whose worship has been buried deeper than the cities that once honored her.

And yet: in a temple no one remembers, a nameless initiate receives the Tear of Eriskagal—an artifact that holds what’s left of the goddess herself. It is not a weapon. It is not a command. It is simply the last part of her that refused to die. What they do with it, and whether they survive long enough to try, may decide if Ossara ever belongs to the living again.

We’ll be using a mix of AD&D 1e and 2e rules, with plenty of house rulings to keep things fair, flexible, and grounded. Character creation is streamlined, but there’s room to build out factions, heirlooms, and half-forgotten loyalties if you want to dig deeper.

This game leans hard into roleplay and creative problem-solving. It’s not about optimization or tactical precision—it’s about who your character is, what they know, and what they’re willing to risk. Expect uncertain information, social tension, strange cults, and moments where the best move is just… not speaking. As always, I’ll be aiming for a mix of small stories and big mysteries. If you’re interested, reach out—I’m happy to help with character ideas or backstory hooks.

Th ereason for the switch in emphasis is that, while Nine Realms is a beautiful campaign world it is not under active development. I think you, the reader, will get much more out of following Driftworld Ossara’s development. I’ll be using the newsletter feature to publish weekly or monthly newsletters that you can subscribe to (if you wish) to keep you updated on recent developments.

I plan on releasing all content for free in a FoundryVTT module.

Thank you for your continuing support.

Unlike the daughters of eternity who are born in Mirabilis, Queen Luka came from some distant land in the east (sunward, as they say in Mirabilis). She speaks only with body movements, facial expressions, and a unique language of hand signals known only to a few.

She is rarely seen unhappy, and is definitely the best dressed of the queens. Never having the same look twice, she’s the life of the party. Like all the queens, she has an equal vote in all major decisions, Luka has never voted. In this way she’s never earned a political enemy and maintains excellent relations with every sister.

Without any further ado, I give you THE SONG:

Name: Eleganza

Artist: Lucas Pittman

Licensed through Epidemic Sound

ELEGANZA By Lucas Pittman

At night, the landscape of Nocturnàl undergoes a breathtaking transformation, turning into a scene of enchantment. The entire area is illuminated with magical lights that bring the environment to life in a spectacular display. Every element, from the plants, trees and delicate flowers, to the rugged rocks, and even the nighttime fauna, are bathed in a magical glow. These lights, ranging in hues from soft pastels to vibrant neons, create a mesmerizing effect, casting dancing shadows and reflecting off the surfaces of streams and leaves. This nocturnal illumination reveals hidden beauties of the landscape, creating a dreamlike atmosphere.

The Parade of Eternal Night

The illumination is brought on by the Parade of the Eternal Night, an eerie beautiful processional of fae creatures: First come the faelighters, tiny, flying fairies that spread out through the trees and plants, lighting them up as they go.

Following them is the majestic Queen of the Night, a figure of serene beauty, adorned in glowing flowers and light. She walks the path barefoot, setting the parade's pace with a steady, forward gaze.

Behind the Queen of the Night, the mystical dance of the dreamweavers gracefully comes into view. Twelve captivating figures move with such fluidity and grace that they mesmerize those who witness them, weaving dreams and magic into the nocturnal celebration.

Then appear the childlike fae gnomes, joyously collecting the forest's bounty as they pass. Their older siblings, the nymphs, follow suit, gathering glowing flowers and adorning themselves in preparation for the forthcoming celebration.

Then come the shadow-pipers, the hauntingly beautiful and eerie minstrels, whose melodies add a mystical ambiance to the parade. Finally, the spirits of the forest join, manifesting as glowing wisps of light. They increase in number, creating a mesmerizing spectacle as the parade winds through the forest, leaving a trail of magical light and wonder in its wake.

As the Parade of the Eternal Night continues its journey through Nocturnàl, a sense of timelessness envelops the scene. The faelighters, the Queen of the Night, dreamweavers, gnomes, nymphs, shadow-pipers, and the spirits of the forest – all move in an endless procession into the eternal night. The parade, with its enchanting display, never truly ends; it perpetuates into eternity, weaving through the landscape of Nocturnàl.

Dungeon Master: But, when it came to the Night Witch I wanted to go beyond the typical portrayal of witches in fantasy. She’s evil, but where does that evil come from? What drives her to do all the horrible things she’s attributed with? I wanted to make sense of her evil to make her a really believable villain.

Dungeon Master: A central theme in my campaign is an ancient war between the Aesir and the Vanir, the two families of the gods in Norse Mythology. According to Old Norse lore, the Vanir lost that war and Freya, queen of the elves, was taken as permanent hostage by the victorious Aesir.

Dungeon Master: In my story, then, before the war the Night Witch close to Freya. Their bond as sisters is crucial to understanding her motivations. When Freya was taken as a hostage this was a turning point for the Night Witch. She has never let go of that loss, and her hatred for the Aesir, especially Odin, is intense and deeply personal. She blames them for Freya’s abduction and eventual fate in Ragnarok. But there’s more to her than just hatred. Her actions, though often cruel and unforgiving, stem from a place of profound loss and a fierce love for her ‘sister.’ This duality makes her a fascinating character.

Dungeon Master: Now, thousands of years later she is a shadow of her former self.  Her hatred has transformed her into a hideously ugly creature, and a powerful witch. But as the characters interact with her, her appearance and demeanor shifts with with her mood. If the players cooperate with her she gets younger and more amenable. The shift is symbolic of her inner turmoil and the dual nature of her character. It’s a visual representation of her struggle between her past and her actions in the present.

Dungeon Master: Seeing my players react to the Night Witch, feeling that mix of awe and fear, that’s when I knew she had become a part of our shared storytelling experience. She was alive in the imaginations of everyone at that table.

In Norse mythology, Ragnarök is depicted in several ancient texts, most notably in the Poetic Edda and the Prose Edda. It is a series of events, including a great battle that leads to the death of a number of gods and and fantastic creatures. It signifies the end of an era, and the beginning of a new one. For this reason it is sometimes called The Twilight of the Gods.

The Nine Realms Campaign begins with the concept of Ragnarök, only changing one aspect for purposes of the narrative: Odin, in the final moments before his death, dispersed his divine power throughout humanity, thus ensuring the gods could never truly die.

He was then, as a mere mortal, consumed by Fenris.

In the beginning, there was nothing but the vastness of Eternity, stretching in every direction without end. Without utterance, Eternity willed into existence the primeval world. And it was Mirabilis—wonderful.

Twelve daughters were born to the eternal Echoes of Time. With infinite wisdom, Eternity imbued them with a sacred gift, the divine power of Creation. Gifted thus, the universe was the canvas for their boundless imaginations.

Immortal were the daughters of Eternity, untouched by age, in a land where Time dared not tread. And so, they abided in Mirabilis in tranquil concord, each daughter shaping worlds in her own image.

Thus was the foundation of Mirabilis laid, and so began the reign of the Daughters of Eternity.

Mirabilisphera is an all new campaign setting that has a mysterious connection to the Nine Realms, and will be revealed to the players in Season 4 (2023/2024). Mirabilisphera posts are currently only available to paid subscribers.

In whispers and glances, we hold our sway,

No parchment or seal to mark the day.

You can not join, but still belong,

A silent fellowship, in shadows strong.

The number of White Knights is unknown, but not thought to be over a few hundred. They do not maintain an organized presence in the Nine Realms. They do not have an official base of operations, but there is a huge cathedral in New Asgard called the Tomb of the Asgardian Knight. New Asgard, itself, is ruled by Imperial Eldergard, a White Knight.

The Valkyrie are a particularly difficult organization to be a part of. They expect a sort of residency whereupon you learn the values of the organization and progress through level 4 as a Cleric in the life domain. Afterwards you may adopt any martially-oriented subclass. The most prestigious class among them is the Cavalier — for the Valkyrie are famous for their powerful cavalry.

The Black Knights have some beliefs that make co-existing with other peoples and factions problematic:

• They consider magic to be a gift from Odin, and the exclusive purview of the Aesir.

• They believe that the Green Knights are an anathema to peace in the Nine Realms and call for their immediate dissolution.

• They believe that the Nine Realms is in imminent danger from external threats due to the absence of gods.