TEXT: Miyabi (me-ya-be): 
  elegance, refinement
  Aware (uh-wah-ray):
  sensitivity to the impermanence of things
  It is the year 1001,
  Peace reigns in Heian-Kyo, 
  the city of peace and tranquility, 
  the city of the moon…
  © 2005 ecboss black & green games 
  shield and crescent press, plainfield, MA
  
  2
  miyabi/aware
  With Heian-Kyo as its capital 
  peace reigned over Japan for 
  nearly four hundred years.  The 
  arts flourished and culture 
  bloomed. 
  At the heart of this renaissance, women 
  held sway, with some of the  guiding lights 
  of the Heian period becoming literary 
  figures known to history.  With access to 
  education, and their own resources 
  inherited from their mother, women could 
  attain their own dreams.
  Though denied access to official power, 
  hidden behind screens and social mores, 
  women wielded great power.  Well born 
  women held influence at court, having 
  direct access to the Emperor and Empress. 
  Miyabi, the Virtue of refinement, was the 
  key to power. To perhaps becoming the 
  Empress herself….
  Though denied validation for their their 
  talents, denigrated for learning subjects 
  reserved for men, women had great 
  freedom.  Choosing lovers and pursuing 
  their arts, women like Murasaki Shikibu
  created a new literary form, the novel, by 
  writing with the vernacular characters 
  scorned by men. 
  Aware, the Virtue of sensitivity, was the 
  key to creativity. To perhaps becoming 
  another Murasaki Shikibu herself…
  In this game, each player will 
  take the role of a woman in 
  the imperial court of classical 
  Japan.  
  Using her skill as an adept of 
  one creative Art, each woman 
  is pursuing a Destiny that she 
  hopes will lead her to fame 
  and power, or true artistic 
  endeavor.  From her choices 
  her Virtues, miyabi or aware,
  may grow or diminish.
  Each woman’s actions will 
  create a tale of her success or 
  failure.  Each tale will weave 
  together with the fates of 
  them all.  
  
  3
  Introduction to the Setting
  Heian Kyo (now known as Kyoto) was the capital of Japan from Eighth through the Twelfth centuries in 
  the Common Era.  Moved from Nara shortly following the disastrous reign of the final ruling 
  Empress of Japan,  Heian was the second site chosen transplanted capital.  Ideal due to the 
  auspicious feng shui aspects of the land, it was also chosen to appease the ghost of a exiled an 
  possibly murdered member of the imperial family, Prince Sawara. 
  The Heian period was a period of relative peace in Japan.  During this time, the Ainu people in the 
  northern islands were subjugated, but no invasions or wars occurred with any other nation. During 
  this time, Buddhism became widely practiced in Japan and the court cut off all contact with China. 
  However,  in this isolation, the arts flourished and were supported by the Emperors and the true 
  power behind the throne, the Fujiwara family.
  The Fujiwaras consolidated their power in the tenth century, controlling the emperors through “marriage 
  politics”, marrying their daughters to young Emperors and having the Emperor abdicate to his son 
  at an early age. This practice is exemplified by Fujiwara no Michinaga, who married four daughters 
  to successive emperors. Serving as Councilors and Regents, the Fujiwaras held the real power at 
  court.
  Women in the court of Heian Japan, were highly prized and educated. Women could own property, and 
  enjoyed great sexual freedom, though their movements themselves were restricted by gender 
  segregation and the practice of the cloister.  Men and women not married or related by birth were 
  required to be separated by a cloth screen to interact.  A woman’s voice and a glimpse of her wrist 
  beneath the screen were all a man could hope for, though he could come back by night--if invited--
  for a secret tryst.  Men had many wives and women had many lovers, but jealousy was still 
  common.  
  Daughters of noble houses had many maid servants or hand-maidens, also of gentle birth, who attended 
  them and made their own alliances through contacts at the court. A woman’s talents and wits could 
  make her future, as well as that of her family.  Reputations could be made by a timely poem or 
  having someone hear you play the koto on a moonlit night.  Trends could be set by the insightful 
  choice of exquisitely colored, many-layered robes matching season and fashion.  Festivals were a 
  time when men and women came together, when even the Emperor and Empress might be 
  approachable.  Times that broke the monotony of daily life and offered a chance for conquests to be 
  made and futures to be forged.  
  The characters of this game would be hand-maidens of the court.  Educated in all the arts, they seek to 
  reach a goal close to their heart.  Faced with competition with the dreams of others, and perhaps 
  pursued by evil fate, these women will take the opportunities offered and the talents within them to 
  make their destiny their own.
  Primary source for much information in this game, and recommended for further reading on the setting is The World of the Shining Prince, by Ivan Morris     
  (PA: Penguin Group, 1964).  
  
  4
  Order of Play
  Creating characters:
  Each player should create a Main Character by: 
  •
  Choosing an Art from page 4
  •
  Choosing a Destiny from page 5
  •
  Choosing a Name from Index a, page 17
  Collaboratively the players then:
  •
  Choose a Relationship type with another Main Character (see 
  page 6)
  •
  Create Connections for each Main Character (see page 7)
  Playing the Game:
  •
  Players take turns playing out Scenes (see pages 8-13)
  •
  On the first and every fourth Scene, all of the Main Characters 
  take part in a Full Moon Party (see page 14)
  •
  After everyone has had a turn, all the Main Characters take 
  part in a Festival (see page 15)
  •
  After three Festivals, see how close the Main Characters have 
  come to reaching their Destiny. (see page 16)
  What is needed to play: 
  Character sheets.
  Pencils (things will change—make your marks erasable).
  A standard deck of cards.
  A large supply of counters or coins.  
  Beginning Levels:
  Main Characters begin with 2 points in each Virtue.
  Players begin with 5 Wine Counters.
  
  5
  Main Characters
  Each Player creates one Main Character. This character is a hand-maiden in the Imperial court.  She may 
  be a servant of one of the  Emperor’s wives, or of  a minister at court.  She is well-bred, likely high 
  ranking and certainly a member of one of the noble houses of the Heian court.  She is talented in 
  many Arts, but is an adept at one in particular, and has ambitions that may be realized through 
  judicial or inspired application of her abilities. She also has relationships with other characters that 
  may aid her in her quest, or oppose her along the way.
  To create a Main Character, fill in the following information on a Character Sheet:
  Name ~  Choose a name from Index a on page 16.  Write this on the space provided on the character 
  sheet.  The name will be placed in the center of a large open area that will be used for the Web of 
  Connections to other characters that will be created.
  Art ~  Choose an Art from the list on page 6. Write it on the character sheet.
  Destiny  ~  Choose a Destiny from the list on page 7.  If you would like to choose a different Destiny 
  than those listed here, discuss it with the other players to be sure that it generally fits with the others. 
  Now, decide in which Pathway it would fall.  Choose whether it is a Miyabi or Aware type Destiny.  
  Write the Destiny down on the character sheet near to the Virtue Paths.
  Relationships ~  Players choose another Main Character to have a relationship with their own.  
  Relationships are described in detail on page 8.  They are reciprocal. If my character is your 
  character’s Rival, your character is also the Rival of mine.  All characters must have at least one 
  relationship. In order to make this possible, some characters may have more than one.  This will be 
  the case when there is an odd number of players.   When chosen, write the character’s name down 
  on your character sheet in the appropriate space.  
  Connections  ~  Each Main Character will gain many Connections throughout the game.  Connections 
  are either Creative or Destructive in nature, and are described in detail on page 8. To begin the 
  game, create two Connections in the following manner.
  •
  The Main Character’s player should choose one Creative  Connection.  Name a new character that 
  supports your character’s desires or ambitions and write it down on the Main Character’s character 
  sheet in the Creative Connection area on one of the lines and circle “C” for Creative.
  •
  The player of your Main Character’s Rival or Nemesis should choose one Destructive Connection 
  for your character.  Name a new character that opposes your character’s desires and ambitions  and 
  write it down on the Main Character’s character sheet and circle the “D” indicating Destructive. 
  Beginning Levels:
  Main Characters begin with 2 points in each Virtue.
  Each player begin with 5 Wine Counters.
  Creating Characters
  
  6
  The Arts
  Writing Using hiragana, indigenous 
  Japanese script, Heian court women 
  created a golden age of literature with 
  their diaries and innovative fiction.
  Poetry Written in Chinese characters, 
  poems written and recited by women of 
  the Heian court made sophisticated 
  allusions to classical Chinese literature, 
  and captured the illuminating transience 
  of life.
  Music Playing stringed and wind 
  instruments, women excelled in musical 
  expression and moved peoples’ hearts and 
  minds. 
  Painting Using ink and paints, women 
  created stirring evocations of nature, daily 
  life and fictional tales.
  Dance  Women’s dance in measured 
  and stately performances embodied the 
  values of culture and refinement.
  Calligraphy  Using the ancient art of 
  calligraphy, women showed their virtuosity 
  and skill, or  effortless intuitive flow.
  Additional arts that may be chosen are Perfume or Incense Making, 
  Cloth-making and -dyeing, and Fashion, wearing the right clothes  
  and and colors, setting the trends at court.
  
  7
  The Destinies
  Pathways of the Society
  Imperial Court: Women entered court through 
  marriage, or through becoming a hand maiden of the 
  Imperial family.  Through their prowess and talents 
  they could become favorites of the Emperor or 
  Empress.  Perhaps becoming a royal concubine,  and 
  named Empress, or becoming the mother to a child 
  that would one day be raised to the imperial throne.
  Destinies: 
  Marriage to a Courtier (miyabi)
  Handmaiden to the Emperor/Empress 
  Imperial Consort  (miyabi)
  Empress (miyabi)
  Mother of the Emperor (miyabi)
  Pathways of the Heart
  Attainment of Art: Women could apply their 
  talents at writing, painting, poetry and all.  Given 
  the right circumstances they had the potential to see 
  the culmination of their life’s work. 
  Destinies: 
  Imperial Patronage (miyabi)
  Masterwork  Completed (aware)    
  Become Enlightened (aware)
  Finding Love: Able to chose their lives and 
  lovers, aristocratic women had great freedom to 
  pursue relationships as they would.  
  Destinies:
  Beloved Lover  (aware)
  Chosen Marriage (aware/miyabi)
  Each Destiny is associated with either 
  miyabi or aware.  A character reaches 
  their desired Destiny when they reach 
  level 10 in the appropriate Virtue.
  
  8
  Relationships and Connections
  Relationships between Main Characters may be one of three types: Companion, Rival or Nemesis.  The 
  relationship chosen will determine how the characters will figure in each other’s lives, and the role the 
  players will take in each other’s game. Relationships are two way and reciprocal. 
  Each Character should have either a Nemesis or Rival Relationship with one other Main Character.  All 
  other characters have a Companion Relationship with this character.
  Rival Relationships are competitive and professional.  The characters may be fellow students or 
  colleagues.  The players will occupy an adversarial role in scenes involving the other person’s character.
  Characters with a Rival Relationship should:
  • Each be skilled in the same Art
  Nemesis Relationships are vindictive and personal.  The characters may be enemies.  The players will 
  occupy an persecutive role in scenes involving  the other person’s character.
  Characters with a Nemesis Relationship should:
  • Have an overlapping Creative Connection
  Companion Relationships are supportive and loving.  The characters may be friends or siblings.  The 
  players will occupy a supportive role in scenes highlighting  the other person’s character.
  Characters have a Companion Relationship with any character not their Rival or Nemesis.  Any 
  character other than the Rival or Nemesis may be chosen to take part in a Companion Scene.
  Connections are important people in each Main Character’s life.  
  They are chosen to relate to the Destiny the player has chosen. A character may have a Creative or 
  Destructive relationship with each Connection. Circle the appropriate type (“C” or “D”). This should 
  be done in pencil since the type may change.
  Each character will have two Connections to begin. One Destructive, one Creative.
  The first is created by the player of the character. 
  The second is created by the player of that character’s Nemesis or Rival. 
  As Connections are created they are placed on the Main Character’s sheet.
  Example of a Connection:
  The character Aoi is a sensuous and gifted dancer.  Her chosen Destiny is to become the Imperial Mother.  Her     
  player makes a Creative connection to help make this happen:
  Aoi
  Her Father, Minister of the Left
  The player of Aoi’s Nemesis, Ume, chooses a second, Destructive,  connection:
  Aoi
  Imperial Concubine, Kukin
  
  9
  Order of Play for Scenes:
  1)
  Determine whose turn it is.
  2)
  Choose a Supporting Character
  3)
  Choose Situation and Stakes
  4)
  Determine Scene Type
  5)
  Choose miyabi or aware to increase
  6)
  Introduce the Scene
  7)
  All player contribute descriptions
  8)
  Narrate and role-play Scene,  calling upon resources:
  •
  Virtues
  •
  Relationships
  •
  Connections
  •
  Wine counters
  9)
  Active Player calls for the end of the Scene
  10)
  Resolution
  11)
  Resolve Scene Outcomes
  Order of Play in Detail:
  1)
  Determining whose turn it is.
  Randomly determine turn order, but do not repeat anyone’s turn until all have had one.
  2) Choose a Supporting Character:
  The player whose turn it is, is the Active Player. Their character is the Active Character.
  The Active Player chooses another Main Character that has a Relationship with the Active Character, 
  a Companion, Nemesis or Rival.  This character is now the Supporting Character in the 
  scene. Its player will be the Supporting Player.
  3) Choose a Situation and what is at Stake:
  •
  The Situation is what will occur (eg a meeting between lovers, a contest of wits, etc.)
  •
  What is at Stake is what is at risk for or to be gained by the characters (eg their standing in 
  court, an artistic insight, etc.) 
  The Active and Supporting Players choose these by: 
  1)
  Coming to concensus through discussion, or
  2)
  Determining randomly which player will choose the Situation and which will choose the 
  Stake. 
  The Stake must be a step along the way towards the eventual goal.  It must be lesser than the Destiny, 
  and will not create or destroy any connections.  For example, if Aoi’s player chooses the 
  Stake: “Emperor sees her dancing” to for her first Turn.
  Turns and Scenes
  
  10
  4) Determine Scene Type:
  The type of scene corresponds to the type of Supporting Character chosen. The type affects 
  Situation and Stake.
  Companion Scenes:
  The Situation may involve a personal matter, an artistic endeavour or a matter of court and status.  
  What is at Stake should be something of personal or artistic significance to the Main Character.
  Rival Scenes:
  The Situation should involve the Art of the two Main Characters.
  What is at Stake should involve gaining recognition for their talents, or gaining insight into their craft.
  Nemesis Scenes:
  The Situation should involve a shared Connection between the Main Characters in play.  
  What is at Stake should involve gaining the favor of the Connection.
  5) Choosing a Virtue to increase:
  After creating the Situation and Stake, the Active and Supporting Players choose individually which 
  Virtue they wish to increase in the scene:
  miyabi Elegance and refinement
  aware
  Sensitivity, sadness
  This Virtue is the aspect of their character that they will bring into play in this scene, and the level of it 
  will determine some of the resources they will have access to for the scene.
  If trying to increase miyabi, the player will narrate their character exhibiting outward shows of skill,  
  poise and cultural aptitude.
  If trying to increase aware, the player will narrate their character making inward explorations, spiritual 
  contemplation or undergoing trials.
  NOTE: The Unused Virtue may be raised in a scene if a Special Success (see Resolution) occurs.
  6) Introducing the Scene:
  The Active Player begins the scene by describing an aspect of the setting illustrates the season, and 
  indicates where the action of the scene will be taking place.  For example,  Aoi’s player describes 
  the cicadas whirring beneath the sweltering sun beating in the palace garden.  
  7) All players introduce descriptions
  The other players each add a piece of description about the location to what the Active Player 
  introduced.  In the garden example, one player describes water trickling into a small pond with 
  coi, and another player describes the scent of camelias hanging thick in the air.  
  Turns and Scenes
  
  11
  Turns and Scenes
  8) Narrating a Scene and calling upon Resources: 
  The Active Player begins, completing the round of descriptions and introducing the Main Character by 
  describing how the character is affected by some element of the descriptions.  For example, Aoi’s player 
  describes the woman being startled by the sound of a carp leaping in the pond.  
  Support for the Active Player forms the Player Pool and opposition forms the Opposition Pool.  Each 
  player should have two areas (a receptacle or area on the character sheet) in front of them, each 
  representing one of the Pools. Each counter stands for a card that will be drawn during Resolution.
  Counters are added to a pool by bringing Resources into play as described below.  Wine Counters come 
  from each person’s stock. Other Counters are taken from a central stock.
  Players place all Counters on their own character sheet in the appropriate area marked “Opposition Pool”
  or “Player Pool”.
  The player who adds Counters for a Resource take part in the scene by describing the actions or impacts 
  of the Resource. Narration MAY NOT resolve what is at stake.
  Once the Active Character has been introduced into the scene, the Active Player adds counters to the 
  Player Pool.  The number is equal to the Main Character’s Virtue that is active in this scene.  The Main 
  Player narrates their character attempting to achieve the Stakes of the Scene.
  Other players may introduce other characters and elements to the scene.  See types of elements below:
  Resources:
  Virtues (as described above) the Active Character’s active Virtue is added to the Player Pool when 
  introduced to the scene by the Active Player.  This character’s actions to pursue the Stake are described 
  and role played. (See also Companion  Scenes below).
  •Relationships  the Supporting Player may introduce the Supporting Character and add that 
  character’s active Virtue to either the Player Pool or the Opposition Pool, as is appropriate.  This 
  character’s actions to oppose or support the Active Character attaining the Stake are described and 
  role played.
  •Connections any player may introduce a character with whom the Active Character has a 
  Connection.  If the connection is Creative, three counters are added to the Player Pool.  If 
  Destructive, three are added to the Opposition pool.  The player who introduced it describes and 
  role plays the character supporting or opposing the Main Character’s actions as appropriate.  
  •Wine counters  any player may introduce another element into the setting that either contributes 
  to the Main Character’s efforts or forms and obstacle to her goal in the scene.  It may be an object, 
  or another person, or a part of the setting.  For example, it might be a letter from another letter left 
  open by a bedside during, or a favored seamstress bringing fine new silk or a summer storm 
  breaking over an unsuspecting group making their way to a quiet mountain temple. 
  
  12
  Turns and Scenes
  8) Resources (Continued)
  For Companion Scenes:
  Player Pool =  Active Character’s Chosen Virtue + Companion’s Chosen Virtue + Wine Counters + 
  Creative Connection Counters 
  Opposition Pool = (Required) Active Character & Companion’s Combined Virtues + (Required) 
  Unused Virtues + Destructive Connections + Wine Counters
  Virtues may be added to the Opposition Pool by narrating ways that the Main Characters themselves 
  get in the way of, or make mistakes while trying to attain what is at Stake. 
  9) The Active Player calls for the end of the Scene:
  When all have had a chance to introduce the Resources they wish to, and the events of the scene have 
  been narrated to lead up to a show down determining if the Active Player successfully gains what is at  
  Stake, the Active Player signals the conclusion of the Scene.
  Signal the end by describing again the same aspect of the natural setting and the season, this time as it 
  affects the entire cast of the scene, or with a description of the larger countryside, followed by a 
  resumption of the Scene leading to a conclusion.  
  After this, each player has a last chance to call upon a Resource and narrate how it takes part in the 
  action.  Once this has been done, resolve the scene using the counter pools.  
  10) Resolution:
  For each counter in the Player Pool, the Active Player gets one card.
  For each counter in the Opposition Pool, the Supporting Player gets one card.  
  Note: for Companion Scenes, the scene may not be concluded until until required Opposition has been narrated 
  and required Opposition has been added to Opposition Pool. 
  Deal out one card for each Counter in the Pools. Cards are given to the individual who played the 
  Counter.   
  Winning the Stake:
  The side with the most Red cards wins.      
  If a tie, go by the highest Red card.  
  Special Success: PLEASE NOTE
  If the Opposition pool has more face cards (King, Queen, Jack) than the Player Pool, the Active Player 
  may increase or lower the Unused Virtue of their Character (the Active Character) by one level by 
  describing a Follow-up to the scene.  See Resolving a Scene Outcome for further information.
  
  13
  11) Resolving a Scene Outcome: 
  The end of the scene is narrated by the player who was dealt the lowest card on their dice (use suit order 
  to break ties: Spade High, Hearts, Diamonds, Clubs low).  This player resolves the Stakes in favor 
  of the winning side by describing how the events result in this outcome.
  Depending on the Type of Scene, Virtues are adjusted as follows:
  Companion Scenes:
  With a successful Player Pool outcome, both Players may increase their Chosen Virtue  by 1.
  With a successful Opposition pool outcome, neither player increases Virtue.
  Rival Scenes:
  With a successful outcome, the Active Player may increase their Chosen Virtue by 2.
  With an unsuccessful outcome, the Player of the Rival may increase their Chosen Virtue by 1.
  Nemesis Scenes:
  With a successful outcome, the Active Player may increase their Chosen Virtue by 3.
  With an unsuccessful outcome, the, the Player of the Nemesis may increase their Chosen Virtue by 1 
  and decrease either of the Active Character’s Virtues by 1.
  As indicated in Resolution, if the Opposition Pool contains more face cards (K,Q,J) than the Player 
  Pool, the Active Player may raise or lower their Unused Virtue by one level.  Yes, that’s right, the 
  Active Player and the Opposition Pool.  To make this change they must briefly narrate a Follow-
  up scene.  See below:
  Follow-up Scene:
  The Active Player describes an event or realization that causes the type of change made in the Special 
  Success. 
  If Miyabe is raised due to the Special Success, describe how the events of the Scene caused the 
  reputation of the Active Character to be increased—perhaps the Emperor hears of her 
  audaciousness and approves, perhaps the right Courtier quotes her at court, but she her status as a 
  refined and cultured woman of the Heian court.
  If Aware is raised due to the Special Success, describe how the events of the Scene caused some internal 
  realization or opened new avenues of expression of love, or art, or spirit—perhaps a success at 
  court is put into perspective as passing as the life of a sparrow, perhaps being spurned in love 
  caused her to see more deeply into her own heart. 
  The Follow-up Scene should be described in summary.  No resources are required. Other players may 
  make suggestions about how this comes about. 
  Also, please note that if the Player wished to bring their character to an ignominious end, Special 
  Successes may be used to lower Virtues in order to bring about a Hollow Victory. 
  Turns and Scenes
  
  14
  Full Moon Party
  The first and every fourth turn should be a Full Moon Party,  during which:
  •
  All players participate in character as their Main Character.
  •
  A scene is described in which all the Main Characters take part in a drinking 
  party, viewing the moon and making poetry together.
  •
  A round of description of the setting by the players may precede the games.
  •
  At least two types of Poetry Games are played.
  •
  Poems are composed in the Games and incorporate Themes and Motifs from 
  the deck of Moon Cards (see page 21).
  •
  Players are awarded Wine Counters.
  The first Motif and Last Motif used is always the Moon.
  For each round of a Poetry Game: 
  •
  Choose a Theme and a Motif from the Moon Cards.
  •
  After all lines are done, everyone yells, “Kampei!” (“cheers”), and awards one 
  Wine Counter from a central pool to another person whose line of poetry they 
  liked. 
  •
  All poetry is spontaneous, it need not have rhyme or a specific meter.
  •
  Each player is awarded 5 Wine counters for each type of game they participate 
  in during the Party.
  Rounds to be Played: Number of Players plus one.
  The Poetry Games:
  Follow the Leader Each player in turn says a line of poetry reflecting either the
  Theme or the Motif, or both. Round ends when all players have added a line.
  Lonely Moon One player speaks three lines of poetry on the Theme, incorporating 
  the Motif. The next person does so on a new Theme and Motif. Round ends 
  when all have taken a turn. 
  Reflected Moon Like Lonely Moon, except that two or more people use the same 
  Theme and Motif, and answer each other’s poems. Round ends when last 
  person speaks poem on given Theme and Motif.
  
  15
  Festivals
  When to have a Festival Turn: Once all players have had a turn. Choose one of 
  the festivals listed in Appendix ta (page 20). Festivals are listed in time order, 
  play them out in sequence. 
  What happens at a Festival: All the characters (Main Characters, Connections and 
  all others that have come into play) will be present at a grand event hosted by 
  the Emperor and Empress.  
  What may be done at a Festival: Each player may initiate one Change to the 
  Connections of their Main Character or another character (see below).  
  How to make a Change:  
  •Choose a Change to Make.
  •Choose a Main Character for which to make a Change.  Change may be for  
  your own character or for that of another player. However, type of change is 
  limited by Relationship between the Main Characters. See Scene types listed 
  below and required relationships.
  • Narrate and Roll as for Scene type indicated that will accomplish this change 
  and that takes place during the festival. Main Character of Player who chose 
  Change is Active Character. Call upon resources as in a regular scene except that 
  Virtues are not raised or lowered upon resolution.  Instead Change to 
  Connections is enacted and marked on appropriate character sheet.   
  •If Active Player is Successful, Change occurs. If Unsuccessful, no changes 
  except as noted. 
  Types of Change:  (describes events of scene)                   
  Accomplishment For Self, create new Creative Connection  or convert 
  Destructive one to Creative. This is a scene where a character’s accomplishment 
  of her Art gains her a new benefactor or ally. (Any type Scene)
  Accusation For Nemesis, create new Destructive Connection or convert Creative 
  to Destructive. This is a scene in which the Active Character accuses the 
  Supporting Character of a slight or crime that may lose them the support of one 
  of their Connections. (Nemesis Scene)
  Commendation For Companion or Rival, convert  Destructive Connection to 
  Creative. The Active Character commends their friend or Rival to the Emperor 
  or influential Noble who ends some enmity. (Companion or Rival)
  Humiliation For Nemesis or Rival, create new Destructive Connection. An 
  opportunity is seized to make the Supporting Character look a fool in her Art or 
  before her connection. (Nemesis or Rival)
  Introduction For Companion, create new Creative Connection. Introduce a 
  friend to someone who will become a new benefactor. (Companion)
  Seduction For Self, create new Creative Connection. Gain a lover, gain a friend. 
  (Any)
  Possession For Nemesis,  make all Creative Connections into Destructive ones.  
  If Unsuccessful, Possession affects Self and all Creative Connections are changed to 
  Destructive for Active Character. Expose the Nemesis to the influence of evil spirits 
  or ghosts and risk losing your connection to all you love as well.  (Nemesis)
  
  16
  Resolutions
  However:
  If both Virtues are Equal at this time, she has accomplished an Unsurpassed 
  Victory. Her player may narrate how she will be remembered throughout 
  History,  how the rest of her life happily plays itself out.
  If other Virtue is from 5 to9, she has accomplished a Complete Victory.  Her 
  player may narrate her successful career and some ups and downs of the rest of 
  her life.
  If other Virtue is from 2 to 4, she has accomplished a Mixed Victory. Her 
  player may narrate the brief spike of her glorious accomplishment, and then 
  narrate the downward turn her career took, and ups and downs of rest of life.
  If other Virtue is 0-1, she has accomplished a Hollow Victory. Her player may 
  narrate the sharp reversal that her current glory is followed by, and the 
  ignominious course of the rest of her days. 
  Note:  aware/miyabi Virtue levels may not go below 0. 
  After three Festivals take place, take stock of how close the characters are to accomplishing 
  their Destiny. When she has 10 Points in the required Virtue for the Destiny she chose, a 
  character has achieved Victory.  
  
  17
  Noble Surnames:
  Konoe, Takashi, Kujo, Ichijo, Gojo, Hirohata, Fujiwara, Gengi, Heike, Daigo, Kuga, Oimikado, Saionji, 
  Sanjo, Imaidegawa, Tokudaiji, Kaoin Masachika, Shigenoi, Anenokoji, Shimizudani, Kawashi, 
  Nakayama, Nanba, Asukai, Nomiya, Konjo, Matsuki, Jimyoin, Shijo, Yamashina, Aburakoji, 
  Washio, Minase, Reizei, Kajuji, Karasuma, Inokuma and Rokujochigusa.
  Source: http://www.csse.monash.edu.au/~jwb/afaq/japanesenames.html
  Women’s names
  Men’s Names
  Note on pronunciation: 
  Vowels:  a =  as in father, i = as in eat, u = as in food, e = as in end, o = as in Ohio
  Most  consonants: as in English.
  Pronounce all letters.  Words are accentless (put no more stress on any one syllable than the others).
  Note on name order: Surname is written first, then personal name. For example,  Asukai Nami.
  Yumi (beauty)
  Sorano (of the sky)
  Nori (doctrine)
  Kameko (tortoise child, 
  symbol for long life)
  Yei (flourishing)
  Shina (virtue, good)
  Nami (wave)
  Kaede (maple leaf)
  Yayoi (March)
  Shika (deer)
  Midori (green)
  Hoshi (star)
  Usagi (moon)
  Sakura (cherry blossoms)
  Machi (ten thousand)
  Haya (quick, light)
  Umeko (patient)
  Rini (bunny)
  Leiko (arrogant)
  Dai (great)
  Toyo (plentiful)
  Ren (water lily)
  Kohana (little flower)
  Cho (butterfly)
  Tori (bird)
  Rei (gratitude)
  Kita (north)
  Ayame (iris)
  Taka (tall, honorable)
  Rai (trust)
  Kichi (fortunate)
  Akako (red)
  Sumi (clear, refined)
  Nozomi (hope)
  Kei (rapture, reverence)
  Ai (love)
  Index a: Names
  Yukio (gets what he wants)
  Ryu (dragon)
  Kisho (one who knows 
  his own mind)
  Hoshi (star)
  Yasuo (peaceful one)
  Ringo (apple)
  Kin (golden)
  Hiroshi (generous)
  Yasashiku (gentle)
  Raidon (thunder god)
  Kane (warrior)
  Haru (born in the spring)
  Tomo (twin)
  Mamoru (earth)
  Kanaye (zealous)
  Fujita (field)
  Taro (first-born male)
  Kiyoshi (quiet)
  Jiro (second  son)
  Botan (peony)
  
  18
  Emperor Ichijo and Empress Teishi Emperor and Empress during the period of 
  the game.
  Sugawara no Michizane A great scholar who was asked to lead a diplomatic 
  mission to China.  He declined and was exiled by the Court.  After his 
  death in exile, his spirit was said to rise again and his to avoid his curse he 
  was deified as the god of study, Kitano Tenmangu.
  Fujiwara no Michinaga Regent of the Emperor and power behind the throne in 
  Heian-kyo.  Manipulated the court through “marriage politics”—marrying 
  his family members to the imperial family.  De facto ruler of Japan during 
  period when The Tale of Genji and The Pillow Book were written.
  Kukai, or Kobodaishi, Founder of the Shingon sect of Buddhism in Japan, he 
  was one of the three greatest calligraphers in Japanese history. Said to 
  have created hiragana, “the woman’s hand”, a syllabary (characters) 
  representing the syllables of the Japanese language.
  Ono no Komachi, Great poet and woman of unmatched beauty in the Heian
  period.  
  Ariwara no Narihira, Poet and prodigious lover. “Don Juan” figure of Heian-
  kyo. 
  Abe no Seimei, Astrologer, diviner and Taoist magical practioner.  Adviser to 
  the court.  
  Murasaki Shikibu, Scholar and Imperial handmaiden of the Heian period. 
  Author of The Tale of Genji, the world’s first novel. Rival of Sei Shonagon
  and servant to Shoushi, consort of Emperor Ichijo.
  Sei Shonagon, Scholar and Imperial handmaiden of the Heian period. Author 
  of The Pillow Book, a book of essays containing some of the finest uses of 
  the Japanese language.  Rival of Murasaki Shikibu, and servant to the 
  Empress Teishi.  
  See: <http://www.artsci.wustl.edu/~copeland/heian.html> and
  <http://www.wsu.edu:8080/~dee/ANCJAPAN/CONTENTS.HTM>
  Index ka: Historical Personages
  
  19
  Appendix sa:  Heian Poetry
  .
  I love.
  I love you
  long for you
  to meet you
  see you
  look on you and
  have you
  look on me.
  The clothes
  some humble man has hung
  upon a bamboo pole
  have not yet dried.
  Its been a week;
  they're still not dry,
  I wonder why.
  There is fine music
  by the sea.
  The pines
  in the wood by the beach
  sound like a harp
  while the waves come drumming 
  in,
  and fish hawks and plovers
  dance and swoop and play.
  Yesterday
  he didn't come.
  Nor the day before.
  If I don't hear from him
  today,
  what shall I do
  with the time
  tomorrow?
  The eyes of love
  open brightly
  like a lotus bloom.
  The light of wisdom
  shines in majesty
  like the morning sun.
  When I see some lovely girl
  I long to be a vine
  from top to toe entwined with 
  her.
  You could try to hack me down,
  but we'd be bound
  never more to come apart.
  The sea at Akashi
  strokes the sand
  the water
  frothing in and out
  fondling the beach.
  Though no wind moves,
  ripples form
  just waves making
  baby waves.
  How pure is the coming paradise.
  As the era changes
  And we look to the end of the 
  world
  the moonlight
  still and clear
  shines
  on each and every thing.
  My thoughts of him
  are strong enough
  to reach the farthest North.
  My love for him
  could stretch from here
  to the East and back.
  But if we had not joined in love
  why maybe, after all
  I might have just
  forgotten all about him.
  Your life is like
  the high sigh
  of the breeze blowing
  through the pines.
  All in all
  all is well
  well being
  here among the pines
  at Sumiyoshi.
  In the spring field
  a young fern stands
  looking like a door-latch
  just as if there were a hut behind
  Stand there quietly
  young one.
  Don't let anyone try to raise you
  and steal  in.
  
  20
  Index ta: Festivals
  Chushu Kangetsu (The Great Moon Viewing)
  Following the Liberation, men and women spend the night 
  floating on the Palace garden lake, listening to music, viewing 
  the moon and composing poetry.
  Iwashimizu Hojoe (The Liberation)
  Following a reading of the Buddha’s words, high court nobles 
  free birds, fish and other animals at the Hachiman Shrine of 
  Iwashimizu.  
  Urobone (Festival of the Dead)
  Honoring the Dead who return to earth on this day, 
  offereings are sent to the temples and Buddhist masses are 
  read.  Stems of hemp are burnt to light way for the spirits of 
  the dead.
  AUTUMN FESTIVALS:
  Tanabata Matsuri (Festival of the Weaver Star)
  Commemorating a romantic tale of lovers parted, then re-
  united by a bridge of Magpies. The court views the stars Vega 
  and Altair representing the Weaver and the Herdsman, and 
  music is played all night and the Magpie Dance is performed. 
  Tsuina (The Devil Chase)
  On New Year’s Eve, Taoist spells are recited and a “Devil 
  Chaser”, a courtier dressed in a golden mask and a red skirt 
  with 20 assistants chases through the Palace, twanging bow 
  strings and clashing swords against their shields to scare off 
  evil spirits before the new Year. 
  On-Butsumyo (The General Confession)
  A staute of Kwan-yin and painted screens depicting hell are 
  placed in the Palace.  All attend services are held by priests 
  for three days and three nights to expunge the years’ sins.
  Gosechi no Mai (Gosechi Dances)
  A morning ritual by the Emperor celebrating the newly 
  harvested rice is followed by an famous dance performance. 
  The Gosechi Dances are performed by three young girls, 
  daughters of Nobles of the Imperial house, and one daughter 
  of a Provincial Governor. 
  WINTER FESTIVALS:
  Choyo no En (Chrysanthemum Festival)
  The Chrysanthemums of the Palace gardens are inspected by 
  the Emperor and his court.  Feasting and dancing follow and 
  wine steeped with chrysanthemum and small white trout are 
  eaten. 
  Shinko (The Imperial Alms)
  A gift of rice and salt from the Imperial stores are distributed
  to the poor across the capitol.
  Tango (Iris Festival)
  Iris and mugwort festoon homes and the Palace to protect 
  against illness.  People wear irises and attend horse races and 
  archery contests.  The Guards end the festivities by twanging 
  their bows to ward off evil spirits. 
  Kamo no Matsuri (Kamo Festival)
  People and homes are decorated with Hollyhocks.  Ancient 
  dances are performed and the palace Guard processes to the 
  Lower Kamo Shrine.  The Shinto Priestess performs rituals 
  and dances.  The event is followed by a great feast.
  SUMMER FESTIVALS:
  Koromogae (Change of Dress)
  Heavy hangings and curtains for the  Winter are changed to 
  light ones for the Summer months.  Summer clothes may be 
  worn for the first time.
  Goto (The Holy Light)
  Immediately following Jomi, lights are lit all night to honor 
  the Deity of the North Star to avert disasters to the land.  A 
  feast is held where young men and women dance and 
  celebrate.
  Jomi (Festival of the Snake)
  Cups of wine are floated down the streams of the Palace 
  Gardens.  As a cup passes, you lift it up, drinkd and recite a 
  poem.  Elaborate dolls are displayed in homes with girl 
  children.  
  Toka no Sechie (Ceremony of the Poetry Dances)
  Poems and songs praising the New Year are recited in the 
  Imperal Gardens, accompanited by dances performed by 
  forty ladies-in-waiting.
  SPRING FESTIVALS: 
  O-kusuri and Hagatame (Medicinal Offerings and Tooth 
  Hardening)  Celebrating the New Year, spiced wine tasted by 
  chosen virgins radishes, mirror-shaped rice cakes and melons 
  are offered to the Emperor for health in the year and long life.
  Source The World of the Shining Prince by Ivan Morris. 
  
  Rain
  Wind
  Cloud
  Wood
  Water
  Fire
  Metal
  Earth
  Shell
  Stone
  Stream
  Music
  Sword
  Day
  Night
  Dusk
  Dawn
  Winter
  Summer
  Spring
  Autumn
  Flower
  Sun 
  Bird
  Sea
  Tree 
  Star
  Moon
  War
  Peace
  Hope
  Dance
  Pleasure
  Play
  Defeat
  Content
  Pain
  Joy
  Fear
  Surprise
  Humor
  Nostalgia
  Regret
  Despair
  Return
  Gain
  Harvest
  Birth
  Farewell
  Love
  Loss
  Hope
  Motifs
  Themes
  Moon Cards
  
  22
  Notes to Play Testers:
  First off, many thanks to you for taking the time to play this game.  This is the first playable draft of city of 
  the moon.  All feedback about strengths and weaknesses and possible omissions of the game text are 
  very welcome, especially comments about the competitive aspect of the game.
  Chances are good that you are a Nipponophile or scholar of some stripe, so I beg your indulgence with 
  respect to use to which elements of this setting have been put. This game is intended to capture and-
  hopefully--communicate a sense of the beautiful and rarefied nature of this time period rather than to  
  document it historically.   Corrections of heinous errors are deeply appreciated, but may be adapted 
  to fit the tone of the game.  
  The true setting of city of the moon may be said to be the world the character Genji inhabited, rather than 
  the world of Murasaki Shikibu herself, though the two are of course inextricably intertwined. It is 
  likely that the female characters in this game will have a greater say in the course of their life than 
  their real life counterparts. But in the end, it is the women of this time that have left the greatest 
  mark, in many ways, so let this game be a tribute to them and their accomplishments. 
  All questions and comments may be emailed to: blackgreengames@yahoo.com, or posted to the Black 
  and Green Games forum at the Forge (www.indie-rpgs.com).  Also see, www.blackgreengames.com
  for updates and news regarding publication, and other fora.  
  This game was originally created as an entry to the Iron Game Chef 2005 contest. My thanks to Mike 
  Holmes and Andy Kitkowski for the inspiration of that contest, and to the community of the Forge 
  for the schooling in game design that made all this possible. 
  Thanks again, and please enjoy!
  The very best,
  Emily 
  
  City of the Moon
  Main Character
  Name
  Art
  Destiny
  Aware
  Miyabi
  Nemesis / Rival
  Companions
  Connection  C / D 
  Connection  C / D 
  Connection  C / D 
  Connection  C / D 
  Connection  C / D 
  Connection  C / D 
  Player Pool
  Opposition
  Pool
  © black and green games 2006          www.blackgreengames.com
  
SOURCE: textdata/thevault/Collections/Collaborative & Peer & Gm-less & Shifting GM/City of the Moon.pdf