Aliases are alternative forms of a reference. They can include actual aliases for characters, nicknames, plural variations, gendered versions of some [Classes], and even typos.
“The House of Minos learned from [Martial Artists] to create the basis of our hand-to-hand training. I am surprised you know of it. Most Izrilians are ignorant [Brawlers]. What do you know of such things?”
It had no government, no rulers, and those who came to Pomle were free to do as they pleased. Most who lived in the country trained for combat, [Martial Artists], hermits practicing some style of weaponry—more than one famous warrior had trained in Pomle’s single oasis or on the plateaus of its grounds. But other sorts came to Pomle too. Outcasts. Refugees. Criminals.
And they were weapons in themselves. Orjin acquiesced with bad grace and spent his time sitting on top of one of the date palms that grew around Pomle. That got him more askance looks, but it was perfectly common; several children strong enough to make the climb had done the same, and Orjin recognized two warriors, one a [Spear Dancer], the other a [Martial Artist] like him, sitting on the tree tops and watching the sights. That was how Orjin spotted the delegation from Tiqr first.
[Martial Artists]. A term for people who use skills and techniques designed for combat, be it self-defense, war, competition, or other activities. They differed from traditional [Warriors] in a simple way. While anyone could learn to use a sword, and there were indeed teachers of swordplay or soldiering, anyone who knew how to fight could be a [Warrior]. It was a broad term that applied to self-taught amateurs as well as those formally taught by experts.
But [Martial Artists] practiced a system, an evolution of a traditional fighting style refined over decades, centuries, and so on, until it was a culture unto itself. Until you could call the act of carrying out moves a form of art in itself. That was what being a [Martial Artist] meant. But it was a rare class in most parts of the world.
But [Martial Artists] practiced a system, an evolution of a traditional fighting style refined over decades, centuries, and so on, until it was a culture unto itself. Until you could call the act of carrying out moves a form of art in itself. That was what being a [Martial Artist] meant. But it was a rare class in most parts of the world.
Ceria was explaining the concept of [Martial Artists] to her team. She was sitting with them in an inn in Celum. It was called The Drunken Swordsman, and it was a fairly nice inn as they went. Ceria wouldn’t have necessarily stayed here when she was journeying with Calruz and Gerial in the original Horns of Hammerad; paying for their entire group would have wasted too much coin.
“I believe you were explaining to Comrade Ksmvr why [Martial Artists] were so rare, oh, Captain Ceria. Because hand-to-weapon combat is quite foolish, is that correct?”
“As I understand it, [Martial Artist] classes are practically unheard of in most continents. It is difficult to implement it as a fighting method across armies of [Soldiers], and it carries several demerits, which Ceria has kindly listed. However, as I recall, the people of the Drath Archipelago as well as some Minotaurs have that class. Miss Garia appears to have picked up the class somewhere. Which might be the reason for her dramatic weight loss. You look quite fetching, Miss Strongheart, if I might say so. I congratulate you on the change.”
“Like I said, Ceria. I got the class. [Martial Artist]. Level 14! I’ve been leveling like crazy. No one can believe how fast I’m shooting up, but I’m training every chance I get between runs. My weight’s just one change I’ve had. Look at this!”
