The Skaldic Texts

Kveldsǫngr – Vespers

Heyr himna smiður – Hear, Smith of Heavens

This vesper, known as the Sealing Song, allows the skald to heal tears in reality. Such tears occur naturally on Vandalmál, but no one is quite sure why.

Through them, however, all manner of effects can originate. Tears can co-terminate with the Energy planes, allowing intense heat, howling winds, floods, fissures, or odd emanations of positive energy (life-springs) or negative energy (andask-brunnr [death springs]). Some tears co-terminate on other, more unusual locations… and their effects can be much more devastating, depending on the location and size of the tear.

• First round - the skald begins the song using their attack action.
• Each subsequent round - the skald must use their attack action and maintain concentration (as if the skald were casting a spell).
• The skald must be able to speak aloud (treat as a spell with verbal components).
• Each tear has a specific DC for successes and a number of required successes that must be accumulated (as a contested check) to close the tear.
• A skald must be within 15 feet of the tear’s edge to affect it – this often puts the skald within the area of any damaging effects of the tear.
• Several skalds may work together to accumulate successes to close a tear.
• Use of the song, regardless of its ultimate success or failure inflicts two levels of exhaustion when it ends.
• Each round the song continues, the skald makes a Charisma check against the tear’s DC.
  • Critical Success – Accumulate two successes towards closure
  • Success – Accumulate one success towards closure
  • Failure – No change
  • Failure by than 5 – take 3d4 psychic damage
  • Critical Failure – take 5d4 psychic damage and lose a success towards closure

Nādhir – Grace/Peace

This vesper, known the Hymn of Rest, is a short composition, sung over the dead. Those who receive Nādhir will not return as undead. The song takes about a minute to perform, and can affect a number of humanoids or beasts (as the monster type) in one use equal to the skald’s character level. This song does not affect any other creature type, and has no effect against already existing undead. It does not prevent decay of the body (so it cannot be used as a substitute for gentle repose). The hymn may be used once per either a short or long rest, unless the skald expends a spell slot of second level or higher to use it again prior to the rest.

Jörðslíta – To Split the World

This vesper, known as the Song of Rending, was only recently discovered. Its exact composition and mechanics are not well understood, but its effects are much the opposite of the Sealing Song, allowing the Skald (or in this case, the Doomspeaker) to open a Tear.

Kvæði – Poems

Hávamál – Sayings of the High Ones

The words of this ancient poem are attributed to powerful nature spirits such as the great mountains, ancient glaciers, the wind of the iciest peaks, and the swells of the darkest sea depths. The allies of the skald who can hear the poem are invigorated, finding success much easier in whatever they do.

• First round - the skald begins the poem using their attack action.
• Each subsequent round (up to ten) - the skald must use either their attack or move action and maintain concentration (as if the skald were casting a spell).
• The skald must be able to speak aloud (treat as a spell with verbal components).
• While the skald maintains speaking the poem, allies within 30 feet receive advantage on attack rolls, skill rolls, and saves.
• When the song completes, the skald is unable to perform the poem again until after completing a long rest unless they expend a spell slot of third level or higher.

Völuspá – Prophecy of the Seeress

The words of this ancient poem are attributed to a powerful sorceress, speaking on a vision she beheld of the course of creation and the end of days. Enemies of the skald who hear these words are shaken to their core.

• First round - the skald begins the poem using their attack action.
• Each subsequent round (up to ten) - the skald must use either their attack or move action and maintain concentration (as if the skald were casting a spell).
• The skald must be able to speak aloud (treat as a spell with verbal components).
• While the skald maintains speaking the poem, one enemy per character level within 60 feet who can hear the skald and the skald can see becomes frightened.
• When the song completes, the skald is unable to perform the poem again until after completing a long rest unless they expend a spell slot of third level or higher.

Bœn – Prayers and Oaths

Eiðr Múspelheimr – Oath of the Lord of Fire

By invoking The Lord of the Bonfire, the skald can cause a fire (magical or not) that is large enough to step into (so at least the size of a campfire) to become a portal to another fire at or near another location known to the skald. The effect lasts for six rounds (30 seconds), which is enough time for the skald and up to five other people to utilize the fire as a method of movement. Once spoken, the fire deepens to a dark purple color and ceases to give off heat.

The rite chooses the fire closest to the destination spoken – this could be quite a distance depending on the exact location specified. The fire at the destination will also deepen in color to purple, which means anyone nearby the destination fire may notice the change, and invoking the name of such elder fey is not without risks:

• Upon arrival, the skald receives a level of exhaustion and takes 3d4 psychic damage; the skald is unable to invoke the oath again until after completing a long rest.
• There is a chance that the Lord of the Bonfire takes notice of the skald, and may demand some service from the skald for use of his byways (DM determines exact percentage and whether per use or cumulative).