Kit and Character guide ver1.0′ here

Cry Havoc
Kit and Character Guide
Andrea Thorn & Brian Wells
(Version 1.0)
Webpage: http://cryhavoc.uk/
Facebook: https://www.facebook.com/groups/1475494726086720
Copyright (c) 2016 Andrea Thorn and Brian Wells
The copyrights of all figures, photographs, and text lies with the authors. This document
may only be distributed as a whole, the express permission of the copyright holders must be
obtained for any other use of this material.
Introduction
The game
Think of this game as somewhat Shakespearean - “Cry Havoc” is a game of deadly battlefields, of
earthy humour, deep truths, and good-hearted soldiers; villains, princes, beggars, of romantic affairs,
tragedy and blood. The style is late medieval, and the goal of it all is entertainment; while some people
may even find something deeper within.
“Cry Havoc” is set in an alternative history, where France was conquered by Britain, but after a long
life, Henry V died and his prosperous kingdom fell apart. Plagues and wars ravaged the land and god
seems to have abandoned the people. The year is 1513. In these difficult times, Lady Anne of Wessex
is threatened by her exiled brother-in-law to yield her duchy, and, in a hidden valley gathers a force
to conduct secret manoeuvres, and ultimately, to wage war.
We will use few rules and a high visual standard to immerse players into this world. Our plots will
be directly based on the player’s backgrounds and we plan also to offer plot for children in the future.
We invite you to discuss your roles and kit directly with us, and to choose characters entangled in the
conflict. In this guide, we give some character examples along with descriptions of their clothes and
belongings.
None of these characters will be played; so feel free to use ideas right out of this guide.
We hope you will enjoy this game as much as we enjoy putting it together,
Andrea and Brian.
Foreword on Kit
We’d like to state first and foremost we are not intending
to be super strict with kit, we want our game to be accessible, but we do want to encourage everyone to make
a really good effort to have great looking kit. In light
of that; these are the guidelines of what we’re aiming
for. We should mention that although our game is historically based, and we would like to encourage people
to reflect that with their roleplay, we have no intention
of making any gender restrictions on costume (or roles
within our game).
Ask us!
All ques ons regarding kit and costume
should be directed to:
Brian Wells: b.wells356@b nternet.com.
All ques ons about character design to:
Andrea Thorn: hibernia@keltencons.de.
The setting we’ve created has a rationale for kit from
throughout the medieval period with a focus on north western European styles. Some remoter or
poorer areas might hark back to the end of the early medieval/dark age period in look, whereas
wealthier areas that have more contact with the world at large tend towards the end of the fifteenth
century in style, but there is scope for everything in-between.
Each of the examples references the costume images that you will find throughout this guide. At the
back is an appendix with a glossary of common terms we’ve used – if you find an unfamiliar word
italicised you can look it up there. There is also a list of costume and kit suppliers as well as links to
image reference libraries and some suggested books.
1
Character concepts
We encourage players to take important roles
in the plot and close to the NPCs, such as Lady
Anne’s court, head of household force, clergy, mercenary bands, local yeoman et cetera. If
you have never played, or just some questions,
or want to be put in contact with other players,
please do not hesitate to contact Andrea (hibernia@keltencons.de)!
Here are a few things you may consider:
 Choose a profession of some kind; even children became involved early in the family business. Below are some ideas for inspiration. If
you can, pick something you know something
about - but then a lot of fun can be had by not
being very good at your trade - and it may explain why you joined the army.
 Make your character interesting. Someone you
yourself would like to meet - because of who
they are (as opposed to what they are). A personality with a past. Ideally, your background
story allows us to involve your character with
others and with the plot. Unresolved issue? An
enemy? A heartfelt wish? We’d love that!
Some character concepts, by profession.
2
 We encourage you to choose your character so
that he or she fits the style of the game and the
period. (Inspirations can be found in the appendix and of course this guide.)
 Your character needs to “fit you well”. They
should be easy for you to play without much
effort. You need to feel comfortable so that
you can stay in-character and immerse yourself fully in the game and the background.
 Choose a character that is cool to play (for
you). Exciting character concepts are a good
premise! This is particularly important if you
are part of a group or a non-combatant.
 Every character should have the potential to
become a great hero someday. This is, after all,
a story in which heroes will be born!
 Choose a character whose experiences you
share in some way.
 On the other hand, consider challenging yourself a bit with your character, giving them a social skill that you do not yet possess.
 It’s often a good idea to give your character a
flaw that will lead to more interesting interaction with others.
General remarks on kit
We’ve devised this guide to allow participants to
adapt existing kit or put together some basic costume fairly easily – a simple linen shirt, tunic or
dress, an over tunic or kirtle, some suitable shoes,
a leather belt and maybe a hood and you’re good
to go! A document of recommended kit suppliers
is available from cryhavoc.uk. Of course, there is
also plenty of scope for those that want to really
go to town on their kit as well.
Our recommendation is that participants try to
aim for a ‘lived in’ look for their characters – plain
wool and linen are ideal fabrics for Cry Havoc
costumes as they will hang correctly, are comfortable and practical and will just look right. Natural
dyes as shown below can give a good indication
of a suitable colour palette.
Examples of natural dyed yarn colours.
Clothes should be used to express the wealth
or status of the wearer: humble folk will have
patched and repaired clothes in natural colours
(off-whites, greys and browns) with maybe one
bright tunic/doublet or kirtle for best, vagabonds
will have threadbare tattered clothes, professionals – be they soldiers or artisans - will try to distinguish themselves from their social inferiors with
finer, more colourful garments, while the wealthy
will sport the latest fashions in the richest fabrics
they can manage. When using silks, brocades,
velvet etc. – the heavier and plusher the better
– thin fabrics like satin etc. should be lined with
something heavy like canvas otherwise they can
end up looking cheap and shabby and - sin of sins
– too modern. Furnishing shops are a good source
of heavy brocades and plush velvets.
A hat or head covering is a great costume accessory and social tool (for doffing etc.). It is also
practical when working with fire, and as weather
protection. – We hope we can encourage you to
make a coif and a hat part of your kit.
Your character and their kit
Your character would regard their costume as everyday wear, and when you play them, try to feel
the same – make it prac cal and comfortable, and
think about the value of it: Your character’s clothes
are worth about what a car would cost today, so
they are not disposable. Even a wooden bowl is
worth a day’s work.
Ask yourself what your kit says about your character. Professions and social class are communicated
by apparel but of course clothes also show one’s
personality. Is there a piece of kit that has special meaning in the game? A hand-me-down from
grandmother? A token from the lord who you fell
in love with? A gi from that stranger long ago? A
dead woman’s spoon?
Desert boots are one possible alternative to re-enactment shoes, but if you are thinking of buying
something new you can pick up re-enactment
shoes relatively cheaply these days – at least as
cheaply as a new pair of dessert boots! Check out
the recommended kit suppliers for shoes.
We’d really like to avoid seeing modern food and
drink containers or packaging at our event, so
suitable in-character eating and drinking utensils
as well as packaging (wrappings and sacks) are a
must. The same idea applies to modern camp furniture and cooking equipment –we’d rather not
see any – so please disguise it, hide it or better still
– leave it at home or in the ‘plastic camp’.
Character roleplay tips & tricks
Do not be in midated by the amount of informaon you seem to have to know. No-one will expect
you to do everything perfectly. Here are a few ps:
Know what your character believes in, at least the
name of one saint your character will swear by.
Make your character part of a larger group, or give
him or her good reason for being around. Give
your character reasons to interact with others: A
par cular absolu on he or she seeks, something
he or she wants to learn, some informa on about
a missing person, about travelling to Nuremberg or
about certain stars an astronomer in Lady Anne’s
court has observed.
What happened to your character directly before
arriving? Does he or she have messages for other
players, wounds, gossip from neighbouring villages, something to sell or news?
3
Kit and character examples
A Breton Troubadour
Guilleme de Montauban is a travelling musician
and teller of romances. This imaginative young
minstrel has been inspired by the plight of Lady
Anne of Wessex, she is said to be a great beauty and after all, a fellow Breton. He has travelled
across the sea, determined to find Lady Anne and
be of service to her - he is even prepared to join
her army if she does not care for his stories or
music. Although there is another way he may be
of use: during his journey from Southampton he
spent time with the Duke’s soldiers entertaining
them for a few pennies, or for a little bread and
wine, but also listening to their talk and remembering, yes, remembering all their soldiers’ gossip
of dispositions and manoeuvres. Even if the lady
does not care to hear his tales of courtly romance
- these stories she cannot fail to welcome.
Guilleme is not wealthy or famous and his unfashionable but practical clothes reflect this – he
has few possessions besides his instrument and
what he stands up in: a simple shirt; long linen
braies; single leg hose; leather shoes; a linen coif; a
lightweight woollen knee length tunic and a long
woollen over-tunic and hood.
Nun’s habit; colour varies with order.
Magistra
Phillipa was born Claire Fineux of Salisbury, the
fourth daughter of a lesser noble family. She was
sent to the Dartford Priory, one of the most progressive and largest convents in England, where
she took the vows of the Dominican order, pledging her life to St Mary. Phillipa loves how logic
enables her to understand how the world works,
which she sees as the ultimate embodiment of
the benevolence of the communion of saints. The
cloister was a place of intellectual challenge, and
Sister Phillipa became a good speaker. She argued
at the Concilium Particulare in Salisbury that the
body is not a lesser copy of the soul, but the means
by which the soul is shaped. Consequentially, she
is very much a humanist. Apart from rhetoric, she
studied herbalism and astrology.
Basic male clothes with single leg hose,
tunic and coif.
4
She has spoken in public against exploiting the
victims of war, which has made her quite famous
(and unpopular with certain landowners) and she
has exposed a false prophet in Dover. She is wellknown, and Lady Anne has decided to invite
her. While it is clear to Phillipa that Lady Anne
wants the prestige of associating her cause with a
famous theologist more than the advice of a philosopher, but she will come: Saint Mary moves in
mysterious ways.
A Delegation from York
When God abandoned man, man did not abandon the institutions of the church. This was never truer than in the case of the Bishopric of York.
The church of York is powerful in the north but
they would dearly love to expand their influence
to the south, where the rival church of Canterbury strives (less successfully) to hold sway. To
this end the Bishop of York has sent one of his
most trusted envoys - Friar Hugo of Pontefract to Wessex to offer the patronage (along with the
implied fiscal aid) of the church of York, to the
side in the upcoming conflict that chooses York
to be their spiritual guide. Of course it’s fairly important that Hugo backs the winning side as well.
Whilst the domains of erstwhile England respect
at least the power (even if not the authority) of
York, the journey from York to Wessex is long and
not without dangers; in the forests of the disputed
border countries lurk bands of outlaws and broken men, whose desperate condition might overmaster their doubts against assaulting the Archbishop of York’s envoy. It would be unthinkable
to travel without an armed escort; therefore Hugo
has with him Sir George Coleville and his retinue
who holds his estates through the church of York.
Beliefs and knowledge
The world of Cry Havoc is shaped by beliefs – there
will be no character without some kind of religion
or supers on.
The characters live in a world formed by invisible
forces, where the state of one’s soul is intertwined
with their body, where prayers to saints can bring
rain and the sun revolves around the earth. Science
is just an obscure school of thought like herme cism, while knowledge comes from the church, and
experiences are handed down by word of mouth,
through sayings, anecdotes and legends. Informaon travels slowly, and unless your character has
travelled, they may have formed ideas of faraway
places on the words of others – they may not know
what Rome is like or how a Turk looks, or what it
means to climb a snow-covered mountain. You
may consider whether your character is literate
– whilst basic literacy has become more common
the majority of ordinary folk might not be able to
read or write. However, Cry Havoc plays in an era
where prin ng is just about to change the world:
Even poor people can afford to hang a print of their
favourite saint over their bed – and when a message can be conveyed in a leaflet, it can be spread
far and wide…
Sir George Coleville and his wife would wear expensive, but slightly old-fashioned clothes.
5
Mercian ‘Volunteers’
When the Duke of Mercia heard that Edmund
had landed in Wessex he knew it spelled trouble:
knowing of Edmund’s nature he was certain that
once he had crushed all resistance to his claim,
his ambition would not stop at the borders of
Wessex - Mercia might well be next. Surrounded
by belligerent neighbours, the Duke is in a precarious situation – he cannot openly commit to
war in the south without imperilling his northern borders. Instead he has encouraged his most
trusted lords by secret letters to cause ‘certain ungovernable young persons that lately trouble our peace
to leave our demesne and seek such adventure as they
may elsewhere’. His lords took the hint and began
vigorously organising small bands of ‘volunteers’
to slip into Wessex and join the rebellion.
Friar Hugo wears a typical friar’s habit,
complete with mantle and scapula.
Coleville is well equipped in Milanese style harness, he has several men at arms with him who are
outfitted in similar style but to a lesser quality, as
well as a number of archers and billmen who are
quite well equipped with maille sleeves, maille
standards, brigandines and sallets.
When not armoured for battle, Sir George wears
a fancy doublet with padded shoulders, joined hose
that come up to his hips and thigh length leather
riding boots. He also wears a short pleated gown
of rich fabric over all, and an acorn hat. His men at
arms aspire to a similar appearance but to a lesser quality. His archers and bill men wear joined
hose, simple shoes and plain doublets and for the
most part sport roll-brim felt hats (see picture to
the right). For this mission the Bishop himself has
provided Sir George’s men with livery coats in
the colours of York with the Bishops emblem embroidered on the left breast. Should the embassy
succeed Sir George and his men will join the fight.
Lady Coleville, Sir George’s wife, elected to join
in the delegation, as a companionship between
her and Lady Anne may aid their endeavour.
Lady Coleville is dressed in very rich garments –
but the fashion of York is somewhat conservative,
some might even consider it old fashioned. Her
maids and female attendants are dressed in kirtles and simple gowns. She brings their daughters
along as well.
6
John of Bryse-Norton and his companions are just
one such band. A younger son of a wealthy yeoman, he has been sent to win a name for himself
along with an experienced old retainer and several stout tenants of his father’s. John’s equipment
and clothes are largely hand-me-downs of good
quality. His armour once belonged to his great
grandfather who fought alongside Henry V. in
France. Most of John’s companions have old bascinet helmets, kettle helmets or steel skulls and a
mixture of mail and padded armour if any at all.
They are armed with swords, bucklers, longbows
or polearms. John proudly carries his great grandfather’s poleaxe.
What John would be wearing - for his retainer’s
clothes, look on page 4, bottom left, and page, 7, opposite.
A Wessex Knight
When Linnet of West Hay was 12 years she had
a vison from Saint Brigid who told her to prepare herself; the safety of her village - perhaps
the entire Dukedom - would one day depend
upon her and her alone. The very next day she
sought out old Duncan the beggar who had once
fought in the wars and made a bargain with him.
If he would teach her all he knew about fighting, she would make sure that there was a warm
place for him in her father’s barn in winter and
that he never went hungry again. It was a simple
promise worthy of a twelve year old; but it was a
promise she kept, it proved to be the redemption
of old Duncan, who had long ago lost faith in the
world – this innocent child had somehow given
the old cynic a sense of purpose again. As the
years passed, Duncan became a trusted friend
of Linnet’s family, and indeed by the time he
passed away peacefully in his sleep, he had become a valued member of the household. Linnet
never forgot her vision and would not neglect her
training – she had eagerly learned all that Duncan could teach her and when fighting masters
or captains came to the region she would hand
over what coins she had in exchange for whatever skills and knowledge they could impart to her.
A simple woman’s dress - shift and kirtle.
In the field, Linnet may wear clothes like this:
Joined hose; doublet’s neck sits relatively low.
A few months ago, Edmund had sent men to
capture Lady Anne as she rested from a day’s
travelling at West Hay that evening. Linnet did
not know this, but she knew that young Wat had
overheard strange armed men out on the marsh
planning to set fire to the houses of West Hay.
Linnet sent Wat to rouse the folk and tell them
to arm themselves as best they could. Meanwhile
she took her bow and went into the marshes to
buy time for young Wat to deliver his message.
Using her knowledge of the marsh, she sent arrows among Edmund’s soldiers so they could not
row their boat for fear of being shot. Hence, they
were forced to come at the village by the causeway – and a narrow plank bridge. Beating them
on the way there by a shortcut, Linnet pitched
the planks into the water and made her stand. By
the time the villagers came to the causeway several of the Edmund’s men were beating a retreat.
Linnet had fought them with her bow until her
arrows were spent, and when they tried to wade
across she had fought them with her spear until it was trapped in a foeman’s body, after that
she had fought them off with a captured sword.
When Lady Anne heard what transpired from
the villagers, she knighted Linnet on the spot
with that very sword. “You have saved more
than your village this night. Arise, Sir Linnet of
West Hay”. Since then, the legend of Sir Linnet
has spread far and wide, and many have come to
West Hay to fight for her and for Lady Anne. ‘Sir’
Linnet has been given a fine suit of clothes and
armour as befits her new status by Lady Anne.
7
The Guildmistress
Ursula Caster’s family were locksmiths and ran a
successful business in Augsburg. From an early
age, she was fascinated by the moveable type her
family produced for printers, and so her parents
sent her to one of their client’s businesses as an
apprentice.
After that, she spent her journeyman years travelling the North of Europe: The Hansa towns, Antwerp and finally, in England. Here, she received
word from her family: Her father and sisters had
been killed in the Augsburg uprising of 1509, and
the family had lost all their possessions. She arranged for her mother and uncle to come to London, where they were welcomed by her current
host’s family. Ursula married their son soon after,
and the two of them now run a business at the
cutting edge of modern technology. Last year, Ursula became the mistress of London’s small printer’s guild.
She comes to Wessex to secretly meet Sir George
Coleville, who has offered her a large sum of
money if the guild refuses to print a philosophical
novel by a certain Thomas Morus.
Ursula’s family printed a series of recruitment
leaflets for Edmund in Germany a few years back,
and she really hopes that no one in Lady Anne’s
army will know this.
Scholar or wealthy merchant - Ursula Caster
could wear a gown like this when in London.
On social order
Your character should see social class and servitude as a natural thing. Cry Havoc plays in a me
when farmers became more independent and richer, and there was more social mobility than, for example, a hundred years earlier. However, the social
order is s ll enforced rather strictly. This of course
also makes a good opportunity to have plots which
deal with social upstarts, impoverished nobles and
soldiers rising through the ranks. Hence, when you
see a good chance to emphasize this difference
between the game world and our modern lives,
please do!
Bow your head to the nobles, have your servant
talk to the farmer on your behalf and try to improve the lot of your child by asking a knight to
take the girl on as a page…
Clothes for a woman from South German
merchant class.
8
In the real historical period, Sumptuary law dictated what each class could wear, we omi ed these
deliberately in the game, as they make it more difficult for players to get the right costume. However, your costume needs to reflect the social status
of your character, and is a key element to depic ng
a role.
A Gallowglass Band
Big Brian MacSweeney and his people have
fought alongside Captain Savage before, but this
time there is more of an incentive:
Gaston the Bastard is rumoured to be among
Duke Edmund’s mercenary army. When Captain Savage last forayed into the wars in France
he took Big Brian and a contingent of his Gallowglass and Kern attendants with him – experts at
living off the land and hit and run warfare; they
proved invaluable to Savage’s small and mobile
force. They not only proved to be expert foragers;
but they spread terror among their enemies with
their habit of collecting severed human heads
during their raids.
The MacSweeney boys were having a high time
of it until they met their match in the form of Gaston d’Angreau - generally known as The Bastard
- a name that he exemplifies in every sense. He
is as cunning as a fox and as slippery as an eel.
A lifetime of disreputable exploits had made him
more than a match for the MacSweeneys’ game,
and when Big Brian had lost three of his favourite sons to Gaston the Bastard’s ambuscades, and
even come ‘this close’ to losing his own head he
had begun to foster a burning ambition to claim
the Bastard’s own head. The fortunes of war had
forestalled that fateful encounter however, and
the MacSweeneys returned home with their purses full, but with their hearts still smouldering for
revenge. Now, three long years later, their chance
is finally at hand.
Big Brian MacSweeney is a Gallowglass, when he
goes into battle he wears a long padded gambeson under a long maille hauberk and a full helmet
that looks like an heirloom from the dark ages, he
carries a fearsome polearm known as a ‘sparth axe’
as well a sword of peculiar Gallowglass design
which he wears in a fringed scabbard.
The rest of the MacSweeney Gallowglass are
similarly equipped apart from Brian’s impressive headgear (they wear an assortment of steel
caps and open faced bascinets), whilst their Kern
attendants wear little more than their massively sleeved (and generally massive) yellow leine
shirts and short embroidered jackets. Some may
sport the odd mail vest; padded jack or brigandine and metal cap. They go bare legged and often bare footed. The Kern are variously armed
with an assortment of short bows, javelins, long
knives, sparth axes, and the occasional gallowglass
sword complete with fringed scabbard. Some of
them sport a peculiar hair style called a Glib that
has a mop like fringe that falls down to the top of
their eyes. They have great thick hairy cloaks for
when the weather is cold and also to sleep under.
Typical clothes for Irish men and women. The clothes are bulky, coarse and warm.
9
A Wessex Noblewoman and
Her Retainers
Her male retainers and soldiers wear livery coats
that have square necks and pleated skirts, under
which they wear joined hose that come up to their
natural waist line (or higher); short high-waisted doublets and round or square toed shoes (The
King’s Servants is the best reference for Lady Margret’s male attendants). On their heads they wear
woollen bonnets.
Many of them are equipped with Almain Rivet
half armours, imported from the low countries
and carry either long bows or Bills. To protect
their heads they wear sallets – archers prefer the
open faced variety.
Living in-character: ‘comfy roleplaying’
Example of Lady Marget’s clothes.
Lady Margret once was married to a Burgundian
lord. She lost him and two of her children to war
and rebellions in those unstable lands. Today, by
inheritance, she holds Portland castle in Wessex.
Edmund was her ward when he was young and
she is devastated to hear that her good friend
Anne plans to wage war with him. She comes
with her entourage to meet Anne, hoping to give
good counsel to the younger woman and, if possible, to convince both Edmund and Anne to make
peace. Lady Margret knows that war devastates
the land and soul of the people. She is a strong,
experienced and wise woman, once avenging the
deaths of her husband and children in France before returning to England. She is no coward. And
hence, she must take action in this before it is too
late.
Lady Margret wears the very latest in continental fashion, square necked kirtle and velvet gown
trimmed with cloth of gold. On her head she
wears an early form of Gable Hood, her female
attendants wear clothes of a similar cut but more
mundane fabric, their headdresses are more simple forms of hood (the major reference for Lady
Margret and her female attendants would be The
Queen’s Servants).
10
We encourage players to be in-character as much
as possible. Please avoid damaging other people’s
immersion in the game.
This is easiest achieved by playing a character that
is comfortable for you to play, meaning that you
can relax in-game, having a drink, joke or gossip to
your heart’s content. Design your character as an
en re person with weaknesses and means to loosen up a li le.
However, if you need a break, or are unwell, you
can always go out of character. Being comfortable
in-game is important as it will allow you to fully immerse yourself, and this confidence ensures good
roleplay.
A male retainer, well-clothed in the latest
continental style.
Character names
In this age, many children were named using the
saint of the day they were born. In addi on, certain names were extremely popular, such as Elizabeth, Anne, Mary, Catherine, Margaret and Jane for
women and John, Thomas, William, Henry, Richard,
Robert and James for men. Also people would often be dis nguished by nick names, place of origin
or profession for example: “Big John”, “John Cooper” and “John Armistead” (from hermitage).
of established trading interests, went to him and
offered his services – he represented Mary as a
Duke Stephen loyalist and an active supporter of
Lady Anne’s insurrection. Edmund engaged Gerrard of Leigh to represent him and immediately
declared Mary of Portishead a traitor and her
properties forfeit – her warehouses and merchandise in Southampton were seized and transferred
to Gerrard of Leigh.
An example of what Lady Margret’s retainers, Linnet of West Hay or Mary of Portishead would wear - fashionable but practical.
The Merchant
Mary of Portishead is a wealthy merchant, from
an early age she demonstrated a rare aptitude for
business such that her father came to rely on her
more and more as she grew older. By the time
the old man was nearing the end of his life; she
was running the business in all but name. It was
little surprise then that she inherited the household upon her father’s death. She enjoys her independence and the respect she has gained from her
shrewd dealings, under her guidance the household has prospered and grown ever wealthier.
This in itself is the cause of her current difficulties: one of her business rivals, Gerrard of Leigh,
had become besotted with this redoubtable lady
and covetous of her wealth, but angered when
she spurned his advances: he became her bitterest enemy. He became obsessively competitive –
any contract she secured he would try to secure
a better one, he would race to beat her to any
prospective client or associate. Mary, apart from
being slightly exasperated by Gerrard’s undignified behaviour suffered little or no effect from
this carrying on, but when Edmund seized Winchester and proclaimed himself Duke; Gerrard of
Leigh, knowing that Edmund would have need
Effectively, Gerrard has forced Mary to become
what he has accused her of: a supporter of Lady
Anne’s rebellion. Based at Bristol she is still active and still in control of considerable resources,
which she has every intention of using to turn the
tables on Gerrard and come out in profit to boot.
If she needs must be a rebel; then she shall be the
verriest rebel that Gerrard has ever seen – and
may the saints help him!
Harbor towns like Bristol are home to all kind
of entertainers - for example, Moorish dancers.
11
Almayn Mercenaries
When Sir Simon Carew was ousted from his ancestral estates for refusing to knuckle under to the
Church of York, his rightful place was given to
the rival Coleville family. Exiled, he wandered
throughout Europe as a soldier of fortune and
discovered that he had a flair for the business of
war. He soon attracted a company of mercenary
soldiers and waged war according to the modern
methods.
Now he has heard Lady Anne is searching for
mercenaries so desparate she may not even refuse an exiled noble. Of course, Sir Simon does
not know that Coleville will be in Wessex, too...
Sir Simon is a captain of landsknechts and as such
affects their unusual fashion of extravagantly
slashed and decorated garments; dainty cow’s
mouth shoes, and hat with a forest of ostrich
feathers. When armed for war he eschews the full
harness usually worn by his class in favour of a
lighter half armour in the Almain rivet style. For
greater visibility he wears a simple steel skull under his landsknecht hat. He carries the distinctive
katzbalger sword at his hip and carries a poleaxe.
His followers are the scum of Europe and arguably the finest soldiers in the world. Dressed in the
landsknecht fashion these men and women are for
the most part armed with pikes, with a sprinkling
of crossbows, and some armed with two handed swords or halberds to protect the flanks. Most
of them sport katzbalgers. Those who occupy the
front rank have almain rivet armour, the rest for
the most part are relatively lightly equipped with
the occasional steel skull and bishops mantle. With
them come their families, including children, and
a victualler and an armourer.
Magic and belief in Cry Havoc
In this game, most people are pathologically supers ous: the Lords may have astrologers; physicians
use the principal of sympathies, and common folk
carry charms and use homespun rituals. Ironically,
the only thing that adults ac vely disbelieve in is
real magic. Only children can feel, see and touch
the supernatural, un l they lose their innocence.
They may have fairy friends invisible to adults or
find a hidden realm beneath a lake. Perhaps this
disbelieving is itself the last great enchantment of a
dying magical world, designed to keep the fair folk
from the prying eyes of those that could do them
harm.
This convenient setup allows us to cater for fairytale like plots for children, while keeping Fantasy-like magic out of the adults’ game.
Landsknechte wear slitted, colourful garments, showing of exotic trimmings like ostrich feathers.
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Arms and Armour
Historically inspired armour and weapons are the
most suitable for this game. Consider the means
and status of your character. Retainers’ equipment
will be dictated by the wealth of their employer.
While peasant volunteers might have only a stave
or a makeshi weapon, professional mercenaries
will have lightweight and specialised equipment, a
man at arms would be expected to be equipped
with a full harness of armour and a he y polearm
of some sort, whilst members of the Nobility would
try to have the most impressive and fashionable
equipment they can afford.
When choosing weapons for the ba lefield certain
factors need to be considered. In the late medieval
period tac cs o en involved the use of two handed polearms that were rela vely cheap to produce
and had the power to penetrate the plate armour
of the day, these weapons also conferred a reach
advantage – especially when used in forma on, although in a more open fight these long weapons
might be at a disadvantage against a skilled opponent with a shorter weapon. Most soldiers on
a medieval ba lefield would be equipped with a
main ba le weapon i.e. bill, bow, crossbow etc. as
well as some form of easily carried back up weapon
arrangement like the ubiquitous sword and buckler, or the Landsknecht katzbalger, for example.
Clearly, some considera on of your character’s
role on the ba lefield is required before choosing
your weapons.
A middle-class woman’s dress with purse.
German wood statue, Hans Thomann, 1515.
Saint George and Saint Margaret. Note the
armor, hats and neckline.
A patch or fool’s outifit with bells.
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Resources and Glossary
Literature for Kit
THE MEDIEVAL TAILOR’S ASSISTANT – Sarah
Thursfield. Definitive guide to making medieval
costume – early medieval to fifteenth century.
LANDSKNECHT SOLDIER 1486-1560 – Osprey
publishing. Good introduction to the history and
organisation of Landsknecht armies.
THE QUEEN’S SERVANTS: GENTLEWOMEN’S
DRESS AT THE ACCESSION OF HENRY VIII –
Caroline Johnson. English Ladies court dress at
around 1509. Includes patterns for scaling up and
instructions for making full outfits
THE KING’S SERVANTS: MEN’S DRESS AT
THE ACCESSION OF HENRY VIII – Caroline
Johnson. English men’s dress at around 1509. Includes patterns and instructions for making full
outfits
https://www.beloit.edu/nuremberg/inside/
about/tour.htm - short tour
de.wikisource.org/wiki/Schedel%E2%80%99sche_Weltchronik - scan of it all
Glossary
This is by no means an exhaustive list – but rather
some general terms that are likely to be bandied
about in relation to Cry Havoc.
AGLETS – Small sharply tapering metal cones for
fixing to the ends of laces (points). Used for decoration and for ease of threading the points through
eyelets in garments.
ALMAIN RIVET – A particular style of half armour produced in large numbers, commonly in
Germany or the Low Countries. It usually (but
not always) consists of a cuirass with faulds and
tassets, splints with distinctive sliding hand protectors and a simple steel skull helmet.
ARMOUR OF THE ENGLISH KNIGHT 14001450 - Tobias Capwell. For English “knightly”armour of the first half of the C15th this is what you
need for inspiration.
AVENTAIL – Mail neck and shoulder protection
that fastens to the bottom edges of a helmet.
1381: THE PEEL AFFINITY: AN ENGLISH
KNIGHT’S HOUSEHOLD IN THE FOURTEENTH CENTURY – La Belle Compagnie
BASCINET – A type of helmet that has close fitting sides and usually rises to a slightly backward
sloping point at the top, very often worn with an
aventail – and may have a hinged visor.
Selected Resources for
Character Development
BEVOR – Solid plate protection for the throat and
lower face – commonly worn with a sallet, but
also with a Kettle helm.
A BRIEF HISTORY OF THE TUDOR AGE - Jasper Ridley: Gives a good overview over late medieval England
BILL – General English term for a polearm, though
typically applies to English Bill, Italian Bill and
Halberd.
Name Resources can be found here:
www.infernaldreams.com/names/Europe/Medieval/England.htm
www.peiraeuspubliclibrary.com/names/renaissancenames/RenaissanceEnglishNames.html
BISHOPS MANTLE – Maille cape that sits over
the shoulders like a short poncho and protects the
neck, shoulders and the upper torso.
There are countless works of fiction to get inspired by, here are just a few:
- THE NAME OF THE ROSE (1980) Umberto Eco
- LUTHER (2003), movie
- WOLFHALL (2015) television series
- A KNIGHT’S TALE (2001), movie
And, of course, all of Shakespeare’s works.
The Nuremburg Chronicle came out in 1493. It
has terrific examples of saints and is richly illustrated:
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BRAIES – Linen underpants, earlier styles are like
knee length shorts and are worn with single leg
hose, whilst later styles are more like briefs and
are worn with joined hose.
BRIGANDINE – Torso protection in the form
of small overlapping metal (or sometimes horn)
plates riveted inside fabric. Only the fabric and
the rivet heads are visible when worn. The very
rich versions might be made of velvet with gilt
rivets and tinned metal plates to prevent rust,
whilst plainer cheaper versions might be made
from hemp canvas, wool or linen with bits of metal or horn were available to make the plates.
CUIRASS – A combination of breast and back
plate.
MAIL COIF – Mail protection for the head, neck
and shoulders that leaves the face open.
DOUBLET – Short jacket like garment can be
sleeved or without sleeves. Usually laced to hose
with points.
MAN AT ARMS – General term for any fully
harnessed combatant, not to be confused with an
ordinary soldier – a man at arms would typically
need to be wealthy enough to equip him/herself.
ENGLISH BILL – A variety of halberd with a distinctive hooked cutting blade, point and transverse spike. Typically used by the English.
FAULDS – Articulated lames attached to bottom
of breastplate to protect the lower abdomen.
GOWN – Top garment. In a female context it is
a heavier version of the kirtle which is worn as a
top layer. In a male context it is the equivalent of
an overcoat. Worn by all levels of society.
HALBERD – Common form of polearm with cutting blade, stabbing point and transverse spike.
HARNESS – Term for armour, usually applies to
a suit of plate armour.
SINGLE LEG HOSE – Close fitting woollen hose
that reach up to the thigh and usually are tied to
a waistband to hold them up. Can be worn rolled
down and tied off under the knee. Can include
feet or have simple stirrup straps. Worn with long
Braies.
ITALIAN BILL – Variety of polearm with long
curved cutting edge, very long spike point and
transverse spike.
JOINED HOSE – Close fitting woollen leggings
that meet at the top like trousers and are worn
with a codpiece. Can include feet or have simple
stirrup straps and are worn with points to lace
them into a doublet
KATZBALGER – A distinctive Landsknecht sidearm, generally a short stout double edged sword
with either a steep point or a blunt end which features a short grip that flares out at the end and a
figure of eight or or extreme ‘S’ shaped quillon.
KETTLE HELM - Helmet with a wide flaring brim
– a bit like an WW2 ARP helmet.
KIRTLE – Women’s intermediate full length garment worn throughout the medieval period by all
classes. Earlier styles are looser, while later styles
tend to be close fitting. Worn over a linen smock
and usually under a gown or over kirtle
LEINE - Voluminous shirt worn by Gallowglass
and Kern. Usually yellow with massively tapering ‘wizard’ sleeves, worn gathered up so the bottom hem is high up and belted at the waist.
POINTS – Woven laces with metal aglets for lacing garments together and also for fastening armour to garments.
POLEARM – Any weapon mounted on a long
stave; typically with a cutting edge as well as a
stabbing point, but can be either or.
POLLAXE – A knightly polearm, usually with an
axe blade; a spiked thrusting point and a transverse head often in the form of a hammer, spike
or claw. The butt end often has a spike and some
pollaxes also have a metal disc a third of the way
down from the head to protect the user’s hand.
More expensive to produce than a bill, typically
carried by a man at arms or officer.
RETAINER - One who is retained or part of a lord
or ladies’ retinue i.e. any servant or employee including soldiers etc.
SALLET – In modern terms an elegantly shaped
helmet often rounded on top with close fitting
sides which flare out slightly at the sides and usually sweeps out to a point at the back. Most commonly fitted with a ‘jawbone’ shaped visor and
often worn with a bevor, but may be without a visor i.e. open faced.
SKULL – Simple close fitting round helmet.
SPAR OR SPARTH AXE – A distinctive Gallowglass polearm.
SPLINTS – Metal plates to provide protection to
the outside of the arm. Sometimes with shaped
elbow and shoulder plates. Commonly referred
to by reenactors as ‘jack chains’. Also refers to the
slightly larger Almain Rivet arm defences which
have sliding hand armour included.
STANDARD – Maille collar to protect the neck –
often worn instead of a bevor.
TASSETS – Plate defences that hang from the
faulds to protect the upper thighs.
YEOMAN – Land owning class, generally holding not less than 100 acres. Socially one step below landed gentry, but typically aspiring to advancement. Can be quite wealthy.
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Image Libraries
ARMOURED UP – Customised mail
www.facebook.com/ArmouredUp
WEB GALLERY OF ART – Wonderful collection of art images from throughout history.
A.S.H. – Armour Services historical – very
Has a brilliant search facility that allows you
nice quality brigandine armour – be warned
to search by time period, medium, artist etc.
the prices are correspondingly high.
www.wga.hu
www.armour-services-historical.co.uk
GERMAN NATIONAL MUSEUM - Biggest
BAYLEY HERITAGE CASTINGS – Really
collection of medieval art in Germany
nice choice bronze and metal castings, belt
www.gnm.de
buckles, especially fancy purse frames
bayleyheritagecastings.co.uk
ROEL RENMANS’S ALBUMS - Useful set of
albums for amour, etc. inspiration
BERNIE THE BOLT – fabric supplier, good
www.flickr.com/photos/roelipilami/
ranges of wool fabric.
www.calltoarms.com/bolt/index.html
ANDREA CARLONI’S ALBUMS - more renaissance Italian inspiration than is healthy
CAP A PIE – Supplier of flat ring riveted
www.flickr.com/photos/andrea_carloni/
maille www.capapie.co.uk/index.html
PINTREST PAGE – For the terminal armour
CLOAKED AND DAGGERED – Good UK
addict with insomnia
supplier of costume for various periods
www.pinterest.com/tbiliter/photos-fromwww.cloakedanddaggered.com/
matthias-golls-phd-thesis/
CARL KOPPESHCHAAR’S ALBUMS
www.flickr.com/photos/98015679@N04/
Kit Suppliers
ALL BEST STUFF – Reasonably priced off
the peg mail. Kit is good, timescales reasonable as is shipping - they also sort out import
duty within their prices (but remember to
ask about it). Seem to give discounts on bulk
orders as well. allbeststuff.com/c-medieval-chainmail-armor
THE CLOTH HALL – Fabric supplier (Lindy
Pickard). Stocks a good range of woollen fabric – usually better to catch her at a market
Email: clothhall@talktalk.net
ELMSLIE – Very nice high quality cutlery
www.elmslie.co.uk
EYSENKLEIDER – German master smith
and armourer (and LARPer)
www.eysenkleider.com/
HERTS FABRICS – fabric supplier, stocks a
variety of fabrics – usually has a good stock
of linen.
ALISON AND HUGH’S HANDMAID www.hertsfabrics.co.uk/
THINGS – Arrow baskets, leather purses and
various nicely made oddments – make very HISTORIC ENTERPRISES – Hose - the best
commercially available, also a full range of
nice early Tudor hats (Henry Tudor style).
quality medieval costume
alisonandhughshandmadethings.co.uk
www.historicenterprises.com
ANNIE THE PEDLAR –Very good point
making service, hooks & eyes, wooden KARL ROBINSON – suitable for belts, archer’s bracers and purses – very nice well rebowls/plates and various oddments
searched, well made leatherwork.
www.anniethepedlar.com
www.karlrobinson.co.uk/
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thechatelaine@tesco.net
LE PREVO LEATHER – supplier of leather
and leather crafting tools/supplies.
RAYMONDS QUIET PRESS – American supwww.leprevo.co.uk/
plier of really nice metal castings.
raymonds-quiet-press.myshopify.com
LUCY THE TUDOR – does very good bulk
deals on aiglets, hooks & eyes etc.
RE-ENACTMENT SHOES – does what it
lucythetudor.co.uk/shop.htm
says on the tin. Shoes that look period correct
at a price that won’t break the bank. http://
MATULS – Polish re-enactment store, lots of www.re-enactment-shoes.co.uk
really good reasonably priced stuff, including lanterns, buckets, wheelbarrows, cutlery, RYALL ARMOURIES – Fred Ryall Armourer.
tents, wooden shovels, chairs, costume etc.
Very good for correct period armour shapes.
www.matuls.pl
http://www.ryallarmouries.co.uk/
https://www.facebook.com/fred.ryall
MEDIEVAL WOOL CRAFT - All things
made from wool, handmade and affordable
SANDER PROPWORX – High quality beh t t p s : / / w w w . f a c e b o o k . c o m / M e d i e - spoke LRP weapons and theatrical props.
val-Woolcraft-273692952815555/?fref=ts
www.sander-propworx.de
MIDGARD SEAMSTRESS – Nicely made SALLY POINTER – Really excellent very reacostume at a good price – Look for her on sonably priced knitted, felted tudor hats.
Facebook.
www.sallypointer.com/knittedhats.htm
www.midgardseamstress.co.uk
SPES – MEDIEVA LMARKET – Polish supNEHELENIA PATTERNS – Good selection plier of costume, accessories and tents
of patterns for costume making – medieval http://www.medieval-market.com/
section is most appropriate for Cry Havoc –
the other sections are generally too late
SAXON VIOLENCE – LRP weapon maker,
www.neheleniapatterns.com
highly recommended for pole arms and stab
safe weapons, especially historically accuNP – HISTORICAL SHOES – Katerina and rate.
Juraj, lovely people, gorgeous shoes. Very www.saxonviolence.com
high quality period shoes.
www.np-historicalshoes.com
TENTORIUM – Heavy duty period tents
www.tentorium.pl
PAST TENTS – English period tent maker.
www.past-tents.demon.co.uk
TODS STUFF – knives, woodwork, leatherwork all made to the very best historic standPILGRIM SHOES – excellent value shoes
ards – prices are correspondingly high.
www.tudormarket.com - (go to the little tent www.todsstuff.co.uk
marked pilgrim shoes)
TRINITY COURT POTTERIES – Excellent
PHIL FRASER – suitable for belts, purses, period ceramics – very nice, fairly robust,
scrip bags, eating knives, archer’s bracers.
cups, jugs and very good costrels. He is also
www.philfraser.com
very knowledgeable about his subject.
www.trinitycourtpotteries.co.uk
THE QUARTERMASTERIE – A good selection of ceramics including salt-glaze stone- TWO J’s – Eating knife sets, horn beakers,
ware, they also provide all sorts of other bits budget sallets and arming caps etc.
& bobs – best to catch at one of the markets.
twojs.me.uk/Armour.htm
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