So we stopped talking about it altogether and got on with what Windlow called our schooling. We reviewed the different sorts of games; games of two, that is, “dueling,” and games of intrigue such as that one Mandor had played during Festival, and Battle Games of all sizes from little to great, and hidden games played by Gamesmen for their own purposes with no others knowing of it, and games of amusement, and art games, and the game of desperation. And we reviewed the language of True Game, the labels of risk, King’s Blood, Dragon’s Fire, Armiger’s Flight, Sorcerer’s Power, Healer’s Hand¾all of them. One says “King’s Blood” to mean that the King is at risk in the play. If the risk is small, one says, “King’s Blood One.” If the risk is great, if the King will be killed or taken, one says, “King’s Blood Ten.” I asked Windlow why we did not simply say, “King’s Risk” or “Dragon’s Risk,” the same for all of them. It would be much simpler.
“The nature of the artificer is to make things complex, not simple,” he said, his mouth frowning at me while his eyes smiled. “We invent different labels for things which are not different and so we distinguish among them. I have read that in the utter past people did this with groups of animals. One would use a different name for each type of animal. It persists still today. We say, ‘a coven of crows’ or ‘a follow of fustigars.’ It makes us sound learned. We who are Gamesmen wish to seem learned in all aspects of the Game. So, we use the proper titles for the risks we run. It is more dramatic and satisfying to say, ‘Sorcerer’s Power Nine’ than it would be to say, ‘I’m about to smash your Sorcerer…’” We laughed. He asked if we understood. I told him solemnly that I understood well enough. King’s Blood Four meant that the King was not seriously threatened, but that some other Gamespiece might be.
“Oh, yes,” he shrugged. “There are always throwaway pieces. Talismen. Totems. Fetish pieces of one kind or another. Pawns or minor pieces used as sacrifices because the Game requires a play and the Player is unready or unwilling to play a major piece. And then there are Ghost pieces…”
“I thought they were only stories,” said Yarrel. “To scare children…”
“Oh, no. They are real enough.” The old man rearranged the blanket around his shoulders, shifted to a more comfortable slouch in the woven basket hair.”After all, when Necromancers raise up the dead, the dead were once Gamesmen. They would be Ghost Gamesmen, with Ghost talents.” At which point, just as we wanted to ask a hundred questions, he fell asleep. Before he woke to continue our lessons, the tower Sentinel cried warning to the House, and we looked up to see a cloud of dust on the long road down from the forest edge through the valley. I was standing beside Windlow when the cry came, and he woke suddenly, his eyes full of pain and deep awareness.
“The High King, Prionde, has sent these men,” he said. “He has been made deeply suspicious of us. Someone has come to him bearing tales of guilt and treachery. Guardsmen come to take us all prisoner.” I saw tears in his eyes. “Poor Prionde. Oh, pitiful, that my old student should come to this.”
Silkhands, who had been sitting beside him, holding his hand as she did for hours each day said, “Dazzle. Dazzle and Borold. They are the ones.” She said it with enormous conviction. It was not Seeing, of course. She had no Talent of that kind, but she knew, nonetheless. We all heard her and believed her, and we were not totally unprepared when the dusty guardsmen rode in to gather us up as though we had been livestock, handling the old man with no more courtesy than a sheep, and shut us within the Tower to await some further happening. Silkhands spoke softly to one of them, asking if a Priestess had come to the High Demesne. Yes, one said. A very beautiful Priestess with her brother, a Herald and a group of pawners had come to the Demesne the day before. This was enough for Silkhands. She sat in a corner and wept away the morning.