Thanks to the death-defying efforts of Team Half-Elf, Grog got his hands on a shiny, new, ancient, sentient longsword last week. Unlike the previous sentient weapon, the Sword of Kas (or just Kas, as it has elected to be called) has quite a bit of D&D lore associated with it, not to mention significantly more power (and potential risk).

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Below, we run though a very basic summary of what we know about the sword from the DMG, Critical Role, and Talks Machina so far. While we always encourage critters to do their own homework and take a look in the DMG yourself for more details, keep in mind the DM privilege of self-customization. (As usual, we will attempt to refrain from speculating beyond what has been demonstrated.)

Looking for information about the big bads waiting for Vox Machina in Thar Amphala? Check out our Vecna or Briarwood compendiums! Warning, Spoilers abound! Proceed with caution below and in the compendiums if you haven’t watched through episode 112, or if you just want to be completely surprised when more details are revealed.

Who in the Hells is Kas?

The DMG tells us that during Vecna’s initial rise to power as a lich, Kas served the Whispered One as a faithful and highly effective lieutenant (DMG p226). Kas’s ruthlessness as assassin, warlord, and advisor eventually earned him the name Kas the Bloody-Handed. As a reward for his excellent service, Vecna gifted him a sentient longsword. However, at the sword’s urging, Kas attempted to usurp Vecna’s power. In the ensuing struggle, both Kas and Vecna were killed, leaving behind three powerful artifacts: the sword, Vecna’s left eye, and Vecna’s left hand.

In the world of Exandria, Ioun tells a more detailed story. Kas was one of many rivals that challenged Vecna during his initial rise to power before the Calamity. Upon Kas’s defeat, Vecna offered Kas eternal life as a vampire in exchange for swearing loyalty as his chief lieutenant. Kas accepted, becoming Kas the Bloody-Handed and receiving a relic blade Vecna forged with his own consciousness. With Kas at his side, Vecna was now unstoppable, and struck down many of his enemies in the months that followed.

On the Solstice, the Beacon of Arms, led by Yos Varder, invaded the Shadowfell and marched on Thar Amphala under the banner of the Dawnfather. Vecna struck down Yos Varder, but Kas, seeing opportunity, turned on his weakened master with the same sword that Vecna had gifted to him. In the ensuing struggle, Kas was reduced to ash, and Vecna was destroyed save for his left hand and eye. According to Ioun, the hand, eye, and sword were never recovered.

What’s the Deal with the Sword?

Like all sentient weapons, The Sword of Kas has its own personality, desires, and goals, and has the ability to exert its own will on an unwary wielder. According to both the DMG and Ioun, it is bent on the destruction of Vecna and his followers. Ioun specifically stated that a “powerful evil drives the sword, but to a just end.”

The DMG standard Sword of Kas is a +3 longsword that deals extra damage to undead creatures, crits on a natural 19 or 20, and grants a bonus to the wielder’s combat initiative. The Spirit of Kas allows the user to sacrifice some or all of the sword’s attack bonus to transfer to the user’s armor class for the round. The sword also allows the wielder to cast three powerful, pre-determined spells, each once per day until the following dawn. On the more sinister side, however, the Sword of Kas can be fairly impatient. As Grog demonstrated upon unsheathing it, the sword forces its user into a contest of charismatic wills if it's not immediately satisfied (within one minute). Upon failure (DC 15), the sword forces its wielder to bathe the sword in blood, ANYONE’S blood. This domination ends once blood has been drawn.

As an artifact, in addition to the base attributes discussed above, the Sword of Kas comes with both beneficial and detrimental side effects of both major and minor varieties. The DMG has a series of tables with suggested properties (p219-221), but DMs are encouraged to use them as inspiration for their own ideas, should they wish. As such, the Exandrian Sword of Kas might not only have attributes unique to the DMG, but might also carry more than the suggested number of four properties…

On the beneficial side, Travis hinted on Talks Machina that Grog has received a boost to his Constitution modifier and hit points. Assuming adherence to the DMG, this appears to take the place of the weapon’s major benefit. While we have theories about minor benefits, these remain unconfirmed at this time.

On the detrimental side, we have already seen the sword affect the physical appearance of Grog, who is now more pale and gaunt, and whose eyes now glow with a disturbing red glow. This matches a potential minor detriment. The psychic damage Grog took upon attuning to the sword also speaks to the device's major detriment, which was significantly more than the suggested 3d6 psychic damage Grog would have taken had he resisted Kas's Domination (which, he did not).

Can the Sword be Destroyed?

According to the DMG (p226), the sword can only be destroyed under very specific circumstances:

• A mage must be attuned to both the Hand and Eye of Vecna;
• This mage must cast the Wish spell to unmake the sword;
• The spell must be cast within 30 ft of the sword;
• The caster must succeed in a contested Charisma Check against the sword.

In episode 104, Pelor appeared to destroy the Eye of Vecna, so at a first glance, it seems the sword is currently invincible. However, the DMG (p224) also says that the Eye and Hand of Vecna can only be destroyed if:

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• Both the Hand and Eye of Vecna are attuned to the same creature, and;
• Said creature is slain by the Sword of Kas, resulting in both burning into ash.

The DMG goes on to say that other attempts to destroy either the Hand or the Eye appear to succeed, only for the item to reappear in one of Vecna’s hidden vaults to be put to use once more. Under these circumstances, both Hand and Eye could be back in Vecna’s hands… er, hand.

by Michael Caruso

Adam Pearl, harpsichordist with Tempesta di Mare and amember of the faculty at the Peabody Conservatory of Music of Johns HopkinsUniversity, will present a recital of music from the High French BaroqueSaturday, March 14, 5 p.m. in the Woodmere Art Museum. The program will berepeated Sunday, March 15, 3 p.m. in the Museum of the American Revolution, 3rdand Chestnut Sts. in Old City.

His program will consist of music composed by Claude-BenigneBalbastre, Jacques Duphly and Joseph-Nicholas Royer. More details: 215-755-8776or tempestadimare.org.

VIVA BEETHOVEN!

Mendelssohn Club of Philadelphia performed Beethoven’s “Massin C major,” Opus 86, and “Fantasia for Piano, Chorus & Orchestra,” Opus80, Saturday, March 7. The 120-strong chorus, which brings its “Festival ofCarols” to St. Paul’s Episcopal Church, Chestnut Hill, every Christmas seasonand includes numerous local members, was joined by the Camden-based Symphony inC and a bevy of vocal soloists for a splendidly successful concert.

Both the “Mass in C major” and the “Choral Fantasy” werecomposed toward the end of Beethoven’s “middle period.” It’s the time in hislife when he eventually (and not without great struggle) came to terms with hisdeafness. It leads into his “late period,” at which time he seems to haverealized that despite his loss of hearing, he could still compose. In fact,it’s during his final years of composition prior to his death in 1827 that hewrote most of his greatest scores.

Both the “Mass in C” and the “Choral Fantasy” are majorworks that have been unfairly overlooked by performers and audiences. No developmentcould be more undeserved, for both are excellent works that surpass the finestefforts of all classical composers with the exceptions of Bach, Handel andMozart.

Unlike the gargantuan “Missa Solemnis,” the “Mass in C” isso compactly conceived and intensely delineated that its setting of the LatinOrdinary of the Roman Catholic Church’s Mass could almost functionliturgically. Its structure is so classically concise that the circular form ofthe Mass is impeccably projected.

The two outer movements – “Kyrie” and “Agnus Dei” – are inthree parts and are the shortest. The middle movement – “Credo” – is thelongest while the second and fourth movements – “Gloria” and“Sanctus/Benedictus” – are also balanced in size. When handled correctly, there’sa marvelous feeling of presentation, development and resolution about musicalsettings of the Mass, none more so than in Beethoven’s peerless hands.

Although the “Choral Fantasy” is often derided as merely apreliminary workout for the “Choral Symphony No. 9,” it’s a masterpiece in itsown right. The piano writing is superb, the orchestral writing is superb, andthe choral writing at its finale is, in a word, superb.

Saturday evening’s performances of both scores were alsosuperb. Acting artistic director John Leonard and piano soloist Tomoko Kanamarucaught the tightly formed improvisatory quality of the opening portion of the“Fantasy” and then joined with Mendelssohn Club for the grand finale.

Leonard’s interpretation of the “Mass in C” was no less efficacious.The choir sang with unforced power, seamless balance between the vocal ranges,flawless tonal blend, unquestioned tuning and exemplary diction.

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Symphony in C, Stilian Kirov music director, was arevelation. All sections played beautifully in both scores. The playing of thewoodwind choir in the “Choral Fantasy” was especially lyrical.

No less noteworthy was the concert’s venue, the EpiscopalChurch of the Holy Trinity, Rittenhouse Square. Its medium size – seatingapproximately 900 – and warm, enveloping acoustics provided the perfect settingfor a concert of classical music. Would that Symphony in C had a regularPhiladelphia season – at Holy Trinity Church.

‘LA BAYADERE’

Pennsylvania Ballet premiered artistic director AngelCorella’s choreography (after Petipa) of “La Bayadere” in the Academy of Musicthis past weekend. The production continues through March 15 and, while not a“must-see” even for ballet lovers, it’s worth a gander. I caught the Sundayafternoon performance, and the audience that packed the Academy of Music seemedto love it.

The principal drawback with “Bayadere” isn’t its culturalinsensitivity – it’s set in a faux-India that even Hollywood would eschew – asmuch as its lack of narrative conviction. There’s not a character onstage thatgenerates any real interest because there’s not a real character anywhereonstage.

Visually, however, it’s beautiful to behold. Corella’schoreography is riveting, and the physical production is sumptuous.

So Jung Shin was a delicate Nikiya. Jack Thomas was anelegant Solor, who betrays her for the daughter of the Rajah. Alexandra Heierwas imperious as that daughter. Sterling Baca was inadvertently too charismaticas Brahmin, the rejected suitor of Nikiya.

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Visit paballet.org for ticket information.

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You can contact NOTEWORTHY at Michael-caruso@comcast.net. To read more of NOTEWORTHY visit chestnuthilllocal.com/Arts/Noteworthy.