The Weapons Behind the Magic
by Ronin of Dreams
A humble greeting to you all, honored friends. I, Arcadius Corosco, feel honored at your presence here as I seek to impart to you the knowledge of the Forge Arts this day. It is, I believe, important to know just how the various swords and other armaments that are provided by great smiths such as Yulgar and Adder have come to be formed by the sweat of honest labor and the oppressive heat of the forge. Those weapons which you use, enchanted as far as they have been or made from materials not available to more common Blacksmiths and Artisans such as myself, have long tradition behind how they are formed. A tradition that is often overshadowed by the end product which you purchase and wield. To this end, supplemented with knowledge from the expansive library at the Isle d'Oriens, I shall attempt to present the Art of the Forge clearly.
This first lesson that I seek to bring to you is the Art behind the forging of one of the more iconic and easily recognizable swords which Yulgar provides. The katana, basis for the useful Ice Katana and Spirit Katana lines of weapons. Not to mention the weapon of choice for samurai, both in Lore and elsewhere, according to certain tomes. It also happens to be one of the more work intensive weapons to craft, partly due to the elegance of the weapon. Steel is typically the material of choice. I for one have no knowledge as to how Yulgar crafted from ice so perfectly, and is actually used in three different grades of material, one for each section of the actual blade. A softer, and I use this term loosely, grade of steel is folded by heat and hammer to create the core of the blade. The edge of the blade is formed from a stronger, hardened steel that is folded the most of any of the three portions.
The backing of the blade, formed from a middle-ground quality steel compared to the other two, holds the actual secret to the characteristic curve of the katana, and any blade directly related to it. It takes a steady hand and keen eye to mold the heated metal of the blade opposite to its natural inclination. Since the back is the last component melded with the others, it tends to curve inwards toward the thinner striking edge. The job of the smith or artisan in charge of this portion of the forging process must strike carefully and precisely, and his skill directly influences how far the katana curves backwards into its final shape.
Unlike other swords, however, the katana is not finished and ready to be ground after the hammering is finished. Instead, it is subjected to a special hardening process utilizing a mud-based mixture applied in various thicknesses across the blade (typically varying as a secret between smiths) which dries the blade out prior to one final heating. This final heating, which the Japanese of Terra call yaki-ire, takes place within a smithy darkened either by nightfall or artificial means. The blade is heated and judged by the eye of the head
smith in charge of the project until at the 'perfect' temperature represented by the heated blade's color. It is then plunged into water to form a high-hardness variant of steel known in the Art as martensite. Martensite is well capable of being ground and reground to a razor keen cutting edge, and is easily maintained by warrior or smith alike.
The blade, no matter how magnificent or keen, is useless without the means to wield it. Katanas are, typically, a full tang blade with several notches along an unedged extension made for the sole purpose of providing the base for the hilt. This unedged portion of steel is wrapped with wire, and depending on the smith, strips of treated leather before being
bound with a grip covering of finely wrapped cloth. Typically the cloth used will be fine silk cording, and wrapped by the smith to provide for a grip suitable for use in the Arts of War, but it can be adjusted by the owner with minimal training. Finer warriors find this a useful trick to learn, in order to adapt their fighting style when they are able to prepare for a battle in advance. This wrapping is then secured from above by the crossguard specifically made for the sword, and then the pommel which will keep the wrappings from becoming undone under all but the most extreme conditions.
Final touches vary from smith to smith, artisan to artisan, and commission to commission. However, it is not uncommon for engraving work to be done on the side of a katana's blade, either a small symbol or a phrase in the smith's native language. Further, the sheath itself is often decorated to match the nature of the blade, including further reflections on any name the blade has been given. The saya, the traditional sheathe of Japanese tradition, is made of lacquered wood for this purpose, but leather sheaths are not an uncommon sight among the warriors and smiths of Lore. The katana, unlike other swords, is not typically carried without being within a sheath. It is also traditional not to draw a katana without good reason, drawing the blood of a foe being the most common such reason.
Friends and companions, I hope that the time spent with myself has been as productive to you as it was enjoyable to me to give you such instruction. If there is any subject, whether among the Forge Arts or those among the Magical relating to Creation of the many weapons, armors, and items at your disposal, feel free to simply ask and I shall do my best to accommodate your wishes.
Feel free to leave a message for me with Yulgar at his Inn or, if Falerin is feeling generous, perhaps he will direct you to a device allowing you to email me at talonmk5@yahoo.com with such questions or requests.
