Gou is a dark elf in Warhammer

To master everything, one must first forget all old skills, transforming them into nothingness, flowing like water between different schools, and ultimately forging one's own path. — The philosophy of the Hoth Sword Saints.

"Good guy."

When Dakotas stepped into the side hall and his gaze fell upon the exhibits, he couldn't help but murmur a sigh of amazement, his tone filled with surprise and admiration, like a tomb raider seeing a room full of rare treasures, or discovering that the mark on a treasure map was right under his feet.

According to the tabletop role-playing community, the price of a Hoth Greatsword is as high as 2000 GC, which is equivalent to 2000 gold coins, 2000 Sovereigns, and gold dragons.

But he knew very well that the so-called 2000GC was just a theoretical price, a beautiful number existing in the ledger, with almost no possibility of trading in reality. The phrase "price but no market" perfectly described it.

The Hoth Greatsword appearing on the Ulthuan Market, also known as the black market, is either a fake or a black market item with a sordid backstory.

It may have been taken from the dead, secretly hidden by scavengers on the battlefield, or pawned and sold by the original owner when they were desperate after being betrayed.

The odds are no less than winning the lottery, or like finding a genuine antique in a market full of handicrafts in Panjiayuan. It exists only in fantasy and will almost never actually appear in front of you, unless you have the Golden Eyes.

Moreover, even if you own it, it's too hot to handle.

There may be mistakes in the given name, but there are no mistakes in the nickname.

The title of "Secret Policeman" was not given out of thin air; it was earned through genuine achievements.

However, on another note, this is for Duluqi...

Of course, such a thing might happen in Elsin Alvin? After the Fenubal era arrives, and after Asur begins its open policy, the Sword Saint of Hos will be sent to the land inhabited by humans to check on the status of the Guidestone.

In this situation, it's not impossible that the greatsword could die at the hands of either Chaos servants or humans, and then appear on the black market.

But none of this mattered to him; the side hall where Dakota was located was completely different from the main hall.

There are no staffs, no scepters, no ornate ornaments or cloaks, no robes or sacred objects symbolizing status.

There is only one thing: a sword.

All kinds of swords.

They were all swords.

Although there are some one-handed swords and half-handed swords, they are merely embellishments and accents. The true protagonist is the Hoth Greatsword, which is elegant in shape and nearly perfectly proportioned—a greatsword that can be wielded with both hands. Its craftsmanship is exquisite, its lines are smooth, and its blade is as elegant as calligraphy. Yet, each one contains deadly sharpness and destructive power.

Despite its name, "great sword" is not the kind of exaggerated heavy, exotic weapon that needs to be carried on the shoulder or carried by a strap. Instead, it is the ultimate two-handed sword for actual combat.

The blade is typically between 160 and 190 centimeters long, with symmetrical double edges, a slightly forward-shifted center of gravity, and a sharpness that can cut through the wind. Its concentrated power is enough to shatter armor, a perfect combination of ultimate balance and killing intent.

Dakos walked toward the nearest sword on display and stood there for a while.

Unlike the main hall, each sword here has three display panels underneath it, all with a unified style and clear information.

The first piece reads:

"Heratri - VII, 1188, 3, 99"

The second one is:
"Sword Master - Krasus"

The third section is labeled:

“VIII, 215, 1, 25”

After glancing at it, he turned to another greatsword and continued to examine it.

He didn't rush to read the words on the board, but looked at the sword with the same gaze one would give a comrade-in-arms.

In his view, every Hoth greatsword has a soul—it has accompanied its wielder across battlefields, slaying enemies and breaking through formations, training against foes. Each one is not just a cold, lifeless weapon, but a runic artifact that witnesses history and inscribes glory.

The way the swords are displayed is peculiar, quite unlike most people's conventional impression of exhibited weapons. They are not placed horizontally, nor are they angled, nor are they stuck in stones or leaning against supports; instead, they are fixed vertically, blades pointing upwards and hilts downwards. They look like a row of solemn metal pillars pointing straight to the dome, as if silently proclaiming some kind of unspoken order and heritage.

But for those who truly understand the intricacies of the matter, this arrangement is not surprising at all. On the contrary, in their view, this is the most normal way, a display that conforms to rules, meaning, and ritual; it should be arranged this way, and can only be arranged this way.

In the context of role-playing games, after becoming a swordsman and undergoing a ceremonial promotion, Asul will gain a new talent. This talent is not some flashy magic, but a tradition that has been precipitated deep in time—martial arts.

As we all know, martial arts is an extremely broad concept. It is not just about throwing punches and kicks, but also encompasses skill, technique, body movement, weaponry, rhythm, awareness, and momentum—a complete system in which energy and movement are highly integrated. All kinds of fighting styles can be categorized under the umbrella of martial arts.

The Loyke school has two fairly mature schools. One advocates foot combat with a spear, using elegant and agile footwork and movement to fight with a spear. They do not form an immovable defensive line; that is the school of eternal guards. The other is foot combat with two wields, emphasizing the balance between the rhythm of offense and the melody of defense.

The Kane Cult also has its own schools of thought, and there are three of them. One of them is the foot-based, blade-wielding school, the most typical example of which are the executioners, those who can "slide their blades and heads off."

Otherwise, why would they always carry out executions so cleanly and efficiently?

Those who frequently perform beheadings or have been beheaded know that beheading is a technical skill that requires precise angles, force, and muscle memory; otherwise, the embarrassing situation of failing to cut the head off on the first strike can occur.

In ancient times, the executioners who carried out beheadings at noon were a profession with a lineage; not just anyone could become an executioner.

Why did Louis XVI, the "locksmith," improve the guillotine? Wasn't it because the old version was ineffective, and the guillotine also had a fixed groove?

One is dual-wielding while on foot, and the representative figure is naturally Herribun. Although the witches and death witches she leads are all incredibly crazy and terrifyingly mad, their fighting movements are not about randomly swinging their swords. This way, they can't kill a proper enemy or hit the enemy's weaknesses. Instead, they are more like abstract performers.

That kind of deadly move, which is both crazy and accurate, fast and steady, is the essence of the Kane Cult.

Another type is Kane's assassins, who are skilled in both long-range and short-range combat, and can hide in the shadows as well as take lives silently in close combat.

In elven society, ancient skills have never been lost, and behind each school of thought is often a prominent family as its pillar. Many of their skills have been passed down from the time of Aenarion to the present day, honed and perfected generation after generation, and some even require the use of a family sword or a special magical sword to unleash their full power.

Some people are not content with sticking to one school of thought and choose to combine the strengths of many schools of thought and integrate them.

For example, Aris's street dance and his shadow warriors, or Raine and his Radiant Shadow Hunters.

As sword saints, once they acquire the talent of "martial arts", they are qualified to unlock new combat characteristics - these are not spells, but practical combat skills obtained through repeated training and honing.

These moves and characteristics include: dealing damage, defense, distraction, speed, penetration, precision, and heavy blows. Each one is not just for show; they are core skills that can decide life or death in a single strike and determine victory or defeat in a single move.

So, how do we acquire these moves and traits?
It's very simple. After becoming a swordsman, one receives training in an ancient art called "sword dance," a combat art that can only be performed with a pure heart and will. Every day at sunrise or sunset, the swordsman must perform a purification ritual and practice thirty basic sword techniques with fluid movements.

But in reality, this is not simple; in fact, it is extremely difficult. To master these thirty techniques and make them one's own is the ultimate goal pursued by all sword saints throughout their lives.

The first move of this sword technique, which is also the starting point of every practice and every battle, is that seemingly simple but crucial move—holding the sword with both hands, with the blade pointing towards the sky!

It is precisely for this reason that all the swords in the exhibition hall are displayed in this special way.

It wasn't just randomly placed, nor was it for aesthetic purposes; rather, it was to commemorate the spirit of the starting stance and to remind viewers that all power and glory begin from this point.

This is not only a formal tribute, but also a transmission of faith and skill.

The display panel below the giant sword next to it contained almost the same information as what Darkus had seen before: three neatly arranged information panels with an old and solemn sheen.

"All that's missing is a candle," he murmured, a hint of teasing in his voice, yet also a critical eye on the importance of ritual.

When he compared the two and combined them with what he knew, he naturally understood the somewhat obscure but highly informative content on the display board.

The White Tower—the White Tower of Hoth—was commissioned by the seventh Phoenix King, Bel-Khaddis. According to the Imperial calendar, his reign lasted from -690 to 498, a total of 1188 years, or 1190 years.

In the eleventh year of his reign, Imperial Year 679, the White Tower of Hos officially broke ground, becoming the most magnificent construction project in Ausuan at that time, without exception.

This moment marks a watershed moment in Asur's history—it is not only the beginning of its architecture but also a symbol of an era, signifying that Asur has entered its longest, most tranquil, and most focused period of peace in history after the Great Division.

In his fourth hundredth year, which was Imperial Year 650, the first group of archmages gathered at the still-under-construction White Tower, beginning a symphony of scholarship and magic for Ulthuan's next millennium. Afterwards, more mages came from all directions, and the White Tower gradually became a sacred place of knowledge in Asul.

The entire construction process lasted a full thousand years, embodying the exquisite skills of Ulthuan's most outstanding mages and craftsmen, and spanning almost the entire reign of the Phoenix King.

The final capstone of the White Tower was placed in 1187, the year of his reign, and in 1188, the Sword Saint Order was founded.

He seemed to have come and gone solely to build the tower. The year after the White Tower of Hoz was completed, Bel-Khadis quietly passed away. Without war or internal strife, his name became a pillar of the era.

The information about Heratriel—VII, 1188, 3, 99—had become, in Darkus's eyes, an unfolding historical scroll.

Heratir is the name of this greatsword.

VII represents the seventh Phoenix King, namely Bel-Khaddis.

1188 was the year he reigned.

3.99 represents the 99th day of the storm season, which is the last day of this season.

In the Elven calendar, a year is precisely divided into four seasons: torrential rain, sunshine, storms, and frost, each lasting exactly one hundred days. Together, these form a solar cycle of exactly four hundred days.

In other words, the moment this greatsword was completed was at the end of the stormy season, a time when wind and rain converged and magical winds intertwined and flowed—a moment perfect for the creation of a battle blade.

The second set of information, "Sword Master - Krasus," indicates the owner of this greatsword and his Sword Saint rank.

Clearly, this Krasus was a renowned martial arts master in Ulthuan at the time. He was invited after the White Tower was officially established, where he proved his skills with the sword and eventually forged his own signature weapon, Herathir.

The last inscription reads: VIII, 215, 1, 25
This is more like a timeline of his final days.

VIII was the eighth Phoenix King, also known as Edith, the "Singer." 215 was the 215th year of his reign.

January 25th is the 25th day of the rainy season, just as spring begins.

This means that Krasus died in the 215th year of Idis's reign.

As far as Darkus knew, starting in the 182nd year of Edith's reign, various murders and kidnappings had quietly erupted in the major cities of Ulthuan; by the 203rd year, cults had resurfaced, and various clandestine beliefs were flourishing underground. Thus, the Order of the Sword Saints quietly transformed themselves into a secret police force combating these dark beliefs, navigating between light and darkness, carrying out the dirtiest yet most necessary tasks.

In other words, Krasus's death could have been due to old age, but it's more likely he died in a battle against the cultists. For a swordsman, dying in battle is both the most glorious and the most tragic farewell.

As for dying in a conflict with the Duruci army, Dakous thought it was unlikely, because at that time the Duruci had already retreated across the board, hiding in the cities of Nagalos and licking their old wounds in the snow. How could they have spared the strength to launch a large-scale invasion of Ulthuan across the sea?

Moreover... dying in a battle with Duruci usually only results in two scenarios.

The first scenario involves the Asur army defeating Duruci in battle and subsequently recovering the belongings of the fallen, including their swords. This is the highest respect for the dead and a continuation of tradition. Each sword is a part of a sword saint's life, an extension of their will and skill; recovering it is not merely about acquiring spoils of war, but also about upholding tradition.

The second scenario is the complete opposite: the Asur army was defeated by Duruchi, and the belongings of the fallen were seized by the enemy and became spoils of war for the fear lords to flaunt their victories. They were placed on the stone platform behind the throne or locked in the black cabinets deep in the tower for them to point out and amuse themselves during their banquets.

Darkus was very familiar with this; when he went to Elsin Alvin, the Asur equipment he wore had been obtained in this way.

Of course, there are also more complex derivative scenarios, such as the Duruci army initially winning but then losing, and the spoils of war being reclaimed by Asur in subsequent battles.

As for why these swords were placed here...

Because this place is completely different from the main hall.

The magical artifacts enshrined in the main hall—whether staffs, scepters, ornaments, or cloaks—are not there for show, nor to elicit exclamations of "Wow, so many magical items, such a powerful heritage, what an amazing white tower!" This logic of display might make sense in other civilizations, but it doesn't apply to the White Tower of Hoss.

Because the White Pagoda itself is an almost closed, conservative, and highly self-sufficient academic fortress. Outsiders rarely have access to it, and to do so for these few would be tantamount to wearing fine clothes in the dark.

The main purpose of placing it there is actually for teaching and research.

To those without a second vision, those staves and amulets are simply magical creations. But to spellcasters with a second vision, these items are like open textbooks—their structure, materials, veins, and textures are all exemplary models worthy of study.

Just as Darkus observed the Crown of Conquest as a magical helmet designed to enhance second vision—a finely crafted magical artifact—the sorceresses who accompanied him saw the principles, structure, and logic of enhancing senses and energy perception; a tangible model of magical theory.

When there is a need for battle, these magical artifacts can be temporarily distributed to spellcasters, just as Tigris received the Crown of Conquest from Morian before going to war.

But these giant swords are different.

In elven society, especially in elven social structures other than those of Duruci, schools of thought are an extremely central concept.

It's not just martial arts that have different styles; even lifestyles, religious beliefs, architectural styles, and clothing patterns can have styles passed down through generations.

Take craftsmen for example. The most famous are undoubtedly the Val craftsmen, that's for sure. But "craftsman" is a general term that includes various specialties such as shipbuilding, tower construction, sword forging, and carving.

In shipbuilding, the Vale school cannot compete with specialized shipbuilding schools.

The same goes for bows.

The Kingdom of Elion, its vast grasslands are not endless; they also contain forests and magical groves. The most representative of these is the Night Elm Grove. Before the Great Invasion, Night Elms grew extensively throughout Elion, until they were destroyed in the early stages of the Great Severance. However, unlike the grove where the dragon ships were built, it was not completely wiped out, and a small portion of it remained.

This is a sacred wood that can resist attacks, especially against demons, undead creatures, necromancy, dark magic, and chaos magic, as its natural resistance will automatically protect the holder.

Night elm is typically used to make staves, bows, and the shafts of long-handled weapons, forming a natural magical barrier.

Elion's carpentry skills were exceptional, given the extreme rarity of night elm wood. Mastering the craft of using such materials was naturally part of a craftsman's skill, passed down and evolved through generations.

However... nowadays, Lapu-Lapu-Lapu is filled with night elm trees in Ashriel.

Further south, at the border of Itaien and Southern Iris, lies a cluster of islands known as the "Wildwood Islands." They may appear insignificant on a map of Ulthuan, but their importance cannot be ignored.

Because the most magnificent Lilith and Loik Temples of Ulthuan are located on these islands, they are the core of faith, the projection of the will of the gods, and the pillars of the spiritual world of elven society.

In addition, there is an even more mysterious place in this area—the Eternal Forest.

The name "Eternal Forest" is no exaggeration. It truly exists at the confluence of the most intense magical winds, constantly bathed in the flow of energy. The trees grow exceptionally slowly, but their material is extremely hard, almost comparable to metal.

In tabletop RPG terms, the wood of the Eternal Forest has a built-in durability bonus, making it an excellent raw material for weapons. However, precisely because of its combination of hardness and magical activity, carpenters must expend tremendous effort and skill to successfully shape it.

And when talking about the Magic Forest, one cannot ignore the Kingdom of Avalon.

This kingdom is arguably one of the areas with the highest density of ancient forests in the entire Ulthuan Magic Forest, and the existence of a large number of ancient woodlands has also given rise to a whole set of unique schools of thought.

Moreover, it's not just craftsmen who can make bows; spellcasters can too. Azsarian's father-in-law can create arrow shafts as straight as the sun and embed enchanted arrowheads that can penetrate thick armor. In addition, he can use magic to create spears that seek out enemies on their own and craft the Golden Heartwood Divine Bow.

Of course, the mainstream and prominent studies of the Hoth school still revolve around the crafting of staves, clothing, accessories, and magic swords. This is their foundation and the most obvious difference between them and other schools. Researchers at the Hoth White Tower are more adept at constructing magical items with complex structures, inlaid patterns, and a focus on energy circulation and spellcasting efficiency.

Tigris is the most brilliant representative of this system. After understanding the Sunfire Sword, he successfully forged his own weapon—the Sword of Tigris—through reverse deduction and spell reconstruction.

Taking a prince from the Kingdom of Terorok as an example, his equipment often comes from diverse sources but has a clear division of labor:
His armor and chariot were undoubtedly crafted by Vaal artisans, especially skilled in handling precious materials like Yseramar silver, where the Vaal were the undisputed authorities throughout Ulthuan. His spear and bow likely came from Avalon, or other kingdoms renowned for their woodworking. His magic sword, however, is less certain; it could be crafted by the Vaal or the Hothic artisans.

The greatswords wielded by the Hoth Sword Saints can almost be seen as the White Tower's ultimate pursuit of perfect forging. Even the Vale secretly admire the forging skills of these swords.

Each greatsword is renowned for its perfect proportions and structure, and patterns and runes are incorporated into the forging and tempering process, giving it a powerful affinity.

The sword is elegant and smooth, with an incomparably sharp edge that remains as sharp as ever after countless strikes. The runes and gems engraved on it embody the spirit of resilience, immortality, and purity, transforming them into shining rays of light.

Each of these greatswords was custom-made for a specific swordsman.

Before the formal forging, a comprehensive measurement and study will be conducted on the sword wielder, from height and body shape, arm length, to sword angle, footwork rhythm, and combat habits. No detail can be ignored.

The guard, hilt, and pommel of a sword are often inlaid with the emblem of the swordholder's family, or with fabrics or patterns symbolizing their place of origin, to highlight their status and honor.

Therefore, it is almost impossible for two swords of the same name to be identical.

And that's precisely why they're placed here.

Because after their masters die, these swords become ownerless, and their custom-made nature makes them impossible to pass on.

Therefore, the White Tower of Hosse provided the most suitable home for these ownerless swords, allowing them to slumber in the exhibition hall for future generations to remember, cherish, and contemplate.

Two identical greatswords are extremely rare, almost unheard of in the world, but Darkus happened to see them right here in this exhibition hall.

One hangs quietly on the wall, silent and relegated to history; while the other rests on the lap of a meditating swordsman, serene as if asleep, its breath as still as a whisper.

As Darkus approached, the swordsman sitting cross-legged on the ground opened his eyes, his eyes flashing with a sharp light, like two beams of light, directly aimed at him, as if he had seen through his origins, purpose, and intentions in an instant.

The next second, the Sword Saint rose, his movements fluid and without a single superfluous motion. The greatsword seemed never to have left his hand, as if it had answered the call the moment he opened his eyes, transforming from an inanimate object into a weapon, from silence into sharpness, just as his arrival had triggered a mechanism, awakening the guards.

At that moment, Darkus subconsciously tensed his muscles.

He expected his opponent to assume a starting stance, take the first step in a sword dance, and launch a surprise attack. But to his surprise, the Sword Saint did not draw his sword. Instead, he changed his posture, slowly raising his left hand and pointing steadily at the greatsword hanging on the wall, identical to the one in his hand. His fingertips were like straight arrows, pointing directly at the silent weapon.

Dakos's eyes flickered slightly. He hadn't even approached the display board yet, but he already had a premonition.

A vague connection began to emerge. The shape of the sword, the carvings on the guard, and the patterns on the pommel gave him his own judgment, and he was just waiting for confirmation.

So he stepped forward and looked at the display board.

The next instant, the vague clue in my mind became completely clear, the speculation became fact, and the judgment was confirmed.

He said nothing, but simply extended his right hand and calmly pointed to the greatsword hanging on the wall.

The Sword Saint glanced at him and then nodded. He then took a step back, steadily creating space between himself and the giant sword on the wall, his expression showing neither yielding nor arrogance, but only a solemn reverence.

"Am I being used as a shield?"

"Did I trigger a serendipitous encounter?"

"The immortal strokes my head and ties my hair to receive eternal life?"

Darkus raised the corner of his mouth and muttered something under his breath, his tone relaxed, as if mocking a sense of destiny or teasing this somewhat familiar development.

He did not refuse, did not back down, did not wave his hand, and did not shake his head; instead, he stepped forward.

It was an attitude of going with the flow, as if this was a preordained plot, a trial he had embarked on from the moment he entered the exhibition hall.

He smiled as he walked toward the greatsword, reached out, and without hesitation took it off the hook.

The moment he held the sword, he immediately sensed its composure and spirituality. The sword barely vibrated in his hand, as if it recognized him, accepted him, and acknowledged him.

He flicked his wrist, flashing a few sword flourishes with light and fluid movements, not to show off, but to test his balance. The sword arced through the air, not as a display, but as a kind of ritualistic confirmation.

He stopped what he was doing and uttered a sentence softly.

"here?"

The voice wasn't loud, yet it penetrated the entire side hall, as if asking a question, or perhaps confirming something—a question to the sword saint, and also a question to himself. (End of Chapter)