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⚚ The Mithril Owl Periodical ⚚
« on: November 15, 2023, 07:49:28 PM »
A steady stream of gazettes exits the Presses du Savoir, settled in various cafés. One complimentary edition makes itself clear by the terraces' noticeboard.
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Issue #10Published by The Society of the Erudite


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This tenth issue of our strigine publication dedicates itself to the profound, constant relationship of which is shared by historical and geographical inquiry alike. As it has been said, history is not intelligible without geography; and to blind oneself to either perspective serves nobody but the ignorant. May one's interest find itself piqued by the articles supplied.

Furthermore, for those who wish to participate in scholarly endeavours, to see their work shared, discussed, as well as to have access to reference and source material from as far back as the year 764: We, the Society of the Erudite, cordially invite you to contact our coterie, housed within the Presses du Savoir in Port-à-Lucine's Quartier Marchand. Preferably, present to us a well-researched and original text of your own make, after which we will deliberate on it's merit and possible induction within this, our circle of equals.


The horizon is the future,
Rosalie Épineux, M.B.




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ARTICLES WITHIN THIS ISSUE
✧ The Parable of the Nameless Pharaoh and the Reign of Sinmeret III
✧ Into the Crypt of Xyprenekh, The Eastern Wind: The Mysteries of Neureni Burial Grounds
✧ The History of the Balinoks
✧ A Historical Study of the Cultural, Economical, and Political Effects of the Fluctuating Geography of the Core




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THE PARABLE OF THE NAMELESS PHARAOH AND THE REIGN OF SINMERET III
— Dr. Vesnia Endymion, 778
Spoiler: show

In “The Prince and the Sphinx”, the message is clear enough: honor the gods and honor one's forebears and one will receive their favor. When the Akiri speak of their last-known pharaoh Anhktepot and of how he turned his back to the gods, the message is clear enough there as well; those who disrespect them will pay the ultimate price. There is, however, another parable that carries with it the same lessons as the ones surrounding Anhktepot, and that is the “parable of the nameless pharaoh”.

I shall recall the parable as it was told to me: there was a pharaoh whose actions slighted his fellow priests and priestesses and, indeed, the gods themselves. Rather than offer any form of redress or demonstrate any degree of humility, the pharaoh abandoned the gods of the Akiri people to instead serve a new deity. The storyteller made conjecture that this “new god” was perhaps Set or Apep, tricking and fooling the pharaoh as a way to lead him and the rest of Har'Akir down the path of darkness. I remain rather skeptical myself, concerning that claim, but I digress...

The pharaoh outlawed the Great Ennead and bade all instead worship this new god, and none other. He ordered the old temples tore down and a new one constructed, consecrated in the name of this strange new deity. However, before the old temples could find themselves demolished, the pharaoh's reign was cut short and fraught with plagues, clearer and clearer sign of the gods' obvious displeasure; the River Abal was said to run crimson with blood, locusts ran amok and turned what was supposed to be a bountiful harvest into famine, and last and most importantly, asps wreathed in shadow emerged from the darkened corners of every room in the pharaoh's seat at Heliopolis. Suddenly, at mid-day, the sun was blotted out by an eclipse and the pharaoh simply dropped dead.

His designated heir made right with the gods and tore down the temple that he erected to his false god. The common people of ancient Har'Akir tore down statues made in the pharaoh's image and the pharaoh's name was declared ineffable; in time, the Akiri people simply forgot it.

However, recent excavations, most of them carried out by one Laure Fermette, Professor of Archaeology and Akirology at the University of Dementlieu, have made the identity of the 'nameless pharaoh' clearer. He is now believed to be Sinmeret III, believed to have ruled during ancient Har'Akir's middle dynasties. Looking at what is known concerning Sinmeret III's brief rule as pharaoh, historians see a number of parallels between it and the parable that survives to this day.

Sinmeret III was originally a nomarch[1] and as the cousin to the previous pharaoh, Tuthmosis II. Power plays in Heliopolis saw Sinmeret III divested of his rather prosperous nome[2] and given another far away from the capital, on what was thought to be Har'Akir's frontier – thought to be quiet and largely irrelevant. To everyone's surprise, including Sinmeret III's, he was attacked by foreign invaders known only to posterity as the “Hyksos” – itself a word for foreigner. Sinmeret III repelled these invaders without much difficulty, and used his victories against the Hyksos as a stepping stone to become pharaoh himself, deposing and killing Tuthmosis II, whom he claimed without substance as being in league with the invaders.

However, the priest and priestesses of the Great Ennead adored Tuthmosis II and held Sinmeret III in contempt for the coup he had undertaken. Furthermore, Sinmeret III refused to name the high priest of Ra at the time, Ahmose, as his vizier. The rift between the pharaoh and the faith of the Akiri only grew wider and wider, until suddenly, Sinmeret III declared that he had received a message from the “one true god”, the sun god Gabal. He declared himself to be Gabal's representative in the worldly realm and further proclaimed it Har'Akir's new state religion, with the Great Ennead to be declared illegal. Ahmose and other prominent priests were cruelly dispatched by the pharaoh's own bodyguards.

The tales of plagues that appear in the parable are obviously apocryphal, and yet there are reports of strife throughout Sinmeret III's short tenure as pharaoh: a revolt among the slaves, widespread famine, and resentment towards the faith of Gabal and the decadence that seemed to be on full display in the pharaoh's court at Heliopolis with the departure of the Ennead. In the end, Sinmeret III didn't simply drop dead, but instead dispatched by one of his loyal bodyguards, who in the chaos that followed declared himself Thutmosis III and reversed many of the unpopular policies of his predecessor.

Not much is survived from this period, since Gabal was immediately seen as a corrupting influence by the Akiri people and how Sinmeret III ended up being proscribed. However, with time, archaeologists will uncover the secrets of even the most poorly understood of moments in the historical record, and piece together the puzzles that ancient Har'Akir offers to those who now live in a modern age.

 1. A name for the governor of a province in ancient Har'Akir, referred to as a "nome".
 2. A province in ancient Har'Akir. See Footnote #1.


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INTO THE CRYPT OF XYPRENEKH, THE EASTERN WIND: THE MYSTERIES OF NEURENI BURIAL GROUNDS
— Lavinia Iphigenia Peregrinus, 774
Spoiler: show

Not much is known of the mysterious civilization, known in Barovia as Neureni. They are theorized to be the ancestors of the inhabitants of what was known to be Gundarak. What is known about them for sure, is the fact that in approximately 230 BC, their horde invaded Barovia from the East. The horde managed to get as far as Vallaki, where thanks to the great skill and courage of the nigh-legendary General-Princess Nicoleta von Zarovich, it was routed after a three-month siege. Although the horde kept Barovian lands for a total of seven months, their impact on the local culture can be felt even today. The word “neuri” is used in Balok to describe a lycanthrope or a shapechanger, still carrying the memory of the terror that the Neureni horde inspired in the hearts of Barovians centuries ago.

Even today it’s possible to find remains of Neureni tombs in the cold ranges of the Balinok Mountains. This expedition report focuses on one of them, belonging to Neureni war hero, Xyprenekh, known also as the Eastern Wind. I, together with three other companions, braved the cave system containing his tomb, following a tip left by one of the locals in Krofburg.

According to what information I managed to gather inside the tomb, Xyprenekh was an extremely skilled horse-archer and possibly one of the leaders of the Neureni horde. A monolith found inside the crypt described his deeds in greater detail, but sadly my knowledge of the Neureni language is far from perfect, stopping me from providing more detailed description of this fascinating figure. What can be said for sure is that Xyprenekh was favored by the petty gods of air and water, and received numerous boons from them.

His tomb was filled with dangerous traps, which I assume serve as safety measures against grave-robbers.

My companions and I were initially stopped by a gate, which was encrusted with a few gems, one of which seemed to be missing. It was found nearby, protected by a trap which released a volley of arrows at anyone who dared to reach for it. Thanks to the sacrifice and bravery of one of my companions, we managed to recover it. After arranging the gemstones according to the colors of the rainbow (which in Neureni culture symbolizes the favor of the gods of air and water), the gate opened, allowing us to continue. Our path was then obstructed by an underwater corridor, which we had to take in order to progress. Fortunately, thanks to my arcane expertise, we were able to do so without any danger. The corridor itself led to a submerged chamber, inhabited by some strange species of blind cave eel. By pulling two levers on the other side of the room we managed to drain the water together with hostile eels, and proceed forward. This might suggest that Neureni engineering was more advanced that was previously thought. There we found the main burial chamber.

As should be obvious from my writing so far, this particular tomb was filled with various traps, which were supposed to test our reason, quick thinking and self-restraint - especially when it came to greed. However, the one we found here was possibly the simplest and most dangerous of them all – a mountain of riches and gems, protected by several skeletons wearing what I can only assume is traditional Neureni armor.


[In here Lavinia included a sketch of one of such skeletons. Its armor is depicted in great detail.]

Fortunately, my companions and I managed to resist the primal urge to steal all of it and went forward.

We next saw a great, and seemingly bottomless chasm surrounding a lone rock on which we could see the mummified corpse of the great Xyprenekh himself. One of my companions looked down at the abyss and immediately was struck with intense panic, babbling about the abyss wanting to devour us all. However, it was not the chasm that we should have been afraid of. Two other corpses, carrying bows, slowly started to awake and, after uttering a few words in what I can only assume was the Neureni language, pelleted us with arrows. While we managed to run, it became clear that we could not progress without getting rid of them.


[Another sketch, depicting an undead Neureni Archer in full gear.]

Once again my arcane talents came in handy as we managed to use the grease and gust of wind spells to topple the skeletons and send them flying into the abyss. Yet our troubles did not end here as there was still a chasm to cross. The book which guided us through the tomb so far contained an illustration depicting a band of horse-archers flying over a similar chasm, but none of us was capable of flight. One of my companions decided to try and throw his holy symbol, to make sure that the mummified Xyprenekh will not try and attack whatever will come close. To our surprise, the symbol started to float mid air, revealing to us that the abyss was not impossible to pass, but in fact contained an invisible bridge. My theory is that after building a bridge, a skilled Neureni arcanist was able to conceal it using some form of invisibility spell. After all four of us steeled our hearts and decided to pass, we finally reached out journey’s end - Xyprenekh himself.

[Another sketch, depicting Xyprenekh in his armor and bow in hand, sitting on a mummified horse. His other hand clutches five sizable arrows.]

Xyprenekh was surrounded by five sculptures depicting Neureni warriors, two of which had chests at their feet. My group, reasonable enough not to touch the chests, focused on the mummy, or rather five arrows he held in his grasps.

[Sketch of a beautifully made arrow.]

The arrows are made of solid gold and jade, made with a level of skill that I have never seen before. Three of us decided to take an arrow for ourselves, carefully pulling it from Xyprenekh’s hand. Each attempt to pull out an arrow was accompanied by violent shakes of the earth beneath our feet and a strange sensation of being watched, though nothing else happened. It is entirely possible that it was a result of a complex illusion, yet at the time I was too distracted to try and find out what might be the cause. I shall keep the details of the exact location of this tomb a secret, out of fear that it will be stormed and destroyed by legions of money-hungry Outlanders.

A number of observations made in this tomb raise questions about Neureni burial practice. Is placing such elaborate traps something common or reserved for those who were considered worthy? Are all great leaders buried with their soldiers? How were Neureni able to manipulate such advanced magic and how is it possible that it is still strong, despite the centuries that passed? I hope that with help of the Society of Erudite, I shall be able to learn more and publish my findings for the benefit of the general public – especially historians and archaeologists.


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THE HISTORY OF THE BALINOKS
— Medea Frafu & Argali Dupont, 772
Spoiler: show

Introduction.
I’ve undertaken a lengthy task, work which was done to collect details about the past and present of the southern Balinok Mountains in Barovia. These mountains are silent observers of history and carry with them a shadow of the past and countless mysteries lurk upon its surface, and undisclosed questions remain,of which I tried to answer in this work. The work is far from in perfect shape and far from revealing all the answers. This work was done to make it easier for others to read the story that is hidden in the mountains.

Not many written books about the history is left for us today and the History of Barovia in general. And what is left only helps us understand a small portion of the history. This work is made to unite some different works and knowledges of old scholars in one work which is focused and concentrated around these mountains.  If you find a mistake, inaccuracies and (or) you want to add something or something to help - please send your letters to me in Vallaki (Barovia), in the building of the Wayfarer Kinship. Medea Frafu.

Balinoks, Barovia. - History

The Balinok Mountains have a long and venerated history, it is the highest mountain of Barovia and perhaps one of the most famous mountains located in Barovia is Mount Baratak which serves as the highest peak of the Balinoks. The Balinoks in the past were located in such a way that they divided the continent west and east. The mountains passed through many different lands leaving a trace of one or another culture and had a huge role in trade and military affairs. Now, after the emergence of the Shadow Rift, the mountains have undergone tremendous changes. Some of the mountains disappeared without a trace, some of the mountains mysteriously changed their location. In this work, we will consider part of the Balinok Mountains, which are located in Barovia.



In Barovia, these mountains pass from north to south dividing Barovia west and east. Only one famous road passes through the mountains, Old Svalich Road. The road is not only connecting the large settlements in Barovia, but also is the only known and safe road on the southern part of the Core connecting the western and eastern parts. The mountains can be overcome in other ways, but there are no other known roads and the patency of the mountains depends on the weather and warm seasons, which in Barovia are very short. And also the mountains is home of many dangerous wild animals.

Dead Crag Cat.

After the emergence of the Shadow Rift, this road became excessively important economically between different lands, which undoubtedly positively affects Barovia. The influx of money, various resources from different lands and the ability to influence many trade relations in their favor.

The mountains in Barovia still bear riddles and a shadow of history to present days. Still in different parts of the mountains, you can find echoes of the past. Something from the times of Neureni, something from the times of the occupation of Terg, and something completely unknown.

The 230th year BC is known as the year in which the Neureni horde flooded Barovia, but was defeated by General Princess Nicoletta Zarovich. This event took place more than five hundred years ago, but up to now in the mountains one can find a trace of those past events. Ancient mantle of shamans, old halberds, arrows and bows, related to Neureni and those old times of conflict. Moreover, in the southern part of Balinoks in Barovia I found a large burial of soldiers and two generals of Neureni. This place provides an excellent opportunity to explore the ancient culture of Neureni.

In addition to ancient burials and lost objects in glaciers and caves, the mountains also preserved some old structures. Throughout the length of the mountains in Barovia it is possible to find buildings related to the times of the occupation of Terg. For almost thirty years of occupation, Terg was able to erect large structures and structures throughout Barovia. Many of which are lost and destroyed forever, but some are preserved in the mountains. Old observation posts, some burials. One of the outstanding buildings in Barovia from the time of the occupation of Tergs, which has preserved its unsurpassed mighty appearance to this day, is, without doubt, the castle of Ravenloft.

Ruins from time of Terg Occupation.

Being a living natural canvas for history, the mountains carry in themselves an amazing history of the past, helping to find answers to past questions. But not only the answers bring mountains, but also new questions. On Mount Gakis I found an ancient observatory, the ruins of which are at the peak of the mountain. The peak itself is a place full of mysteries. Countless spirits of the dead, a strange observatory at the peak and a huge skeleton that resembles the skeleton of a dragon. Because of the inaccessibility of space to the skeleton, these words are only a remote guess. But the Observatory is more interesting.

At the first inspection, the observatory is a very old and very complex structure. Several columns, huge statues, walls made of large stone bricks. But time did not spare the construction and the natural entrance was covered with snow and stones. I still managed to get inside the observatory and I discovered the true purpose of the building.The building inside is guarded by crazy golems known as Eidolon. Special magic golems, personifying the figures of dark gods, who worship dark bloody cults. Inside the building, a sealed entrance to the interior of the mountain was also found. Sealed with stone plates using magic.

So I established that this building was a sacred place or a temple for someone of worship in the past. And the ghosts that live around the mountain are none other than dead people who were sacrificed to the dark gods on this mountain. Once in the past, the settlement of Krofburg, which stands at the base of this mountain, was attacked by Demons. Some are evident from those old days that the Demons came from this mountain. Thus, there is a suggestion that this building on the peak of the mountain was a holy place to the demon-worshipers, and the sealed entrance was possibly a portal (passage?) For the demons. In favor of the version of the "portal" also indicate the ancient words left by people that lived in this building. "The passage was closed, the price paid." The word "Passage" in this context is more similar in meaning to the portal, the magic bridge that
connected Barovia and the world of another plan.

But this is only my bold assumption, based on the study of the past. And this mountain leaves behind more riddles and new questions than answers.[/i]

Observatory

It is also known that before the cataclysm in the southern part of the mountains on Mount Mount Grysl and its sister Mount Makab there was located the mysterious domain of Bluetspur. Creatures with psionic abilities known as the Illithids. The history of the past does not indicate that powerful beings had any influence over Barovia or neighboring lands.

Now, according to confirmed eyewitness accounts that they visited these lands and managed to return alive, they describe this land quite differently. And obviously some of the mountains are now lost forever in the mists..

In addition to these mysterious places and the echo of the past along the southern part of the mountains there are two settlements. One of them is young, Krofburg, the other has a some history.

Krofburg.
A very young settlement is located high in the mountains at the base of Mount Ghakis. Despite the fact that the settlement is very remote and high, Krofburg has access to fresh water and the land on which they plant a crop. Krofburg also known for the fact that they bred livestock. Despite the fact that Krofburg is subjected to unnatural cold frosts and the fact that dangerous creatures live in the mountains - people do not leave this place.

Immol.
Immol sits in a dale adjacent to a lake at the foot of Terestrãu ("Mount Sawtooth") in the south-eastern corner of Barovia. The lake is the source of the Saniset River which is not navigable at this point. Immol is joined to Hazlan by the Warlock's Road.


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A HISTORICAL STUDY OF THE EFFECTS OF THE FLUCTUATING GEOGRAPHY OF THE CORE
— Vivienne Valois, 770
Spoiler: show

It a commonly held belief amongst historians that the history of the Core begins with Barovia. Indeed, no reliable historical records have been found predating 351 BC. According to historical records obtained in the Theodorus Archives of Immol, prior to 351 BC Barovia was embroiled in a bloody and costly war with the Terg invaders that had decimated most of the noble houses of Barovia. It was a general by the name of Strahd von Zarovich that finally led Barovian forces to a costly victory over the Terg warlords, and it was then that he claimed rulership over the land that is Barovia, settling in to a former Terg fortress that he named Castle Ravenloft.

Hailed as conquering hero, all seemed well until the fateful wedding night of Strahd von Zarovich’s brother, Sergei. Assassins of a rival noble family, Dilisnya, chose this night to soak the castle in the blood of the von Zarovich family and its guests. Little is known of what precisely occurred that night, but by all accounts none left the castle alive.

At this time in 351 BC Barovia was drawn into the Mists, losing contact with its former neighbours and becoming the sole land of what would become the Core. It seems that the von Zarovich’s all but disappeared from public view, and nothing of historical significance would occur until 542 BC when a mage known as Azalin would be drawn into the Mists and arrive in Barovia, becoming an ally to the reclusive Strahd. Five years later Barovia is joined by its first neighbour, Forlorn, appearing from the mists attached to Barovia’s southern border. Barovian travellers venturing into this new land reported foul, inhuman creatures, what we now know as Goblyns. It was not until 575 BC that Barovia would be neighboured by Arak to the northeast, the first nation to house human settlements and allowing Barovia to trade with outsiders for the first time in two centuries. With three nations now forming this cluster, I believe that 575 BC marks the true formation of the Core, the beginnings of what shall become a host of competing nations.

Late in the year 579 BC, Mordent appeared to the west of Barovia. The circumstances of Mordent’s arrival in the Core is shrouded in mystery, primarily due to the people of Mordent holding to keeping legends rather than factual historical records. However it is commonly held that Mordent was brought into this world from another place due to the machinations of one known as the Alchemist, a madman performing some manner of hideous - presumably arcane - experiment. It is believed that Mordent’s transposition was the result of a device known only as “the Apparatus,” though the true intention of the device is lost as the Alchemist was destroyed upon its activation. Soon after Mordent’s arrival in the Core, the allegedly tenuous alliance between the house of von Zarovich and the outlander mage Azalin ended, and Azalin is reported to have left Barovia with an animosity seething between himself and von Zarovich that survives to this day.

It was at this time that Darkon come to appear to the north of Barovia, doubling the size of the Core with its vast expanses of land. It is there that the mage Azalin travelled and how precisely Azalin came to rule Darkon is a matter of debate, however by studying historical archives obtained at the University of Karg, it is possible to compile a series of events. At the time of Darkon’s arrival, the wizard Darcalus was the ruler of the nation, but he was much hated by the noble houses of Darkon as well as its commonfolk due to a much-reported cruelty and propensity for savage displays of the Arcane. The noble families conspiring to have Darcalus eradicated are said to have recruited Azalin to their cause; Azalin then entered Castle Avernus alone and what happened there none but he know, however Darcalus was never seen again and Azalin “Rex” (lit. “king”) took the throne of Darkon - any who denied his claim was swiftly slain while attending a banquet held in Castle Avernus.

In 581 BC the land of Bluetspur joined the Core, appearing to the south of Barovia and to the east of Forlorn. Human refugees of Thaani ethnicity fled this realm in droves, taking shelter in Barovia - practically doubling the population of Immol - and reporting that their lands had been claimed by a race of hideous brain-stealing creatures. Exploration of this realm was understandably limited, and the Thaani seemed more interested in adopting Barovia as their new home than in returning.

Early in the year 588, the first major act of geographical change upon a land already existing within the Core occurred - an event known as the Scourge of Arak. Arak was decimated by a tumultuous sandstorm that wiped out all life in the land, however the strangest and most baffling result of the storm is that Mount Lament, one of the largest mountains of Arak, was transplanted miles to the west and the land of Keening formed around it. How or why this enormous geographical changed occurred is a baffling subject, however it would not be the first such change to occur in the Core.

The next century marks a period of rapid expansion as a host of domains join the Core - Gundarak arrived in 593 BC, a land ruled by the tyrannical Duke Gundar, taking its place to the southwest of Barovia before being joined by Invidia in 603 BC. Kartakass appears to the south west of Gundarak in 613 BC. Valachan arrives to the south west in 625 BC. Nova Vaasa appears upon the Core’s eastern shores in 682 BC, followed shortly by Lamordia and the Nightmare Lands affixing themselves in the west and east respectively in 683 BC and Borca taking its place to the west of Barovia in 684 BC.

Such rapid alterations to its geography and the additions of so many competing nations caused significant and lasting changes to the power structure of the Core. Duke Gundar formed a bloodless feud with Strahd von Zarovich that would continue until the annexation of Gundarak in 740 BC. Invidia’s then-ruler in 603 BC, the “Traitor King” Bakholis, formed trade alliances with its neighbours, assisting in the southern Core’s rise in economic power that would only become stronger with the addition of Borca. The additions of Nova Vaasa and Borca also mark the introduction of the two religious faiths that retain the most power to the modern day, that of the Lawgiver and Ezra respectively. The western and northern Core also benefited greatly, as the appearance of the Sea of Sorrows led to a boom of seafaring trade between the lands of Mordent, Lamordia, and Darkon.

Near the end of the century in 690 BC, an outlander mercenary named Vlad Drakov along with his horde of bloodthirsty barbarians known as the Talons of the Hawk appeared in western Darkon, briefly waging a short and bloody conflict before being driven into the Mists. Shortly thereafter the land of Falkovnia joined the Core with Drakov as its leader, ushering in a new age of conflict. This would be the last land to join the Core in this century but for the arrival of Richemulot in 694 BC. The Winter War marked the last significant event of the century as Vlad Drakov marched troops into Lamordia in the winter of 695 BC, but his troops were vastly underprepared both for the terrible winter of that year and the superior weaponry of the blunderbuss-wielding Lamordians. Drakov’s forces beat a hasty retreat in January of 696.

The beginning of the next century marks the first time open warfare has occurred between nations of the Core with the beginning of the Dead Man’s Campaign in 700 BC. Vlad Drakov sent his troops into Darkon, pressing into the region of the Forest of Shadows. By all accounts it was the dead of Darkon that rose up to defend its borders, hordes of zombies meeting the armies of the Hawk. Falkovnian soldiers fell in droves and it is said that even the Falkovnian dead rose to fight their former brethren. This continued until the spring of 701 BC when Drakov withdrew his troops. In 703 BC, Drakov and Baron Vilhelm von Aubrecker of Lamordia made a treaty ensuring non-aggression on the part of Falkovnia in exchange for martial supplies, making Lamordian weapons and armour standard issue for Falkovnian troops to this day.

By 704 BC, Drakov’s forces were recouped and he ordered another invasion into Darkon. Darkon’s undead again met his forces, this time within minutes of their crossing of the border, and another hasty retreat followed.

In 706 BC Drakov ordered a small force into its southern neighbour of Borca, resulting in another failed invasion known as the Widow’s Massacre. Not a single man was said to survive on the side of Falkovnia and in 707 BC the land of Dementlieu joined the Core. Drakov ordered the annexation of this new territory and, after an initially successful drive into Dementlieu’s heartlands, his armies fell to the far superior weaponry of the Dementlieuse muskets and cannon, not to mention a plague of mass-desertions.

Defeated but not bridled, Drakov would mount another failed invasion on Darkon in 711 BC. Drakov then entered an extended phase of planning in order to prepare for his next assault, in the mean time launching unsuccessful attacks upon Richemulot and G’henna in 716 and 719 respectively. During the Borderlands War of 716, Drakov’s troops battled the citizenry of Richemulot lead by the ruling Renier family, who proved more than a match for Falkovnia’s armies. Following the appearance of the G’hennan wastes in 719, Drakov sought to annex the lands in the Starving March, attempting to cross the Balinoks into central G’henna, and suffering from a severe lack of provisions they were eventually beaten back by twisted humanoids, priests of Zhakata, and other strange beasts native to that forsaken realm.

The final conflict in the Dead Man’s Campaign came in 722 with Drakov launching far more troops than had ever been gathered previously only to be have them decimated once more. Following this crushing defeat, Drakov has largely kept to his own devices within Falkovnia aside from the Executioner’s Campaign against Dementlieu and Richemulot of 724, and the Gold Claw Massacre of 727 in Dorvinia.

During this time the Core was expanded by the arrival of Arkandale in 708, Hazlan in 714, and Sithicus in 720. Finally, Falkovnian aggression in the western and southern Core was largely put to a halt by the formation of the Treaty of Four Towers in 729, allying Dementlieu, Mordent, Richemulot, and Borca against Falkovnia.

740 BC marks the year of the greatest era of geographical disruption the Core has ever known, aptly named the Great Upheaval. The very Core itself was wracked in tremors and entire lands disappeared as if they had never existed, or inexplicably appeared elsewhere.

Many of the changes to the power structures of the Core in this timeframe can be explained by political machinations. Borca and Dorvinia, both ruled by members of the Dilisnya family, were united into one realm - retaining the name Borca. Arak was annexed by Darkon, as was Gundarak by Barovia and Invidia following the assassination of Duke Gundar. Arkandale was absorbed into Verbrek. However beside these political changes, there were a host of inexplicable geographical modifications to the topography of the Core.

Valachan adjusted its position ninety degrees; Farelle and Sanguinia completely disappeared, never to be seen again; Vechor disappeared, though it would later reappear upon the Nocturnal Sea; G’henna, Bluetspur, and the Nightmare Lands disappear from the face of the Core, though travellers still report finding these places through mistways; Markovia was wrenched from the face of the Core to its new place in the Sea of Sorrows; and perhaps most baffling of all, the space left by G’henna and Markovia in the centre of the Core became the mysterious “Shadow Rift,” a land consumed by mist and reputed to contain innumerable horrors. To this day, the cause of the Great Upheaval baffles scholars, though I have theorised that the cause was some manner of catastrophic arcane event, likely the result of an attempt to manipulate astonishing quantities of arcane energy. To what end we may never know.

The after effects of the Upheaval continued shaping the Core for years to come, most notably resulting in the formation of the Nocturnal Sea in the east and its occupying islands - Liffe, Vechor, L’ile de la Tempete, the Isle of the Ravens, and Nebligtode.

Despite these events, 750 BC yet marks one of the greatest tragedies to strike the Core. In Darkon, Azalin Rex declared that he would personally lead the Darkest Night ceremony, a rite known as the Requiem. Hundreds of people came to the city of Il Aluk from all over Darkon to witness their king. During the ceremony, at the stroke of midnight, a tumultuous wave of energy leapt forth and expanded in every direction, consuming Darkon, and wiping out every living soul in Il Aluk. A malaise settled upon Darkon, and it was left with neither king nor heir; the ensuing civil war between nobility was bloody and would likely have continued to this day if not for Azalin’s return five years later. The Wizard-King returned, claiming to have stopped the dead of the Grey Realm from reclaiming Darkon. Despite his return, the former bastion of knowledge and civilisation that was the city of Il Aluk remains a wasteland containing only the undead to this day.

The Core has remained a geographically stable entity for almost twenty years and it is my belief that whatever planar force draws the lands of the Core together has halted its expansion. The current layout of the Core leaves the majority of political power in the hands of the most advanced nations - Dementlieu, in particular, has the most far reaching cultural impact across the Core alongside the greatest military advancements. Despite this, the denizens of the Core have largely taken the Great Upheaval as a sign of a coming darkness - the priests of Tepest launched their inquisition to wipe out fey and demihumans, blaming them for the destruction caused to the Core. The Ezrites of Darkon began to prophesy the coming of a “Time of Unparalleled Darkness,” claiming all but the faithful shall be destroyed by the hordes of the Mists of Death. Across much of the Core, paranoia for the days to come is reaching a fever pitch, and its rulers seem either powerless to stop it or simply uncaring. Despite the apparent power of these advanced nations, it is my belief that should they continue to discount the fears of their populaces, then we may indeed be heading toward anarchy.





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Re: ⚚ The Mithril Owl Periodical ⚚
« Reply #1 on: December 15, 2023, 05:25:33 PM »
A steady stream of gazettes exits the Presses du Savoir, settled in various cafés. One complimentary edition makes itself clear by the terraces' noticeboard.
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Issue #11Published by The Society of the Erudite


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This eleventh issue of our periodical places its focus on the alchemical subjects not often broached by practitioners at large. Long overdrawn are inquiries into varnishes, their distillation and the accompanying processes; let us examine this practice at a more profound level. The four articles depicted are yet a portion of years of continual study; there is much to be further discovered for the interested individual.

For those who wish to participate in scholarly endeavours, to see their work shared, discussed, as well as to have access to reference and source material from as far back as the year 764: We, the Society of the Erudite, cordially invite you to contact our coterie, housed within the Presses du Savoir in Port-à-Lucine's Quartier Marchand. Preferably, present to us a well-researched and original text of your own make, after which we will deliberate on it's merit and possible induction within this, our circle of equals.


The horizon is the future,
Rosalie Épineux, M.B.




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ARTICLES WITHIN THIS ISSUE
✧ [Notes on] Alkahest
✧ A Primer on Glamer Alchemy
✧ The Universal Solvent
✧ An Inquiry into Alchemy




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ALKAHEST
— Dr. Medb Neasa, 777
Spoiler: show

Alchemy is most broadly known to most as the trade which creates useful substances and mixtures based on extractions from various magical creatures and constructs. This is achieved by extracting the essence of the relevant creature part at a specialized distillery, to be stored in reinforced glass containers. These extractions can then be used in various ways by adding one or more other elements. Resin, for example, stabilizes the essence into a substance that can be applied to any melee weapon or ammunition, better known as varnish. Another example is the production of more exotic steel alloys, such that exhibit corrosive or electrifying properties.

Although used for such rather mundane applications, the alchemical process and philosophy holds true. The purpose of Alchemy is to strip the self down to nothingness and leave everything bare to be scrutinized. With the self-knowledge about one’s nature and relation to the universe, the soul can be reformed with the impurities expunged, and united into a pure, undivided thing. This is the Magnum Opus, or the Great Work in the common tongue, and its pursuit is the creation of the philosopher’s stone for the purposes of personal and spiritual transmutation.

While my fellow scholar William Roberts claims there exists a race of beings in his homeland of Zherisia who have perfected this art, I have myself never seen proof of the Great Work being achieved. This in itself is not surprising, as anyone who has theoretically managed this feat coveted by generations of alchemists the world over, would be greatly incentivized to keep his secrets closely guarded. But the question remains, what stands in the way of anyone sufficiently skilled in the craft’s practice from refining their techniques to their logical conclusion, the philosopher’s stone itself?

One of the major stumbling blocks is the so-called universal solvent and the topic of today’s lecture – alkahest. The process by which the “essential salts”, that is, the substance of the physical body, are broken down and dissolved to their essence involves the careful handling of various concentrations of acids. Mishandling the procedure can easily alter or destroy the salts’ fundamental properties, ruining the product. Perhaps an obvious point to make, but do note also that not every material reacts the same to each individual acid, and even when they do, the concentration plays a crucial role in the resulting process. Overall, the process is delicate, and prone to error, both by mechanical accident and insufficient or inaccurate knowledge. And then there are materials we have not yet found ways to dissolve, most famously gold and its alloys, as any experienced gilder will readily attest to.

Enter alkahest, the universal solvent. A theoretical element so far as the ‘public’ knowledge of Alchemy is concerned, it is supposed to be capable of dissolving any other substance, including gold, without altering or destroying its fundamental components. The first mention of it in writing notes it as a chemical which can fortify the liver, or act as a substitute for its function in cases where the liver has failed.

It’s perhaps obvious to see how gaining control of the fundamental properties of matter would spark the imagination, but through decades of debate and refuted claims and rejected recipes, many have come to consider alkahest little more than wishful thinking, while others search for a different universal solvent - the elixir vitae or in the common tongue, Elixir of Life, also known as Azoth. You will note a lot of overlap between the purported qualities of alkahest, azoth, and the philosopher’s stone. And indeed there exist conflicting theories on the matter, with some alchemists ranking one higher than the rest while others equate them to be the same fundamental ‘thing’.

Speaking for the theorized alkahest here, it is meant to be composed of extremely small, homogeneous particles. This structure is what would allow its particles to move between the particles of all other materials and mechanically separate them without altering their base properties or its own, keeping itself infinitely reusable. It is these qualities which would make alkahest distinct from ordinary corrosives which however carefully applied, still alter the substances they act upon, and are thus not infinitely reusable.

I will leave today’s lecture with what I find an interesting issue with the concept and the one my mind first went to when reading of the subject. If alkahest dissolves everything, then what container could be used to house it? There is a refutation to this argument, stating that alkahest only dissolves composed materials into their constituent, elemental parts, and therefore a hypothetical container made of a pure element like lead, would not be dissolved. Thank you for attending.

Suggested additional reading from fellow Erudite scholars includes Hesiod Huginn’s The Universal Solvent and William Roberts’ A Primer on Glamer Alchemy and An Inquiry into Alchemy.



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A PRIMER ON GLAMER ALCHEMY
— William Roberts, 773
Spoiler: show

Let me stipulate at the outset that I am but a dabbler in the actual practice of alchemy, although I have come to appreciate this science as a tool for the betterment of mankind similar to the healing arts. Whereas medicine and bandages restore the body to its healthy condition, alchemy can in fact enhance our lives beyond that which nature ordinarily endows us. For that reason, I strive always to improve my rudimentary knowledge of this fascinating subject. Keep in mind, however, that alchemy (like medicine) relies neither on the supernature of the arcane nor the whims of some moody "deity": alchemy is a science, open to the command of anyone who understands its fundamental, immutable principles.

My scholarly readers familiar with the rather primitive alchemy practiced from Barovia to Dementlieu no doubt believe it to be limited to the production of what are known as essences and varnishes: the local alchemist takes some raw material such as the jaw of a large insect and distills it to extract the chemical compound within that gives the material a certain quality. For example, the acid from corrosive oozes can be extracted from their carcasses to coat crude weapons, thus providing the instruments of violence with a similar property as the source creature.

If alchemy were confined to such mundane and counter-productive applications, it would hardly be of interest to the erudite. That Glamers have so exceeded human beings in unlocking alchemical principles is, indeed, excellent evidence that we should not view the species as in any way inferior to our own.

One theory of the origin of Glamers is that they themselves evolved from our own kind via alchemical enhancement, which might explain why they are able to reproduce with us but incapable of doing so on their own. Certainly Agatha Clairmont (one of the great human alchemical scholars in my native Paridon) gives some credence to this theory. For in Zherisia alchemy is known to be capable of extracting from formerly living matter that quality which when then added to nonliving matter produces new life itself!

Zherisian alchemists refer rather fondly to such creations in the human form as alchemical children. As for Glamers (and to quote from one learned text):

"Major correlations between known examples of enlightened alchemical children and Glamers include a protean physiognomy, psychic sensitivity, and a motility of bodily fluid not found in mundane creatures. An alchemical child’s “blood” comprises a modified quintessence—“ liquid life force,” much like the same irritability and responsiveness of a Glamer’s blood when drawn. This blood in both specimens can respond independently to stimuli, like a complete and living organism. Likewise, alchemical children may have a telepathic bond with their creator, just as Glamers exhibit telepathic abilities."

The more fearful of our own species consequently shy away from such applications of alchemy because they tremble at what they do not understand. Imagine, dear readers, the possibilities of applying these principles to elevate our own race!

As for Glamers, they are so far advanced beyond the crude alchemical children—to name but one example, they can communicate telepathically with anyone and among themselves, not just with their creator—that it is clear they have continued to evolve from their likely laboratory origin.

Similarly and poetically, Glamers have demonstrated an acumen for alchemy perhaps without peer in Paridon—certainly without peer in other, less advanced realms such as Barovia and Dementlieu. Whereas here locally this amazing science is used only for meagre military advantage, Glamer alchemical advances will someday (I am certain) lead to a golden age of mankind.

The more enlightened alchemy practiced and enhanced by Glamers will grant us (for example): The ability to grow replacement limbs and other organs in the laboratory. Stronger and healthier human tissues possessing extraordinary abilities. Mental advances that will break down the misunderstandings that divide us and allow us instead to communicate at more fundamental levels, mind to mind, without the necessity of often incomprehensible and deceptive language. Cures for Calibans, womb freaks, and other twists. Future humans may leave actual reproduction to the controlled environment of science. Joyous parents will be able to choose their children according to a specific, guaranteed recipe, perfectly in line with their own preferences, and without fear of anything less than ideal.

Imagine this brave new world…and the flawless, beauteous creatures that shall inhabit it!


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THE UNIVERSAL SOLVENT
— Hesiod Huginn, 766
Spoiler: show

Alkahestry; it is the science leading towards the creation of a universal solvent, my philosopher's stone. This universal solvent is expected to have such corrosiveness to be able to dissolve even gold, which has previously been untouched by any form of solvent. Many of those practicing modern alchemy have dabbled in such things I am certain  few have strived for the perfection of this art.

Azoth accompanies this craft, it is the concept of a universal solvent that can be used as a universal medicine. Alkahestry is a goal, the Azoth is a vision. The Azoth or Universal Medicine is, for the soul, is supreme reason and absolute justice; for the mind, it is mathematical and practical truth; for the body it is the quintessence, which is a combination of gold and light. In the superior or spiritual world, it is the First Matter of the Great Work, the source of the enthusiasm and activity of the alchemist. In the intermediate or mental world, it is intelligence and industry. In the inferior or material world, it is physical labour. Sulphur, Mercury, and Salt, which, volatized and fixed alternately, compose the Azoth of the sages. Sulphur corresponds to the elementary form of Fire, Mercury to Air and Water, Salt to Earth.

The method and the vision on the path to the philosopher's stone. The Alkahest ameliorates the Azoth. Though however we are facing a problem with it even before the discovery of the philosopher's stone. A true Alkahest cannot be contained, however some practitioners believe this is only a technicality in the concept, Philalethe a practical philosopher has specified that the Alkahest dissolves only composed material into their constituent, elemental, parts.

This obviously cannot be limited entirely to corrosives. Other materials such as ectoplasms, residues, even organs of certain creatures can produce a mellifluous effect. I have collected things from residue left behind creatures of pure fire to the hearts of powerful and terrifying creatures, distilling them then enhances their previously non existent properties. These are solvents based in different elements, there is no limit to what can be produced.


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AN INQUIRY INTO ALCHEMY
— William Roberts, 773
Spoiler: show

In a previous issue of this periodical, I provided a layman’s overview of the promise of the alchemy practiced in my native Zherisia. In Shadewell, the University of Paridon educates alchemists who have emigrated elsewhere throughout the Core and thereby helped many lands, including Dementlieu, advance in this science far beyond the dabbling with various unusual essences distilled from sundry creatures. Unlike magic and (worse) religious superstition, alchemy requires not the practitioner be subservient to forces and gods beyond his understanding but instead empowers him to master those universal properties and laws to which even the gods themselves must bow and yield.

Additionally, I elucidated how the Glamer race (commonly and somewhat prejudicially referred to as Doppelgangers) has, in actuality, achieved enlightened breakthroughs in this science far beyond those of mankind. For example, whereas human alchemists have developed a reproductive image process in Zherisia known as daguerreotypy—albeit of a colorless and crude accomplishment, I assure you that were you to witness the product, you would find it nonetheless miraculous—Glamers have used alchemy to propagate actual living beings. Glamer alchemists have created life itself.

In this article, then, I purport to give my readers a primer of alchemical basics, both in the near Core and those lands currently less accessible to my current audience. At the University outside Port-a-Lucine, a device exists, for example, that will extract a portion of one’s life force—what superstitious thralls refer to as a “soul” but I prefer the Mordentish term élan vital—and transfer it to an inanimate object, using an alchemical essence. I theorize this is a crude approximation of the same fundamental principle that the Glamer mechanism in Zherisia expands more fully.

A more mundane example is the local firearm, which uses a form of alchemy to achieve propulsion of a lead bullet. In Zherisia we have melded the two components together into self-contained cartridges, thereby allowing repeating rifles and pistols.

Otherwise, alchemy as practiced in the near parts of the Core is limited in scope to the branch known as coagulants: when the animating force of a being leaves its vessel through death, a residue of that force may yet remain in the material shell it once occupied. The student of alchemy, therefore, takes the bodily portion containing the greatest share of this residue and slowly distills the essence. Colloquially, the coagulant—once affixed with a resin—is known as a varnish. Although some local alchemists (including yours truly) have become adept at the techniques and practice of coagulation, it is but one basic branch of alchemical science.

For a convenient shorthand, I shall subsequently differentiate between low alchemy as that practiced in the more superstitious and primitive parts of the Core (e.g., Barovia) and the high alchemy of Zherisia (and perhaps Lamordia). I shall also omit from current considerations in the interest of brevity three intermediary branches of alchemy: curatives, purgatives, and purifiers.

The loftiest limb of the five branches of this science is Alchemical Life, which does not merely manipulate extant life force but seeks to infuse and even create it. Each branch in turn has a permutation, such that the third permutation of each contains the most complex and difficult formulae of the science. Whereas a master alchemist of low alchemy achieves greater success by working with more delicate (and powerful) ingredients, to master high alchemy requires an understanding of many and more varied principles and calculations.

Unsurprisingly, the third permutation of Alchemical Life, then, requires expertise with the most challenging formulae of all. The most accomplished alchemists in this branch and permutation are Glamers, and I must caution our own race that if we do not wish to be supplanted entirely by Glamers and left behind in ignorance, universities such as those in Paridon and Dementlieu must institute curricula to encourage a broadening of human horizons.

(As a personal aside, the current prejudice against Glamers on the part of most of us must likewise be overcome by the enlightenment that cooperation between the two races will lead to the advancement of both.)

The four stages of alchemy constitute the following:

1. Nigredo: The blackening. Heat cooks the alchemical materials to a uniform black powder.
2. Albedo: The whitening. Mercurial waters or more intense heat is applied to purify the black powder into white, the prima materia, a primeval substance that is the original material of the universe.
3. Citrinitas: The yellowing. The most critical and difficult of the alchemical stages, in which the formulae are applied to produce the essence, reconstituting prima materia with elan vital.
4. Rubedo: The reddening. The alchemist applies additional formulae to transfer the raw essence into a finished, useful, individualized product. In low alchemy, this means affixing the essence with a resin to produce a coagulant varnish.

Almost all so-called magical effects accomplished by arcane spellcasters and holy men can be duplicated through high alchemy by those sufficiently advanced in its practice, the critical difference being alchemists understand precisely how these effects are achieved, instead of relying on some little understood deity or mysticism. When an alchemical formula is followed correctly, its outcome is universally reproducible, rather than subject to Providence, Chance, or Fate.





bunnie

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Re: ⚚ The Mithril Owl Periodical ⚚
« Reply #2 on: January 15, 2024, 07:33:09 PM »
A steady stream of gazettes exits the Presses du Savoir, settled in various cafés. One complimentary edition makes itself clear by the terraces' noticeboard.
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Issue #12Published by The Society of the Erudite


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With a recent surge in interest on the subject, for this twelfth issue of the Owl we endeavour to concentrate on akirology and its associated divinities with pieces dutifully penned by our most generous, astute colleagues such as the intrepid Doctor Vesnia Endymion. The final piece, we note, is to offer further understanding in relation to its forerunner as cited. If requiring additional substance regarding the matters included, please contact the current practitioner of the Mithril Owl at the Presses du Savoir.

For those who wish to participate in scholarly endeavours, to see their work shared, discussed, as well as to have access to reference and source material from as far back as the year 764: We, the Society of the Erudite, cordially invite you to contact our coterie, housed within the Presses du Savoir in Port-à-Lucine's Quartier Marchand. Preferably, present to us a well-researched and original text of your own make, after which we will deliberate on it's merit and possible induction within this, our circle of equals.


The horizon is the future,
Rosalie Épineux, M.B.




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ARTICLES WITHIN THIS ISSUE
✧ [Excerpts From] The Har'akir Gazetteer
✧ Discoveries in the Black Sands of Har'akir
✧ Har'Akir and Hermeticism
✧ The Divine Illusion




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THE HAR'AKIR GAZETTEER
— Anastacia Rotfurt, 767
Spoiler: show

Har'Akir is an inhospitable land of sand deserts, of merciless sun and venomous creatures. Travel here is even more dangerous than is the norm in the Lands of the Mist; save the Vistani there are no reliable guides to its Mistways, and only a fool would risk becoming lost in this parched wasteland. Water is sparse, and consequently so are its animals, plants and peoples. It is a land where life, despite its rigours, is cheap, and mistakes cost very dear indeed.

Despite these dangers, some travellers visit the sands; most driven by tales of lost temples, secret treasure and hidden wealth, others simply by its exoticism and the lure of distant climes. Many of these adventurers die, falling victim to any of the plethora of risks that lie in wait for the unwary.

There are many precautions the wise traveller must take. To name them all would be an exercise in tediousness, but this author offers her readers one cardinal rule, one rule that must never, ever be broken when journeying through the desert: always travel carrying water.

[...]

History
Akiran history is the property of either the priesthood records or folk-legend. Access to the former is closely guarded and, besides, is written in the Akiran language which, to this date, remains unknown to most non-Akirans. The historian is thus dependent on interviews with tolerant priests and commoners to learn anything of Har'Akir's past. The following account is offered in that light.

According to the High Priestess of Osiris, Snefru, Har'Akir is what remains of a kingdom that, centuries ago, ruled over a region known as the Abal River Valley. Ankhtepot ruled this land as Pharaoh, a god-king in the eyes of his people, the divine link between the Akirans and their pantheon of gods. Pharaohs ruled by the grace of Ra, the sun god and greatest god of the pantheon. But Ankhtepot remained a mortal, and like many mortals, he feared death. Seeking to escape his mortality, he commanded his priests to find a way for him to cheat death. Many terrible experiments were performed, in which countless slaves and prisoners were murdered; but success proved elusive.

Frustrated by this lack of success, Ankhtepot blamed his priests and razed many temples to the ground. Within the Kham temple, the greatest temple of the land, he cursed the gods for not granting him his heart's desire. Provoked, Ra finally answered him, cursing the Pharaoh, telling him that he would find life after death, but would regret it eternally.

That was the beginning of Har'Akir's downfall. The Pharaoh's touch reportedly slew any living creature – starting with his wife and children. Worse, those slain in such a way rose as undead. At last the priesthood rebelled, killing Ankhtepot in his sleep. They buried him as befitted a Pharaoh, mummifying him. Shortly after the funeral rites were performed, the Wall of Ra descended, cutting off Muhar from the rest of Har'Akir. Thus things have remained for many generations.

[...]

Religion
The role of religion is ubiquitous in Akiran culture. The relationship between the people and their gods is profound and complex; the Akirans share and suffer the curse of Ankhtepot, but hope to win redemption by suffering it with stoicism, repenting of his evil.

To understand the Akiran pantheon and its role, we must first discuss the concept of Ma’at. Ma’at is the principle of order and balance in the cosmos, binding everyone and everything together, even the gods. In the eyes of the Akiran people, to live according to Ma’at is to live well. Its opposite is Isfet; injustice, imbalance and chaos, which is served by the serpent Apophis.

The nine most powerful gods of the Akiran pantheon are known as the Great Ennead. These are:

  • Ra: Har’Akir’s sun god, the father and the grandfather of the other gods and therefore their ruler and the most powerful amongst them. Akirans believe that mortal man was made from his tears.
  • Shu: the first of Ra’s children, a god of wind and air. The husband of Tefnut.
  • Tefnut: goddess of storms and rain; the wife and sister of Shu. Akirans have offered great prayer and sacrifice to her but they remain unanswered; perhaps Ra has commanded her to forsake them.
  • Geb: god of the earth, the first son of Shu and Tefnut. Husband to Nut, the sky, but they are kept parted. He is a symbol of great endurance.
  • Nut: god of the open sky. She is the daughter of Shu and Tefnut, sister and wife to Geb. She was forbidden by to have children by Ra on any day of any month, but resorted to trickery to bear her children. With the help of Thoth, she stole some of the moon’s light and used it to create five new days of the year. Each of those days, she gave birth to a new god.
  • Osiris: The husband of Isis, he was once the god of life, nature and plants, but was tricked by Set and trapped within a golden sarcophagus. He could not be saved and passed into death, but as a god, could not perish. Now he is the protector of the dead in the afterlife. The Akirans revere Osiris greatly.
  • Isis: the goddess of motherhood, wife to Osiris and mother of Horus. She mummified Osiris after he was slain by Set, allowing him to become a god of the dead. She fled from Set and gave birth to Horus, who fought on against Set in his father’s stead.
  • Set: god of deceit, evil and storms; murderer of Osiris. A dark, treacherous god that most Akirans prefer to avoid and not speak of.
  • Nephythys: goddess of wealth. She was once the wife of Set, but horrified by the murder of Osiris, she left him and aided Isis.

There are also other, less powerful gods.

  • Thoth is the god of science, knowledge and medicine. Akirans say that magic is a gift from Thoth; and that Thoth possesses three books in which all knowledge is recorded.
  • Ptah is a god of patron and architects, of creation and ingenuity, who brings inspiration to all artists.
  • Horus is the son of Osiris and Isis, born after his father’s murder at the hands of Set. He is a god of vengeance and has taken up the fight against Set.
  • Anhur is a god of war, his wrath slow and inexorable and wisdom in warfare legendary. He is not known as a forgiving god.
  • Bast is the goddess of cats and patron to those who seek pleasure. She is an elegant and cunning goddess, and an enemy of Set. Her worship has always been popular in Har’Akir.
  • Anubis is a jackal-headed god of the underworld, of mummification, the gatekeeper to the afterlife and servant of Osiris
  • Sobek, the crocodile-headed god of water and strength. He is a dangerous god, very feared in Har’Akir.
  • Sekhmet is a goddess of war and strength, a servant to Ra in his war against the serpent Apophis, and sometimes sent out to deal with those who defy Ra’s will.

Knowledge of the Akiran religion is an useful asset to the traveller. The priesthood of Muhar rules the village; thus, theology and theocracy are intrinsically linked.

[...]

Final Thoughts
An exotic and dangerous land that is close to its gods and their fury, Har’Akir possesses a rare beauty, as savage and unmerciful as the sand asps that roam its dunes. Greedy for treasure, the outlanders who trample through its temples may miss the significance and history of these holy places. Yet it is clear that the fate of the land and its people is closely entwined with its history and  the undead and their master, Ankhtepot.
What will the future bring? In these dark times, nothing is certain; but if reports of the Pharaoh’s stirring are true, then likely some dark, terrible confrontation is brewing. The Akiran people are a sturdy, hard folk who are used to sacrifice. Proud, they also resent external interference, knowing that they, and they alone, must stand up and be judged by their gods.
For in the final measure, that is also one of the meanings of Ma’at: the judgement of the balance, accounting that which is found worthy or wanting. Perhaps if they pass this final test, the curse will finally be lifted from their land.



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DISCOVERIES IN THE BLACK SANDS OF HAR'AKIR
— Dr. Vesnia Endymion, 778
Spoiler: show

East of Muhar lies a spot in the desert known to the locals as the “black sands”. Originally I thought it named thus because of there being evidence of silt deposits; however, I now believe the locals call it that for far more superstitious reasons, believing that spot of the desert to be especially cursed. According to the locals, the dead rise from the sands once Ra has been chased away, and Apophis or Apep’s influence is felt most strongly - after the sun sets, and only stars and the moon pierce the twilight.

Accompanying me as part of a planned field study were Mlles. Odette Cloutier, Louise Foucault, and Meilian, alongside M. de Hopital and Viris. We were eventually joined by a doomsayer who wished to peer over the ruins and be reminded of everything’s impermanence. Through the Vistani, we were offered safe passage through the Mists to the Amber Wastes…

The dig site was chosen due to its considerable distance from other notable ruins buried in the sands, who are with regularity plundered and picked clean by grave robbers and opportunists. While there may be some chance given later to perhaps visiting these sites and seeing what they might have overlooked, it was not my intention at the time to follow in others’ footsteps. That is not what the intrepid do.

Our arrival was not without resistance. Some ne’er-do-wells, hoping to hoard what treasure lay beneath for themselves, disguised themselves as restless Akiri dead to try and scare us and the locals off. It probably worked on the Akiri themselves, but we would not be so easily shaken. My stalwart companions and I, of course, made short work of these men when they decided to attack us without provocation.

We discovered what we realized was a tower that belonged to a far larger super-structure, buried beneath the sand. Two large sand dunes rest to both the south and the west, looking as though they conceal something large. Akiri fables speak of the Great Pyramid of Zoser, and the Great Obelisks of Khufu, Khafre, and Menkaure — could one of these grand monuments rest beneath the desert wastes?

Inside the tower’s lone entryway were stairs leading downwards into a modest, one-room shrine to Bes. Bes is a deity both masculine and feminine. In his masculine form, Bes is a stout dwarf-sized figure with long, lanky arms and jolly mien who enjoys festivals, feasts, music, dance, and all forms of earthly pleasure. He acts, too, as a symbol of virility. His feminine mirror, Baset, symbolizes fertility and childbirth, and likewise acts as a guardian and protector for children. In both forms, Bes is a lover and protector of all things good, and stands in opposition to all things bad - famine, disease, and misery.

The shrine itself is sparsely decorated, with only three halfling-sized amphora and a mosaic near the entrance present beside the stone statue dedicated to the deity resting in the room’s center. The statue captured both sides to this dualistic god, giving it an altogether androgynous appearance. Neither the statue nor the amphorae were particularly lavish; grave robbers interested only in the gleaming of gold, silver, and rare gems would have little reason to disturb this shrine — there is simply no lucre to plunder.

However, that does not mean that there isn’t a wealth of knowledge to be uncovered here. The designs on the amphorae, once we can be assured they can be safely transported, could teach us much about both the age of the shrine and the super-structure it is a part of. Furthermore, the mosaic on the wall is a masterpiece from ages past; if grave robbers recognized its value, they remained unable to abscond with it due to its size and the logistics involved in moving it.

The mosaic depicts a grand revelry, likely as part of a festival, with musicians playing the aulos (or “double-flute”, a reed instrument similar in sound to the hautbois), and men and women (a few in various states of undress) dancing about with abandon. It is exactly the sort of merriment Bes would look upon favorably, and yet the shrine is on the whole too small to play host to such an event, suggesting that this may be a personal shrine belonging to an influential Akiri family, perhaps even one of the pharaohs themselves.

Though we began shoveling in and around the tower and even utilized methods involving the arcane sciences to try and expedite our work, it quickly became clear that it was cut out for us and that this would be a project that would involve a lengthy presence at the dig site, on the order of weeks or months. One of our number, M. l’Hopital, attempted to use a crowbar to lift up one of the limestone tiles in the hopes of granting us access to the rooms underneath, yet the weight of the tile meant it would not budge - remarkable, when one thinks of how sturdy this structure has remained in the face of time’s rigor. Of course, I am no architect or mason, and thus will let Mlle. Foucault attend to the specifics.

We hope to return with heavy picks and other tools that might better pierce the limestone without causing too much damage to the shrine itself, and in such a case, we intend to make our stay considerably longer.


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HAR'AKIR AND HERMETICISM
— Dr. Vesnia Endymion, 778
Spoiler: show

It is difficult to imagine, given Har'Akir's rather steep decline in the age of modernity, but there has been much that scholars have gleaned from them. The Akiri language has given to the Core and the wider world beyond the Amber Wastes many things, chief among them a series of loanwords that have entered into both the Mordentish lexicon and the trade tongue of Common. “Ebony” is derived from the Akiri word “hbny”, a word used to describe the persimmon-growing ebony tree that once grew in the Abal River Valley at the height of Har'Akir's power and influence. The word “sash” was originally thought to come from the Pharazians, and yet they themselves acquired it from the Akiri word for linen, “Ss”. However, the most important of these loanwords also comes to us vis-a-vis Pharazian nomads and their interactions with the Akiri: alchemy, or, “al-Khami” is best translated out of the Pharazian tongue as “the/that [of] Kham”.

Kham at its height housed the “great obelisks” of three ancient pharaohs and is further believed by scholars to have been a great city and furthermore a seat of great learning in Har'Akir's ancient past. Priests and priestesses of the ibis-headed god of knowledge Thoth would interact with magi versed in the arcane's many mysteries, and yet they would also, through their rituals and practices, produce the beginnings of certain academic disciplines and crafts, some of which are followed to this day.


Modern scholars first became aware of their techniques through a group of gnomish occultists based out of Mayvin known collectively as the “hermeticists”. How they first became exposed to the secrets of the Akiri and to their pantheon remains largely unknown; however, their practices and traditions date all the way back to the Age of Secrets. At the core of hermeticism is the belief in “Hermes Trimegistus”, or “Hermes the Thrice-Blessed”, a deific figure who is a syncretic merger both the gnomish god of Hermes and Thoth. Central to the hermeticists' guiding philosophy was their belief that “quod est superius est sicut quod inferius, et quod inferius est sicut quod est superius” - as above, so below. By studying the world around them, they could glean greater wisdom about the spiritual world that Hermes Trimegistus presided over. In their eyes, terrestrial events were a reflection of spiritual events. They cannot perceive the latter, but as a fisherman might catch sight of something reflected off a lake's surface, they can use the former to maybe piece things together...

The “wisdom of the universe entire”, to the hermeticists, could be gleaned through understanding of three principal disciplines: theurgy, or the practice of magic; astrology, the study of the constellations, the stars, and their effect on the world below; lastly, and most relevant to this treatise, alchemy. The hermeticists believed that alchemy held the key to understanding life as a whole, a belief that would be echoed in the Zherisians' own practice of alchemy, as W. Roberts writes in his treatise on the subject[1]. They investigated the mysteries of 'alkahestry', a universal solvent, in pursuit of what is called 'the azoth', a curative that heals not only the mind but also the soul. Hesiod Huginn, a gnome from Mayvin who was steeped deep in the traditions of hermeticism, writes not only on alkhestry but also on the philosopher's stone and the Great Work, the pinnacle of one's achievement and the attaining of spiritual enlightenment and transcendence[2].

Is there something divine to be found in the study of alchemy? Huginn, Roberts, and most recently Camus[3] all seem to think so. I am merely a historian, a studier of times past, and yet it cannot be denied the body of work that hermeticists have contributed to and modern Mayvin stands as a testament to that. The innovations of the future, as always, will have firm roots in the past and the knowledge of our forebears will open up the long road ahead.

 1. W. Roberts, "An Inquiry into Alchemy".
 2. H. Huginn, "Η καθολική διαλύτη/The Universal Solvent"
 3. R. Camus, "The Divine Illusion"


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THE DIVINE ILLUSION
— R. Camus, 776
Spoiler: show

I wish to preface this work by stating that I do not deny the existence of divine magic, nor do I deny the utility of divine magic. The purpose of this text is to interrogate the origins of divine magic, much as the famed Doctor Drukker did with arcane magic in the Arcane Illusion. It is typically proposed that the origins of divine magics are gods. Entities that cannot be observed or tested for in any meaningful manner. The individual utilising the magic invokes it in a similar manner to that of an arcanist. Typically, there are verbal and somatic components. Both must be studied and practiced in order to cast the divine spell. It should be noted that though most divine spells require one or both components, some practitioners can learn to eschew either component. As Doctor Drukker observed in the case of arcanists: it is not in the wiggle or the waggle that the magic truly resides. Such components can be considered tools for invoking divine magic; they ease its use but are not necessary components in its invocation.

One essential point remains for the use of divine magic: it requires study, practice and training. It does not matter how devoted a priest is to their god; if they have not undergone the necessary training, they are unable to perform their miracles. Even the obscure rumours of those spontaneously gifted divine magic, like the sorcerer of arcane theory, indicate that practice is required to utilise their magics. Indeed, those devoted to a divine that manifest great power may convert to another divine and manifest the same magics as they had previously. This means that the magics being invoked are not dependent on the favour one commands from their divine, if such exists, but in their personal skill in invoking divine magic.

This draws me to the same central thesis as Doctor Drukker in his work on the arcane. The necessary elements for an individual to perform divine magics are study and devotion to a god. These are qualities of the individual servant and do not necessitate the existence of a divine to offer them their powers. Indeed, it necessitates nothing but the existence of energies that react in the manner of miracles when invoked under those conditions.

Of course, this does not discount the possibility that the source is a god. But there is a useful case study in the cult of Erlin, practiced in Gundarak prior to its occupation. Despite the bloody acts of terror and worship perpetuated by the cult, its servants never manifested any form of divine magic. It was not until the resurgence of the cult in 754 that practitioners proved capable of divine magics. Why the sudden change? Was the god fictitious until this time? Some creation of the belief of the madmen still deranged enough to worship him? I cannot comment with authority on exactly what changed, but this does demonstrate that it is the actions and beliefs of men that seem to manifest a god as a “source” of divine magic. This would explain why countless gods named by those from beyond the Core answer their prayers or why heretics, like the Cosoveian Fifth Sect of Ezra, can present as capable of divine magic.

Perhaps most importantly for our interrogation of the origins of divine magic is the existence of natural methods for invoking similar effects. The practice of High Alchemy is utilising alchemical methods to manipulate flesh and spirit. The simplest form of this is the distillation of pure vitae, or life essence, that can heal a living being on physical contact. This is much the same effect as a divine user of magic can have with healing magic. Does this mean that divine magic users are secretly producing vitae and splashing it on those they wish to heal? No. The point of this parallel, often misunderstood in Doctor Drukker’s own work, is that effects we attribute to the supernatural can be invoked by very quantifiable processes. Is it not possible, even likely, that divine magic is simply a form of energetic transformation with origins we have yet to fully comprehend?

I do not argue now for the outright rejection of divine magic, or against the good that an organised religious practice can do for a community by way of ethos and charitable action. But I believe it important that we comprehend the tools we utilise in uplifting our peers. In understanding exactly what the source of divine magic is, and reducing it to terms of natural science, we might harness it for the collective good safely and without binding to any one religious doctrine.

Let us be done with miracles, and instead seek scientific triumphs.




« Last Edit: January 16, 2024, 08:15:48 PM by bunnie »

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Re: ⚚ The Mithril Owl Periodical ⚚
« Reply #3 on: June 10, 2024, 04:00:47 AM »
A steady stream of gazettes exits the Presses du Savoir, settled in various cafés. A pile makes itself clear by the terrace's noticeboard.
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Issue #13Published by The Society of the Erudite


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In hopes to spark interest in the discussion of culture alongside the upcoming debate surrounding such, this scholastic gazette reveals a trio of works analysing and discussing the cultural arts themselves. If requiring additional substance regarding the matters included, please contact the current editor of the Mithril Owl at the Presses du Savoir, Quartier Marchand.

For those who wish to participate in scholarly endeavours, to see their work shared, discussed, as well as to have access to reference and source material from as far back as the year 764: We, the Society of the Erudite, cordially invite you to contact our coterie, housed within the Presses du Savoir in Port-à-Lucine's Quartier Marchand. Preferably, present to us a well-researched and original text of your own make, after which we will deliberate on its merit and possible induction within this, our circle of equals.


The horizon is the future,
Dr. Rosalie Épineux, M.D.




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ARTICLES WITHIN THIS ISSUE
✧ The Importance of the Restoration of Art & Antiques
✧ Context of Culture: The First & Third
✧ Manuscript: The First & Third




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THE IMPORTANCE OF THE RESTORATION OF ART & ANTIQUES
— Émile Vouivre, 778


The restoration of art plays a critical role in preserving cultural heritage and spreading awareness of a nation's history, traditions, and values, and it serves as an effective tool for promoting cultural exchange and understanding among people.

As time advances so do traditions, values, beliefs, and what is considered of historical significance; many of such is not deemed important enough to document by contemporary scholars, and an item from ten years ago is quickly dismissed as outdated, often outright destroyed. But as decades turn into centuries, such an item can provide a window into the past; they reflect the traditions, values, and beliefs that are now of historical significance, to a society who may have forgotten who it used to be, and that strangers or even enemies might have been friends in a time long ago.

Art is everywhere. Detailed paintings and immense statues make for clear statements, while one easily overlooks the significance of the filigree on a silver jewelry box, or the carved pattern in the side of a walnut harp. Yet each of these examples carry with them the sentiment of the creator's contemporary sentiment. The most minute of details and flourishes can be more insightful than any lengthy treatise. Just as a person's identity is unconsciously shaped by their environment and influences, so are their creation's a reflection of their nation's identity and evolution.
It is through the painstaking and delicate process of recovery and restoration of these creations that such hidden meanings are uncovered, and context is provided as to its place in time and culture. A deeper understanding without any words exchanged; communication only through an artist's sincerity.

This value increases from there: By redistributing and displaying the art and antiques in museums, galleries, exhibitions, or even private residences. A people who engages with their history in this way can foster a sense of identity, unity, and pride in themselves and their countrymen.
But it spreads beyond borders and language: Accessibility attracts inquisitive minds from widely diverse backgrounds, of which each brings their own unique traditions, values, and beliefs. The ability to contrast and compare, to share history and sentiment, which does not get warped through political agendas or find itself lost in translation.
Forgotten, once considered mundane, items become the foundation for cultural dialogue, understanding, and appreciation; the bedrock for an enrichment of society, and, eventually, encouraging an amicable diversity in people and their cultures.

In conclusion, restoring art and antiques play a significant role for the identity and heritage of a nation and its people, which itself are essential for a communication and unity that pay no heed to contemporary borders. Preservation is not simply maintaining the shape of an inanimate object: An understanding of the past forms a path towards an understanding of the future.



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CONTEXT OF CULTURE: THE FIRST & THIRD
— Quinn Mazefell, 770


Culture plays a significant role in interpretation of the arts. It is the lens through with all but the most universal symbolism is created. Changing the audience can the meaning of a work as easily as altering the details would change how a given audience perceives it. This work focuses on a breakdown of my play "The First and Third" to explore this concept more easily, though it is applicable to other forms of art and storytelling as well.

The First and Third is a silent play. As an exploration of conveying a story without speech, the work relies heavily on music and the preconceptions of the intended audience to work. The diction itself is fairly simple, with much of the the detail left to the acting troupe, Only the key scenes and costume for the principle actors being specifically defined. This simplicity theoretically grants it a great degree of adaptability if performed elsewhere.

As the name might suggest it heavily borrows inspiration from the lore of the Ezrite Church. For the original showings to a largely ezrite dementluese upper-class, the story is a telling of the history of Ezra and her sacrifices to the mists. A number of design choices were made at the time to enhance the allusion to the source material. As an example the Lost Ones are not clearly defined in appearance or number by the stage play. The theater elected to have five such extras as a call back to religious superstitions about the number and designed the garb of most to reflect the birthplaces of the existing sects. In addition the figure representing Ezra, noted as the Pure Maiden and the Wandering Soul in the stage play, is initially shown in a regal gown in the greens and whites of the church. These intended meanings could easily be lost on those of different background.

In a country more superstitious and irreligious such as Barovia the story might be perceived differently. The rich and regal garments of the Pure Maiden translating into a noble taken in by some enigmatic and mysterious stranger. Even with little alteration The Shadow, which was intended to represent some dark power in the mists, could easily be interpreted as the Barovian concept of evil and deception known the Old Night. Perhaps to them it would be a warning fable of a dark deal. A woman's fall into the clutches of darkness instead of a story of a goddess.

There are many other possibilities for such differences in translation, both in this work and others. Things such as religious bias, societal expectation and even the age or social standing can alter individual perception of meaning. The next time one views some form of art it may be prudent to consider how could be perceived by someone else.



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MANUSCRIPT: THE FIRST & THIRD
— Quinn Mazefell, 770


Intended as a silent piece set to music. Actors expected to be expressive through behavior, some degree of freedom is expecting in performing the roles to convey the meaning of the scene.

Characters

The Pure Maiden — A woman of immaculate beauty in a beautiful gown of white, trimmed in gold and green with a matching mask. An empyreal cloak of thin, glowing fabric is draped about her shoulders. She carries herself with regal bearing.

The Lost Ones — Three to Five actors dressed in an array of styles from around the core with styled full-masks to hide their faces. Should reflect distinct cultures.

The Shadow — A heavily robed male figure wreathed in darkness. moves with confidence and purpose. Preferably shadow shield spell or dark gloves and a hood should conceal the actor. Horned mask suggested.

The Wandering Soul — Same actor as Pure Maiden, now garbed in dingy peasant clothing or a battered holy vestment. Her cloak is thin and dull. Mask remains the same. She should carry herself in a humble.

Act 1

The scene opens on forested stage. Cue sweet and peaceful tune. Enter the Pure Maiden walking or capering about the stage gracefully, smiling brightly and displaying motherly adoration as she surveys the peaceful audience.

As this is done a fog begins to creep from behind the curtain and roll along the floor. Cue discordant tune as mist begins to pool. The Pure Maiden halts her as it rolls over her heels, moving quickly and cautiously to one side of the stage. She appears curious.

The Lost Ones emerge from backstage opposite the Maiden. The mist lays between them. They visibly bicker, shouting, waving arms and making threatening gestures in silence. Once they reach their positions opposite the Maiden, a physical scuffle begins between two of them the remaining appearing distressed.

The Maiden is taken back by this strange and terrible sight. She appears to become concerned placing a hand over her mouth and reaching out with other. She moves to intervene but finds she  is forced to stop at the edge of the rolling mist and watch the conflict unfold in horror.

Music strikes a sour cord before shifting to an eerie tone. Enter the Shadow. the dark figure steps out from the fog at the centre of the stage as one of the combatants falls. The maiden appears to be weeping. Lost ones halt their activity, maintaining their poses as if frozen in time. The Shadow turns to the Pure Maiden, appearing curious.

The Pure Maiden takes notice of the specter and turns to him. She motions with distress across to the Lost Ones and indicates that the fog is impeding her. She pleads with the Shadow, who calmly regards her. After a few moments the Shadow nods, approaching the edge of the fog. He extends a hand to her and gestures to her cloak.

At this the Maiden appears startled, fingering the garment before looking mournfully to the scene of suffering opposite her. After a moment she undoes the clasp, letting it fall from her shoulders. She places the cloak into his waiting hand. Cue music to rise to a fevered pitch. At that moment the Shadow seizes her wrist and drags the maiden into the mists and backstage. The cloak is left to flutter to the floor. Cue darkness enveloping the stage.

Act 2

The scene opens on a barren landscape. Rocks, a few sparse shrubs and lifeless trees the only landscape. [Music is slow and mournful] The Wandering Healer awakens laying on the stage. The fallen Lost One continues to lay nearby, there is no sign of the others.

Rising her her feet she draws her cloak about her with a shiver and wanders about the stage in confusion. Stumbling upon the wounded man, she becomes concerned. Kneeling beside him, she tends to his wounds. After a few moments of tending and prayer the figure rouses with a start. The Healer appears relieved. The Lost One appears confused by the healer, behaving suspiciously toward her. The Lost One Quickly rises to their and scampers off to the Healer's surprise.

Other Lost Ones enter in the midst of an animated argument and appear on the verge of coming to blows. The Healer moves to mediate only to be rebuffed. The Lost Ones enter and exit in a flurry, acting out various forms of injury or conflict. For each time the Healer manages to intercede, twice as often she finds herself  chased off  or unable to do anything. A weariness and despair grows on her with each failed encounter until she falters, kneeling in prayer as the Lost Ones leave. A fog once again begins to roll in from backstage.

The Wandering Healer rises in alarm as the Shadow appears. She does not appear to recognize him and is wary of his approach. The Shadow corners her at the edge of the stage. The mist should be covering it, pouring off into the audience. Cue a more sinister sounding version of the eerie music from before. The dark figure gesticulates, making some manner of offer to the wary Healer. The cloak from before is brought out though it no longer shines wrapped in the shadow's dark fingers. It is offered to her along with an open expectant hand. The music stills.

The Wandering Healer looks from the Shadow to the cloak. She lays her hand in his before attempting to claim the mantle. The eerie music starts again on an ominous note. The Shadow closes his fingers around both the hand and the mantle. Sweeping the hand with the mantle out of her reach, he draws her hand to his mouth before leading the Healer away into mists. Cue darkness enveloping the stage.

Act 3

The Lost Ones caper about, carrying on in the usual fashion. A mellow tune should be playing which should increase in ominousness as the scene progresses. Mists begins to roll from the back of the stage though it does not extend far on to the stage. The Lost Ones stop to watch as the Pure Maiden clad in the now dull and sullied cloak steps forward, arms outstretched to them, a frail smile painted on her features. One at a time the Lost Ones approach the edge of the fog, kneeling before her or dropping to worship her. The Shadow steps in directly behind her, arms wrapping about her in a possessive embrace. Together they glow in a sickly light. Cue Darkness.

End



« Last Edit: June 10, 2024, 04:02:51 AM by bunnie »