SPRING

Angkar: Dry season. Often sunny, but precipitation is rare. Humidity is low, some bodies of water may have dried up, and bushfires can occur. The rainforest sees evenly distributed rainfall throughout the season.

Ashoka: Desert: Cooler temperatures, although still relatively hot. Violent, heavy downpours following long dryspells. Jungle: Hot and humid with frequent, violent rainstorms.

Morrim: Calm and generally cool. Thunderstorms and heavy showers are not uncommon, and there is also a chance of snow until late in the season.

Soto: Trees begin to bud and the snow begins to melt, which may cause minor flooding. Although temperatures increase, snowfall early in the season is not uncommon. Low-lying plants grow while the tree cover isn't too dense.

ANNOUNCEMENTS

March 30th, 2018 As you might have noticed, Elenlond has changed hands and is now under new management! If you have any questions, please ask [b]DaringRaven]! As for the rest of the announcements including a season change, you can find them over here at this link!

January 16, 2018 As you might have noticed, Elenlond has a new skin, all thanks to Mel! Don't forget to check out the new OTMs as well!

December 2, 2017 Winter has settled on Elenlond, bringing sleep for some and new life for others.

September 26, 2017 With the belated arrival of autumn come some interesting developments: new OTMs, a Town Crier and the release of the Elly Awards winners!

July 14, 2017 After a bit of forum clean-up, Elly Awards season has arrived! Head on over to make your nominations!

May 31, 2017 Summer has arrived and so has activity check! That's not all though – we also have some new OTMs for you and some staff changes!


WHAT IS ELENLOND?

Elenlond is an original free-form medieval fantasy RPG set on the continent of Soare and the Scattered Isles, which are located to the south in the Sea of Diverging Waters. The four chief nations of the western side of the world—Ashoka in northern Soare, Soto in western Soare, Morrim in eastern Soare, and Angkar, the largest of the Scattered Isles—continue to experience growth and prosperity since the fall of the Mianorite gods, although power struggles within the countries—or outside of them—continue to ensue.


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  • CURRENT EVENTS

    Angkar: To honour the reinvigoration of the ancient city of Mondrágon, the majestic Queen Eulalia has permitted the opening of a Coliseum where people from around the world and all walks of life can test their combat skills against one another. Many have already done battle in search of honour, glory, prizes and money.

    Ashoka: In an otherwise peaceful times, Ashokans are beset with the relatively minor inconveniences of wandering undead and occasionally-aggressive giant rock worms. There has also been some controversy over the recent re-legalisation of human sacrifice.

    Morrim: Rumour has it that Emperor Leofric de Hollemark is mustering forces for a war. Though the threat from Soto’s forests has passed, the forces previously employed in watching the forest now linger at the border. Rumours also circulate of a small group that has been dispatched to make contact with the tribes of the Do’suul Mountains.

    Soto: The Sotoans have defeated the fey and liberated themselves from Méadaigh’s oppression! Preliminary efforts have been made at rebuilding the city of Madrid, which had been captured at the beginning of the war. However, the Sotoans are hindered from recovery famine. Méadaigh’s magic caused summer to persist in the Erth’netora Forest through the winter. Her power has been withdrawn and the plants die as if preparing for winter – even though it is now summer. The Sotoans must sustain off what food they can get, what creatures they can kill and what can be imported into the city from Morrim and Angkar.

    For a fuller description of our most recent events, check out our most recent edition of The Town Crier!

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    Welcome to our home, a world in which anything can happen. From sprawling deserts and vast forests to massive volcanoes and luscious hot springs, Soare and the Scattered Isles are beautiful places just waiting to be explored. For the brave and the bold or the cautious and the wary, creatures of all kinds roam the earth, looking for adventure or for a place to call their own. Species of all kinds - the well-known and the unknown - thrive here, though not always in harmony.

    Elenlond is an original medieval fantasy RPG with a world that's as broad as it is unique. Calling on characters of all kinds, the sky's the limit in a world where boundaries are blurred and the imagination runs rampant. Restrictions are limited and members are encouraged to embrace their creativity, to see where they can go and what they can do. It's no longer just text on a page - it becomes real.

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    Phaedrus
    Topic Started: Jan 18 2014, 05:28 PM (1,444 Views)
    Phaedrus
    Member Avatar
    Thus conscience does make cowards of us all/ And thus the native hue of resolution/ Is sicklied o'er with the pale cast of thought.

    OVERVIEW


    Posted ImageNAME(S) ♅ Phaedrus
    AGE ♅ Unknown
    GENDER ♅ Male
    ALIGNMENT ♅  Chaotic Good
    SOCIAL CLASS ♅  Commoner
    OCCUPATION ♅ Necromancer
    RACE ♅  Greater Dead
    NATIONALITY ♅  Ashokan
    VOICE 1 ♅ Persona
    Jaime Lannister from Game of Thrones
    VOICE 2 ♅ Real voice
    Satan from this claymation



    APPEARANCE

    PERSONA ♅ At 5'8 and rather plump, Phaedrus cuts an underwhelming figure. He is marble-pale, with a long, vulpine face and a pike of a nose that juts out over thin bow-lips. Often, they're twisted or pursed to a line. His eyes are almond-shaped and slanted, and a unnerving shade of yellow that morphs from hazel to sulfur. Red eyebrows soar over them, plucked to severity. His hair is the color of burnished copper and hangs past his shoulders in waves. Of late, he ties it into a ponytail or braid, as it is unruly in humidity. He has a slight double chin and dimples that become prominent when he laughs or grins. His build is feminine, as he has wider hips than the average male and appears androgynous, particularly from the back.

    He has a fondness for blue and greens, and generally tends towards colorful, comfortable clothing. He favors loose tunics, light coats and pants, and has a great love for embroidery. If it were up to him, he'd go out in public in pajamas, but that would be Unseemly. He's an incorrigible fop, and isn't afraid to apply face powders and wear eccentric or flamboyant fashion. He loves shoes, particularly of the Ashokan variety, and tends to hoard them. Slippers, when amenable to the weather, are his favorite. Despite his casual dress, he often keeps a dagger and ritual knife close at hand or under his clothing. It's so instinctive that he has to remind himself not to bring it to tea-time or fancy parties.

    TRUE FORM ♅ Phaedrus lacks a defined physical form. When his facade melts away, so does people's sanity. Think "eldritch horror." He looks like a nightmare, a shimmering, warped manifestation of reality, like God got high on PCP and made a human out of screaming souls. Because he is not 100% grounded in the living world, he takes on many of the aural characteristics of apparitions, conjured demons, etc. Some perceive him as a shroud of darkness--others as something gaping, rippling and inhuman, but impossible to perceive directly, like you're perpetually glimpsing him out of the corner of your eye. In short, 0/10, would not bang.


    WEAPONS

    NECROMANCER’S DAGGER ♅ Found in his Master’s castle.
    Enchanted with binding necromancy magics associated with sleep and stupor. When used with basic magic, it drains strength, and makes the enemy feel more tired than usual. Intermediate/strong magics can put a target into a temporary sleep. The enchantment must be replenished with blood sacrifices. Hilt is carved with runes and the blade looks vaguely purple and rippled in some lights; it reflects light oddly.

    ASHOKAN DAGGER [x2] ♅ From Eldahar.
    Made of regular steel. Blade is somewhat curved in Eldaharian fashion.



    PERSONALITY


    SILVER TONGUE ♅ Phaedrus likes to hear himself talk. Fond of puns and insults, he tends towards snark rather than fists; a titter and backhanded compliment are his weapons of choice. He's a master of bullshit, and lies seamlessly and naturally. While approachable in the sense he is talkative, Phaedrus is not necessarily friendly. Often, a thin veneer hides his mockery. He cracks jokes to emotionally distance himself, preferring to hold people at arm's length.

    CLEVER ♅ People often underestimate Phaedrus' intelligence, dismissing him as as giggling fool. However, beneath his tittery, vapid facade, his mind is very sharp. He enjoys challenges, ciphers and cryptic problems. Nothing is impossible to him; when a problem presents itself, he'll throw himself into his work until he's cracked it, whether it's perfecting a pie crust or solving a magical conundrum. At points it becomes a myopic obsession; Phaedrus can hyper-focus on things and forget that the rest of the world exists, locking himself in a study or library for days without sleeping. No idea is sacred, and sometimes he picks apart touchy things -- like people's philosophies -- and comes off as terribly rude and insensitive.

    PERCEPTIVE ♅ Phaedrus is attuned to others' emotions and body language. When he's not absorbed in his own mind, almost nothing escapes him. He is sensitive to the faintest twitch of someone's brow, slips of the tongue, and unspoken words. At points in conversation, his attention goes from merely interested to a piercing stare. He often has an intuition when something is "off" or someone isn't telling the full truth, and can smell bullshit from a mile away. Ironically, for all his perceptive abilities, he rarely turns it inward.

    CAPRICIOUS ♅ Phaedrus changes moods like he changes tunics. He can wheel from smiles to purple rage and back in the span of a few minutes. He is extremely emotional (though he'll deny it to the grave), and tends to be catapulted through life by his feelings. As a result, Phaedrus tends to sow chaos wherever he goes. He is prone to periods of extreme gloom and depression, often perpetuated by drinking. However, when he is well, he tends to be very passionate: about life itself, a relationship, or a specific cause or hobby, and throws himself into it with all his heart.

    BROWN-NOSER ♅ Phaedrus is an incorrigible people person. He remembers every detail about them: their name, their face, their mannerisms, what they were wearing, and so forth. He's keen to notice new things: haircuts, new clothes, weight gained, and so on. He absorbs gossip and delights in it. He remembers small things people say or do in passing -- their favorite food, how many siblings they have, their hobbies, how many sugars they take in their tea, and so forth. When he likes a person, he quietly acknowledges these things, setting out their favorite scones when they come around, asking about their brothers, and so on.

    CARING ♅ Despite his cold, often hostile veneer, Phaedrus does care. At points he cares too much, giving too much importance to people’s opinions of him. At his worst he can be incredibly insecure, seeking validation from others and trying too hard to win their affections. At his best, he is moved by other people’s struggles. He shows his fondness through action rather than words. Saying I care about you is much harder than simply hugging a person and making their favorite dinners. To him, words are often insincere, and take work to prove. When he loves someone, he does everything in his power to take care of them — offering a bed, meals, and financial assistance, though sometimes he lacks in physical affection. When he can’t provide for someone, he feels like a failure.

    PROTECTIVE ♅ Phaedrus is like a mother bear. When he loves something, he will go to any lengths to protect it, be it a person, a book, a place, a pet. (Murder, subterfuge, torture... you name it.) Once someone has wormed into his good graces, they can rest easy knowing that anyone who hurts them will suffer a terrible fate. His sense of justice verges on the draconian sometimes; he is a firm adherent to an eye for an eye, a tooth for a tooth.

    WRATHFUL ♅ Hell hath no wrath like a sorcerer scorned. Phaedrus is petty, unforgiving, and keeps a mental record-book of everyone who has slighted him or his loved ones: when, where, and how. He will always remember that Juul Shaepah broke his plate, Qayin Graves humiliated him, Bast shoved him into a fountain... etc. At heart Phaedrus is still a dangerous, unhinged sorcerer, often close to boiling over with anger, and those who incite his wrath rarely live to tell the tale.

    SLOTH ♅ Phaedrus is a slob and tends to live in disarray. Mercifully, he has conjurations that clean up after him, washing dishes, sweeping and so forth, but it does little about clutter. His bed is usually unmade, and his room is an explosion of dirty clothes. He leaves crumby plates and dirty wine glasses around without a second thought. He tends to hoard things like a magpie, and so his house is full of bizarre things. Magic facilitates his laziness, and he tends to exert himself as little as possible. He views most exercise with disdain and suspicion (unless it's the sort that takes place in bed).

    GLUTTON ♅ Self-control and discipline are not his forte, and he is terrible at resisting physical temptations like dessert, wine and sex. In all things, he tends to be excessive and indulgent: he likes sumptuous interior decorating, rich food, soft silks, rambling vacations, lavish balls and operas, etc, etc. He was born into luxury, and while he’s had to live as an ascetic at some points, he is miserable without some indulgence. No matter the circumstances, he finds ways to pamper himself: be it bricks of chocolate, hand creams, baths with lavender oil, and so forth.


    FUN FACTS:

    • His favorite scents are pomegranate and vanilla. He often smells like a variation of either.
    • By default, his skin and hair are colorless. His eyes, however, are always an underlying yellow.
    • He loves the sun and does not burn, but cannot stand living in places with excessive cold or gloom.
    • He does not formally need "lungs" or a throat in order to communicate, but he needs them to emulate a normal human voice.
    • He loves rare red meat, but is afraid to eat it too often because it triggers dark thoughts about eating human flesh.


    HISTORY


    • Phaedrus was once apprenticed to the lich and sorcerer Alloces. He taught him how to access the realms of Death and other forms of necromancy. Alloces was intent on unraveling the secrets of life and death; one day, he went too far.

    • Alloces drugged Phaedrus and chained him to a sacrificial circle. He murdered him and ripped the soul from his body, using it as a sacrifice to open a ward in another dimension. However, everything went wrong; the ritual backfired, killing them both and enmeshing their souls.

    • In the rift, Phaedrus was ripped apart in body, mind and soul. He lost almost all of his memory and identity; however, he fought to crawl back into Life, and came back as a writhing, thrashing abomination. When he awoke, he was alone, insane, and in the ruins of his Master's castle.

    • Gradually, in the hell-blasted remnants of the castle, Phaedrus pulled himself back together. His mind grappled with what he’d seen, sealing much of it off to preserve his sanity. He spent a great deal of time roaming the castle, reading whatever he could, trying to get a grasp on what had happened and who he was.

    • He gradually regained enough health to take a humanoid form. With nothing left for him in his Master’s ruins, Phaedrus now wanders from place to place, sleuthing out his history. He aims to locate his original home, family and friends, but it is a near-impossible task when he doesn’t even know where to begin.



    RECENT HISTORY




    • After wandering a while, Phaedrus took up residence in Madrid, Soto.

    • While researching in Eldahar, he had a fateful meeting with an old friend, Bast. Her Master, Antenoch of Asenath, knew Alloces, and she had memory of Malakar. She revealed his true name, and Phaedrus began to remember fragments of his past…

    • Learning that his old friend was in great danger, Phaedrus set out to Madrid to find a way to help her.

    • While traveling back home, Phaedrus came upon the small desert town of [url]Ahmim[/url] that was being terrorized by a Greater Dead monster. Arrogantly assuming he could banish it, Phaedrus ended up with nearly mortal wounds, and was found in the desert by a construct called Glede.

    • Glede was also a relic of his past, made by one of his Master’s colleagues: the hellish necromancer Nasir al-Din. Phaedrus did not recognize Glede, but recognized his make, and an uneasy friendship began.

    • However… Glede began to remember him. Seeking answers to his fragmented memories, the construct went to Madrid for help. Instead, Glede opened old wounds and revealed the name of Phaedrus’ old home. Panicking, Phaedrus tried to block the knowledge from Glede’s mind, tampering with his memory.

    • Armed with newfound knowledge, Phaedrus returned to his Master’s tomes, unlocking secrets previously hidden to him. He sought out Antenoch of Asenath’s works, and unwittingly found out more about himself… that he was a homunculus, never human at all.

    • Unsure and panicking, Phaedrus denied what he had read, hurrying to find Bast and deliver his research to her.

    • Bast succeeded in vanquishing her dangerous half, Thepsis, and survived the encounter. She abruptly disappeared, leaving Phaedrus to grapple with dozens of unanswered questions.

    • Defeated and hurt, he returned to Madrid and suffered a nervous breakdown. Traumatic memories began to surface, and he had no way of coping with them. His alcoholism worsened, and he spent months in a fugue of [url]drink and opium.[/url]

    • Eventually Bast returned. After a furious confrontation, she revealed her love for him, and painful reconciliation began.

    • After hearing where Bast had been (Etruria), and fearing that her encounter with the Dead might have something to do with the Bayt Ifrit, he teleported there to investigate. Instead he nearly committed suicide and ran into Glede again, who was furious about having his memories tampered with.

    • Fleeing back to Madrid, Phaedrus came to terms with the fact he needed to quit alcohol.

    • Quitting brought on a bout of psychosis and depression, and he spent many months trying to recover physically and mentally.

    • In Spring 10 AR, the nightmare dryad Maedaigh seized the city of Madrid.

    • Phaedrus fled to Reine, but the city was glut with refugees, and he could think of no way to aid the war effort while there. Instead, Phaedrus set out to Orl’Kabbar, seeking out an occultist to help him…

    • While in Orl’Kabbar, Phaedrus developed a plague that would target Fae blood and rob them of their magic.

    • He returned to Reine and the plague was unleashed, infecting the Fae and helping to break the siege on the city.

    • Seizing their chance, the starving Reinians make their last ditch effort to repel the Fae. Phaedrus joins them, infiltrating the enemy army. He kills the drow general Ranaghar, sowing chaos in the ranks with his magic.

    • Seeking vengeance for his fallen home, Phaedrus joins the final assault on Nemetona, and the Fae city falls. Maedaigh is killed, and the country is freed from her clutches.

    • Now Phaedrus has returned to his home in Madrid, trying to rebuild along with everyone else…



    AWARDS
    (sobs you guys are wonderful ;~; <33 and thank ye, dnan, for the amazing art!!)

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    This profile has been approved by Ephie!
    Edited by Phaedrus, Jul 22 2017, 11:50 AM.
    (OFFLINE) PROFILE QUOTE GO TO TOP
     
    Phaedrus
    Member Avatar
    Thus conscience does make cowards of us all/ And thus the native hue of resolution/ Is sicklied o'er with the pale cast of thought.

    ABILITIES

    Phaedrus is a formless Greater Dead creature. Most of his magic derives from Death and is dark-aligned. Generally weak to clerical/holy magic. Fire and light do not affect him adversely unless holy in nature.

    His specialties include shapeshifting and spatial manipulation.


    BODY


    • Faceless: He can alter the appearance of his face at will, including shape, eye/hair color, etc. At this point, it is limited to the faces of people he has seen before, or a subtle combinations of them. If he tries to conjure a face from imagination, invariably it will look inhuman or "off" in a terrifying way. The more he "wears" a face, the easier it is to conjure.

      **Phaedrus can "lose" his face, which is a horrific sight to watch. If he is exerting too much magic on something else, and using an unfamiliar form, his grasp on a physical appearance can slip or vanish entirely.

    • Amorphous –Internally, Phaedrus is a swirling mass of necromantic substances. His body is actually a "bulge" from Death into Life. The surface of this bulge--i.e., his skin--is adapted to Life and interacts with it, acting as a barrier between his true form and the outside world. He has a detailed mastery of certain "zones" such as his face (see Faceless ability).

      Due to the amorphousness of his "insides," Phaedrus can alter his body shape, gender and height at will. However, he retains his mass. Think of it like silly putty--he can become taller and thinner or shorter and rounder, but he is confined to his existing weight. All appearances are aesthetic. His base strength remains the same, no matter how weak or muscled he appears. He can also grow extra limbs or faces if he wished, provided he had enough material for it.
      He is subject to the constraints of clothing or whatever he is trapped in. Theoretically, Phae could lose all shape and simply "ooze" through cracks in the floor, but he would leave all of his clothing behind.

      Phaedrus' lack of "real" internal organs or blood makes it easier for him to regenerate. Stab wounds will fill with ooze and new skin will shift over it. Similarly, if his limbs are torn off, it will reveal a thick, viscous black ichor. If the severed limb is held in place long enough, it will reattach. If not, it will simply dissolve, phasing out of existence and back into Death. Phaedrus can "regrow" a limb (i.e. push ichor out to replace it, borrowing from immediate, existing mass) but both the reattachment and regeneration process are not instantaneous. They can take a few hours to weeks (depending on the extent of the injuries and their nature). For example, fully reattaching a hand might take hours. But regrowing a long-term, functional hand with all its tendons and complexities will take weeks. (Growing a "temporary" hand can take moments, but it will be reabsorbed within the hour. Often he can only sustain them for a few minutes). Any wounds inflicted by anti-Dead magic take longer to heal than normal.

      If his body is turned into mince meat and unable to reattach, he will lose so much mass he is essentially unable to keep a humanoid form. In this case, Phaedrus would suspend all form and withdraw into Death until he is strong enough to reemerge in Life.

      Note: Phaedrus will DIE if his head is cut off. If he has multiple heads, then all must be cut off. He will be unable to regenerate a body without one.

    • Clay Flesh:
      Originally created from unnatural substances, Phae's physical form/"flesh" is highly resistant to extreme temperatures. While his unbound form is sensitive to fire and can be damaged by it, his physical form is not. His hair and clothes will burn, but his flesh will not. His flesh will also take on the same temperature and may glow internally like superheated clay. So for instance, if you set him on fire, he will retain the heat of it and can grab people and burn them in turn. The heat will naturally dissipate, and the effect is not permanent.

      His resistance to heat is the same as clay. He can withstand temperatures of up to 2100 °F. Technically he could withstand some forms of lava.

      Above 2100 F his flesh will bloat, melt, deform and his form will be rendered incapable of moving, like a melted blob. His flesh cannot recover from this and must be completely sloughed off. If there are any cracks in his flesh or any ichorous part of his body is exposed at temperatures above 2100, his innards will be pretty much vaporized and he’ll A) die or B ) be so malformed and weak he’ll have to go back to Death and recover there.

      At temperatures above normal fire (1,100 F) — his flesh “crystallizes” and becomes brittle. The higher the temperature, the more dramatic this effect, and the more brittle he becomes. Holes can easily be punched through his skin and crack the flesh around it dramatically. For example, a sword stab, arrow wound or plain ole’ punch will break his skin, revealing his ichorous and unbound form, which CAN be damaged with heat. If he is an insane environment like a volcano or kiln when this happens, that ichor will be instantly vaporized and he’ll have to retreat to Death or suffer fatal damage.

      If his skin is unbroken after being exposed to these temperatures, and it is allowed to cool down at a slow pace, some of the extreme brittleness may be avoided. Instead it may become rubbery and not as pliable, and he will not have the ability to shapeshift for several days without breaking his skin open wherever he shifts. On day 1 of healing, rigorous to medium activity, bending over too far or moving too fast will also break him. Due to these sensitivities, limiting as much movement as possible is recommended, so practically speaking he’d be bedridden. After that his flesh becomes rubbery enough to resume most activities at a light, careful pace. By day 3 he would be 80% healed.

      The same goes for cold temperatures. Colder than -110 degrees F, his flesh will become brittle, his ichor sluggish, and he will slow down significantly by 60% until he heats up like a lizard. Heating up does not produce the same amount of ensuing brittleness — but if he is damaged when his flesh is still brittle, the same things apply.

      Extreme temperature changes (from hot to cold, +/- 100 F) will automatically crack his skin or make it explode entirely. If too much skin is lost -- for example, if most of the skin on his arm or hand is lost, exposing 80% + ichor -- that limb or extremity will sublimate and will have to be regrown. (See Amorphous for regrowing rules). Tl;dr it will take days to weeks to regrow a fully functional, permanent limb/extremity, and it requires Phae to have enough preexisting body mass to recreate it.

      Regenerating skin after it is cracked/damaged is not fun. It takes 50% longer than normal to recover from smaller wounds and have spry skin again. Depending on the extent of the damage, it may take days or a week, like a sunburn. Flakes of crystallized skin will continually slough off him until he is healed; it may crack and expose large sores, swaths of ichor, etc (like sunburn but eldritch and horrible). He will also find it difficult to shape shift and alter his form. Instead of actually altering himself, his skin will just crack into pieces and float around his ichorous face, like Pangea breaking into smaller continents.

      Note: His unbound form, however, is resistant to cold of almost any temperature, because he is a Dead creature. While in this incorporeal form, he can be bound by a necromancer, and he is extremely weak/sensitive to fire magics and clerical magics, taking 20-30% more damage than usual from basic/intermediate magics of that nature, and 50-60% more damage from high intermediate/advanced magics of that nature.

    • Expulsion: This disgusting ability is a useful, latch-ditch effort in close-combat. When all else fails...

      Like a sea cucumber, Phaedrus can flip his stomach inside out and spew out its contents, deep body ichor, and/or his intestines/digestive system at will. They cause various tiers of damage.

      Phaedrus’ vomit is a sludgy mix of food and corrosive, watery ichor. It is thick, freezing, black and syrupy, and can temporarily blind people (like getting mud in ones eyes) and clog their mouth/eyes. It can cause painful icy "burns" (like holding onto an ice cube for too long) and soft tissue irritation if it gets into people’s mouths, lips, nose, eyes, etc. It can also cause breathing difficulties because it is slimy and clings. Because it is mixed with organic life components, it does not sublimate immediately and can drip. The range is no more than a good projectile vomit, maybe 1-2 feet; Phaedrus cannot aim with any particular efficiency, and the attack is brief (no more than 1-3 seconds, like... vomit...)

      If there’s nothing in his guts, it can move to the second tier: Phaedrus can spew up to a gallon of ichor at a time, but no more than that. Doing so will subtract from his total mass (gallon = ~8 pounds). It is deeply unpleasant and painful, particularly the more that comes up, and once he’s expelled the max amount, he has to wait a day before doing it again or he’ll injure himself. It’s only possible if he has the body mass to spare. Theoretically he could do the latter from any orifice (back end, ears, eyeballs, nose, a freshly appearing hole in his palms…) but for obvious reasons, vomit is a bit easier. Like regular vomit, it has the same range and control/aim. Which is to say... not a whole lot. The attack can range from a second to about 5-7 (however long it takes to empty a gallon). The more ichor is expelled, the more pressure, and the slightly bigger the range, but no more than 3 feet.

      His deep/core ichor is dangerously corrosive. Depending on the quantity and concentration, it could cause frostbite and the beginnings of rot/slough off the upper layer of skin. In other words, it's excruciatingly painful (about the same as being doused in acidic, Arctic temperature water) and would likely cripple (or at least distract) the attacker. It will not necessarily kill them, but it can cause permanent disfigurement and lead to gangrene. It sublimates relatively quickly, so for example, it will not drip or spread to a new person if the victim is touched.

      Finally, the last-ditch, awful option is for him to vomit his intestines. He can only do this once per thread. They are black, slimy and filamentous and can latch on to a target as far as 5 feet away, covering their face and upper body like a net. Phaedrus can retract his guts back in through his mouth (and possibly parts of the victim).

      His deep internal “organs"/ichorous structures are extremely corrosive, freezing and dangerous. It indiscriminately sucks at life energies. Prolonged contact with his guts (more than 15 seconds) will cause irreversible frostbite, rot through flesh, and can suffocate people if they clog their nose and mouth; it is possible for a person to die if Phaedrus’ intestines engulf most of their face and head.

      Once the intestines are retracted, dead flesh or… things might come with it. The lower/deep part of his esophagus bristles with downward facing black barbs. Prey can slide down but it can’t come back up. If—for some godawful reason—some unfortunate person’s arm was stuck down Phaedrus’ throat, they would be unable to rip it free without severe lacerations and injury. In the case they cannot, they'd be stuck together until ... something is severed.

      Obviously this leaves Phaedrus in a very vulnerable position. In the event his guts are severed or damaged, it causes him crippling pain and will easily incapacitate him. Afterward, he will have to regrow/repair them after a period of a week or more, depending on the extent of the damage. The process is painful, and likely he’ll be bedridden pretty much useless. Expelling his guts is not necessarily a painful process in and of itself, but it comes with risks and is not recommended.

      Additionally, Phaedrus can expel poisons/toxins from his system (if they are ingested orally), and foreign, indigestible objects. If there’s an arrowhead or glass stuck in his guts or foot, for instance, he can encapsulate it in ichor to ease the pain, open up a gash in his flesh (see Amorphous ability), and then expel it from the hole. This cannot be used for combat purposes, and the encapsulating ichor would sublimate immediately, leaving the... stained object behind.





    ENERGY MANIPULATION

    • Naming (Simple): Phaedrus is a Namer--someone who understands the essence of an object or force and translates it into a physical reality. It is somewhat like alchemy/chemistry, but with additional commands, it can manipulate an object. So far, Phaedrus only has weak control over simple elemental things. For example, he can light a fire, freeze (alter) water, create water, conjure sparks, etc. However, the materials have to be present. He cannot light a fire if there's no oxygen; can't create/alter water unless there's water vapor (or he draws on someone else's body), etc. This draws off his own body temperature, magic reserves, etc.

      These commands can also affect organic material. Theoretically, he could boil the water in people's eyes and blind them, for example. In practice, it takes a great deal of time and concentration to get organic material to that temperature -- as Phaedrus is in a weakened state, the most he can do is create a burning, stinging sensation in someone’s eyes (like staring into the sun); this is largely impractical, but it can come in handy if he needs to distract a guard, for example. This does NOT work on people with magical defenses or wards.

    • Drain Energy - Phaedrus can utilize existing energies around him. For example, if there is a cast spell, he can absorb the energy and manipulate it to his own ends, or rearrange existing energies (such as splitting a single flame into several, or converting the heat from a fireplace into a different spell). There is cap to the amount of energy he can utilize. Under perfect conditions, he can absorb the energy equivalent of about 3 full-powered intermediate spells before he needs a resting period.

      The resting period is proportional to the amount of energy absorbed—he must spend all of it and then allow for his body to readjust. For example, absorbing the life force of a petunia is negligible, and Phaedrus can go on a flower massacre if he wants. Drawing energy from passive environments typically does not require much rest, either. But absorbing spells requires a resting and readjustment period of anywhere from 5 minutes to hours/days, depending on its strength and any damage sustained. Attempting to absorb more than his limit will damage him severely. It could cause his ichor to boil or other horrible internal injuries.

      He can passively use energy in the environment (such as the inherent heat of the air) or actively obtain it. However, energies existing in sentient living creatures must be drained through some medium first; he cannot simply look at a person and sap them of energy. Necromantic spells/physical contact is necessary. Theoretically, Phaedrus can drain people of heat and energy, sometimes fatally if they are weak enough. [Player Permission.]

      There is a limit to how much energy he can drain before it backfires; for example, he can't absorb all the energy of a greater elemental. However, he could potentially reabsorb a magic attack and recycle the energy. Phaedrus can also drain rooms of all their warmth and freeze areas, extinguish hearthfires, kill his neighbor's petunias, etc.

      Once absorbed, energy has many uses. For example, if Phaedrus absorbed a mage's firebolt, he could fire it back, convert the fire into energy for his weary body, or convert the magic into a ward. He could also use the spike of energy to feed conjurations from Death and extend their time in Life. For example, he could absorb a fireball and pool it into a Shade to keep it strong, or renew Caulcis' energy. Theoretically he could pool energy into another person, but a magical link between them must be established first, otherwise it would simply dissipate as heat.



    DEFENSE

    • Warding I: Can create a small barrier between him and the outside world. It can deflect weak punches and weak magic attacks or subtle magic influences. It does not deflect strong attacks or weaponry, however. He can still feel them, though their effects might be slightly lessoned (a stab from a dagger is still a stab, but the wound will not cut as deep; he can still feel punches, but it may feel more like an uncomfortable pressure). It does little against broadswords, two-handed weapons, etc. Wards can be shattered when they are put under too much strain.

    • Warding II [Upgrade to Warding I]: Phaedrus' wards have the efficacy of an iron shield. At full strength, they can easily deflect sword blows and arrows. General magical attacks are reduced significantly as well. Advanced attacks are reduced by 10%; intermediate 30%; basic attacks 80%.

      However, with each hit, the ward is weakened until it eventually shatters. Their duration is dependent on the amount of damage sustained, or until Phae calls it off. With each successive attack, the ward loses power; for example, efficacy might be 100% at hit 1, 90% at hit 2, and so forth. This varies with the strength of the attack. For example, starting with 100% strength, the ward might stay up for ~10 weak attacks, ~5 intermediate (depending on level), and ~2 weaker advanced attacks. Powerful attacks might shatter it completely on the first blow.

      However, 100% efficacy is only achieved if full concentration is given to the ward. If Phaedrus is casting a ward and casting other magic, initial efficacy usually dips to 80%. In battle, they are likely to break faster. 

Phaedrus' wards are most effective at repelling Dead and necromantic magic. For example, an animated corpse or spirit would not be able to enter his protection circle. No harm is done to them upon contact, but they cannot break through. Still, wards can be bludgeoned with physical/magical attacks and weakened. At full strength, a ward repels 90% of weak necromantic magic, 40% of intermediate necromantic magic, and 20% of advanced necromantic magic. These diminish proportionally with the strength of the ward.

Phaedrus can cast a ward individually on up to two people; he can also cast a warded area with a diameter of up to 10 ft. The latter is weaker by 50% and breaks faster.



    NECROMANCY




    • Necromancy I: Basic necromancy. Locating/sensing spirits, binding* of common/lesser souls (non-sentient animals), ability to unbind souls. He is also sensitive to areas of “disturbances” where the realms of living and dead co-mingle.

      * Binding includes subtle drawing of life force from a creature. At this basic level, he can put small animals (around the size of an average cat) into a sleep-like state. They will be colder to the touch and in a lethargic state. Note: the energy drawn from living creatures can be channeled into magic or personal energy, though the amount drawn from small creatures is negligible (enough to spark a small fire, for example). He cannot draw energy directly from humans. It requires an amplification-- such as the runes on the hilt of his dagger. People with magic wards or magic resistance can easily negate the effects of this.

    • Possession – Phaedrus can temporarily possess a humanoid or creature for up to 10 minutes. If the possession is consented to, he can possess them indefinitely (until the host terminates it, or the physical effects become too much for the host). While possessing someone, he can communicate with them internally, speaking directly into their mind. Phaedrus cannot speak in a mortal voice in this form. His voice is unbound, and sounds eldritch.

      He can hop from host to host across a distance as far as he can see. However, his limit is 3 consecutive beings. Each new possession becomes more difficult, and thus he "downgrades" with each new host. For example, if he initially possessed an intermediately powerful wizard with mental resistance, he'd hop down to 2 weaker hosts with less resistance (such as a dim-witted, non-magic warrior, or an animal). He might only be able to possess the wizard for a few seconds, but could control a dog for a full 10 minutes, for example.

      The length and efficacy of possession depends on the target’s strength, mental barriers, and resistance to necromantic magics. For example, if they have a mental block on them, he cannot possess them. While in this form Phaedrus is unbound, and therefore susceptible to being expelled from the person's body (as any other spirit) and banished to Death. He is especially weak to clerical magics. However, any physical attacks will only harm the object of his possession, not him.

      While possessing someone, Phaedrus has temporary control over their abilities and muscle memory/physical strength. After the possession is over, he retains "echoes" or muscle memories of abilities used but cannot necessarily perform them. For example, Phaedrus might remember how to string a bow and shoot an arrow, but lack the physical strength and coordination to actually do it in his own body. Likewise, Phaedrus may retain the arcane knowledge of certain spells, but be unable to cast them without practice and the appropriate skill (i.e corresponding Ability Slot and post count). He may remember non-ability slots (like how to milk a cow, or a nice cookie recipe).

      While possessing a living host, they look perfectly normal, and speak with their own voice -- however, their mannerisms, facial expressions and cadence become Phaedrus'. If the host is struggling against him, they may convulse or act erratically.

      He can possess a dead host indefinitely, but will be unable to access their abilities. Unless the body had the same abilities in life (such as similar casting abilities and arcane knowledge) they are quite useless. If Phaedrus taxes the body past its limits (for example, channeling a spell they don't have the tolerance to take), there is the risk of the body exploding or otherwise being severely damaged by magicks. Phaedrus can use their existing strength and traits, but only with his own muscle memory. For example, he could possess a dead swordsman, but Phaedrus absolutely has no idea how to fight with a sword.

      The effects of possession are unpleasant. After Phaedrus is expelled, it can cause severe nausea, dizziness and chills in the host. Weaker/more susceptible hosts may vomit or collapse afterward.

      Note: He cannot possess unbound souls (like elementals, djinni or ghosts).



    THE GATES

    • Access Gate I
      Phaedrus can slip into the First Gate of Death; it is associated with sleep, sickness, and comas. This is the closest to the world of the living, the first point a newly deceased soul passes through. While in the First Gate, the soul is most malleable, easiest to summon/bring back, and closest to conscious/human.

      Phaedrus can use this realm to send Shade messengers through dreams, contact the recently deceased, and summon weak Shades into the living world. A Shade is a shadowy entity without consciousness, directed by the necromancer. These Shades function as a familiar: they can be used to perform simple actions, and do not conform to mortal planes. Thus a Shade can be used to pass through walls and unlock a door, scout an area, or just scare the living shit out of someone. Shades appear as patches of darkness or large shadows, depending on their strength, and their presence is extremely cold. In sensitive/empathic people, they induce anxiety, fear, and strong dread. Shades speak with the voice of the necromancer who commands them: Phaedrus' Shades sound hoarse, deep, and horrifying (like the first voice in this song).

      Notes:

      • The Gate can be accessed in two ways:

        1. Projection, where a necromancer's soul is suspended from their body. In this state, the body is extremely vulnerable and catatonic. Their soul also runs the risk of being severed/destroyed from the body, leaving it a brain dead shell. However, the necromancer has greater control in the Gate.
        2. Physical access, where the necromancer physically passes through the Gate. This affords less control, and is also physically dangerous to the body, because Gates are unpleasant places; however, there is no threat of the body being harmed in the living realm, and no disseverment from the soul. Phaedrus' body can sustain Gates for longer, because he is not human, but he cannot maintain a human form or shapeshift in them. He looks like one ugly motherfucker.

      • Shades:
        - Commanding a Shade in the living world requires more concentration and magic than directing one in the First Gate.

        - The stronger the Shade, the more physically present it is, and the stronger it is tied to a necromancer. Consequently, when it is destroyed, the more damage a necromancer sustains.

        - In the Gate, Shades can be used to access dreams and bridge long distances. Phaedrus could send a Shade to talk to someone in their living room, for example, but it would be very weak and only capable of speech and simple movement. In the living world, their range is much shorter. They can be projected enough to scout out a house or hill, or example; but the farther they move away, the weaker they are, and if they're too far away, they drain a lot of magic and a necromancer can lose a grip on them.

        - Summoning two Shades is his limit; they would be very weak, too. The Shades that Phaedrus uses are weak/not very physically present and not useful for physical fighting, just intimidation or causing a distraction. They can be obliterated fairly easily with magic or, if you're a necromancer, banished back to Death. Physical weapons don't harm them, unless they're enchanted/holy, but again, weak Shades aren't very useful for attacking.



    • Access Gate II

      In Death, the entrance to the Second Gate manifests as a great, rippling wall; it is known as the Amnesiac's Gate because it is associated with memory and identity. Once an unprotected soul passes through this Gate, it loses its sense of self/memory, and is much more malleable in the hands of a necromancer.

      [Player Permission] -- In Life and Death, Phaedrus can exert control over the magic of this Gate. It deals with the recollection and erasure of memories, and is most effective on dead souls. The necromancer must at least make eye contact with the target when controlling this magic--however, physical touch or channeling mediums* increases the magic's efficacy. This applies to both living and Dead. The magic does not cause the target any physical harm, and feels like cool, numbing water washing the mind. It can be blocked/resisted by mental barriers. There are several applications of this magic. All require player permission.

      * Channeling mediums are most often some form of necromantic metal. It is a specially treated, rare material that must be prepared in advance and replenished with blood rites. Treatment can take a day to months, depending on the size/complexity of the spell. For example, Phaedrus could imbue a special necromantic dagger with this magic. If this magic is scripted on regular metal, it will corrode it within hours and the blade will be rendered useless.

      Note: Phaedrus can only apply one aspect of the magic on a channeling medium. For example, a single weapon cannot restore AND destroy memories. Only one effect can be active at a time.


      • Recalling/restoring memories. Phaedrus cannot control what memories are unearthed, nor their duration. If a player thinks about a certain thing (say, home), Phaedrus can coax out memories connected with what the player holds in their mind, but it is highly unpredictable and personal to the character. Long-term memories can theoretically be tampered with or destroyed; however, Phaedrus cannot do so without extensive preparation. It requires cooperation from the target, and is an intensive psychological experience requiring special rituals to focus the mind.

      • Phaedrus can erase or befuddle short-term memories in one target at a time. For example, he can muddle the memory of a witness who saw him stealing something, so they cannot recall what he looked like. In the wake of altered memories, the necromancer can suggest an alternate turn of events, but it is up to the player to believe them. The efficacy of this magic depends entirely on the target's strength of mind and intelligence, as well as the severity of the memory. Traumatic events are much more difficult to "erase," and leave behind residual marks, whereas mundane things are easy to wipe. (For example, he can convince a guard that he already checked a document). If the target has any mental barriers, training or is particularly resistant, memory loss might be temporary instead of permanent, or the magic will not work at all.


    • [First Gate] Rolling Mist: Phaedrus can weaken/obliterate the barrier between Life and Death. It manifests as a freezing, obscuring grey-blue mist. When it is freshly summoned, it chills the air to a biting -70 F. However, it quickly warms to a more manageable 20 F depending on weather conditions. If it is already cold outside, it may hover at sub-zero temperatures. The mist affects an area up to the size of a football field in front of the caster, with a max height of ~15 ft.

      The mist does not inherently cause physical damage (besides cold damage), but rather causes mental/spiritual/magic damage instead.

      In the living, the mist causes deep chills, terror, panic, and secondary cold damage (if they are not dressed/resistant). It will sap energy depending on the individual. For example, an infirm, elderly or young person will feel extremely lethargic; more robust people like healthy farmers or soldiers may feel bone-tired and have slower reflexes; powerful magic users, intermediate-advanced to advanced characters, or anyone with a resistance to necromantic magics may be marginally affected or not feel it at all.

      However, for the dying/grievously injured, it will tip their souls to the brink and suck them into Death. Dying in the mist is painless, particularly if the individual is weak or close to death already.

      It will instantly banish the souls of weak, lesser undead such as animals and/or people animated with basic necro magics. Their empty bodies will crumple and resume being properly lifeless. Contact will weaken intermediate Dead, planar beings (demons, djinn, elementals) or magical creatures by sucking up to 40% of their energies. High intermediate beings will lose up to 15%. Advanced beings and Greater Dead are pretty much unaffected and can resist the pull of the magics. The energy is lost as entropy to Death and cannot be harnessed.

      The effects will last for 5 minutes before the rift closes and the mist naturally dissipates. Any physical effects from the mist (like ice, frostburn on plants etc) will linger until it melts/dissipates naturally.


    • [Fourth Gate] Chaotic Blast: By summoning energies from the Fourth Gate, Phaedrus can unleash chaotic magic on a target. It has the effect of a bomb, sending compressed blasts of air after the target and then the magic itself for up to 30 ft. It disintegrates wards and damages characters indiscriminately. It manifests as a violent, warped ripple of space (kind of like a mirage) that rushes forward like a sea.

      The magic itself is extremely destructive, but its efficacy depends on its radius. At the source of "detonation," (<3 ft) the magic will boil people's blood and rend them apart. At a greater distance (3-15 ft) it can break bones or cause fractures, overheating, internal damage, and severe whiplash. 15 ft-30 ft causes people to be thrown back/stumble, causes external bruising and possibly concussions. At any distance, people may be struck by shrapnel, body parts, etc, causing secondary damage.

      This attack counts both as magical and physical damage; much of the physical aspects are secondary effects (such as compressed air, shrapnel, etc). The magic itself interacts chaotically with magic wards, spells, and magical beings/spirits themselves, causing unpredictable, sometimes explosive interactions, nullifying wards, etc.

      Wards are most affected. If a ward is fully charged, at <3 ft, advanced wards will be weakened by 30%, and intermediate or basic wards will shatter; at 3-15ft, advanced wards are weakened by 20%, intermediate wards will be weakened by 50%, and weak wards will shatter; at 15-30 ft, advanced 10%, intermediate 30%, and weak 50%.

      Unpredictable interactions with spells may occur. For example, if a mage is preparing a fire ball, interacting with chaotic energy may cause it to explode, shoot off sparks, etc-- if someone is preparing a magic trap, the blast may cause it to activate prematurely. Fully magical beings such as familiars/conjurations may fritz out, act unpredictably, or disintegrate. [If not an NPC -- Player Discretion.]

      Due to the extreme nature of the attack, Phaedrus can only use this spell once every (3) posts, and no more than 3 times in a thread.

    Edited by Phaedrus, Aug 18 2017, 01:35 PM.
    (OFFLINE) PROFILE QUOTE GO TO TOP
     
    Phaedrus
    Member Avatar
    Thus conscience does make cowards of us all/ And thus the native hue of resolution/ Is sicklied o'er with the pale cast of thought.

    SUMMONING


    • Dead Hand – Phaedrus can summon shadowy hands and arms that can reach vertical heights of 7 feet and have a reach of up to 30 ft. These function like normal arms and hands and interact with the physical world. They can be used to scratch people, pin them down, claw out their eyes, etc -- or conversely, they can be used to cook, clean, and politely open doors. Because they are shadowy, they are difficult to detect at night or in dark areas. Otherwise they are highly visible in daylight. They feel ice-cold to the touch. As with other necromantic magics, they can induce a deep dread in a person, sickness, or chills, depending on their sensitivity and the duration of contact.

      They are powered by magic, and their individual base strength is equal with Phaedrus'. He can increase their strength by channeling magic into them. These arms can be cut by physical weapons or wrestled away by a strong victim. Hence, Phaedrus prefers to use them to disarm victims or incapacitate them with a minimal amount of force. For example, his priority would be set on stealing their swords or stabbing out their eyes rather than keeping them pinned to the ground.

      The hands emerge from the ground and are thus limited. They are not effective in aquatic environments, and if the victim is out of vertical reach (7+ ft in the air), he cannot grasp them.

    • Summon: Abomination –

      Can only be cast once per thread.

      In the reaches of Death are horrible things that feed on Life, taking manifold forms -- all of them horrible. Phaedrus can reach out to these creatures and create rifts for them to enter Life and feed indiscrimately.

      He can summon up to (2) large abominations, or (4) smaller ones.

      The large abominations are the size of a caravan, and harder to take down. They can move in quick bursts but otherwise lope slowly. The smaller abominations are the size of wolves, and are generally faster, but they can be destroyed more easily.

      These are dangerous, berserking creatures, attacking and feeding indiscriminately; Phaedrus cannot control them once they are loose, only banish them back to Death. They can attack their caster and his allies, making them more suited to unleash on enemy camps.

      The abominations have physical forms that can be attacked with physical weapons and magic. They can also be banished by experienced mages. Once they suffer enough physical damage, they die and leave behind warped, oily carcasses, or dissipate back into Death. They do not decay naturally, instead turning into a sort of oily, ichorous liquid over time.

      They are not intelligent; they act purely on instinct and hunger, like the basest of creatures. Most have multiple mouths and too many limbs; others look like conglomerates of corpses, or masses of writhing tentacles. To some, they look like a scrambled, incomprehensible mess. They are all freezing cold to the touch and suck passively at energy, killing things like grass and chilling the surrounding air. They generally have an unnatural, sharp metallic smell that stings the nose alongside the chill air. They generally induce terror in people, and the sight and smell of them may cause nausea.



    SPATIAL MANIPULATION

    • Phase Shift – Phaedrus can teleport distances up to a mile using the Border of Life and Death. The energy expended is directly proportionate to the length traveled; teleporting a few feet is not draining, whereas teleporting a mile drains a lot of magic and demands a recovery period before he can disappear again. People with senses for eldritch magics or spatial distortions can detect when he teleports -- and based on their sensitivity, they can possibly predict where he will appear. They may also detect "echoes," or places where he last disappeared.

    • Phase Shift II – [Upgrade to Phase Shift.] Phaedrus can now teleport much longer distances. With advanced preparation, he can teleport to a place he has been before in recent or distant memory. These are usually cities or very defined landmarks (like the Origa, the Mulciber, etc). The larger the "footprint" of the place, the better. The more populous the city, the easier it is to teleport to, because there is a constant tide of souls moving in and out of them in Death.

      In addition, while meandering around in the Border of Death, Phaedrus can hop through "disturbances" other people have made in it: portals, summoning circles, teleportation rings, etc. If a mage has previously teleported in Life, he can follow their spatial echo, popping up behind them. Phaedrus cannot control where he ends up when he does this, and is effectively taking a complete gamble.

      [PLAYER-DEPENDENT] On the other end of things, people can also prepare summoning circles for Phaedrus to emerge from. You do not have to be a necromancer or a mage, though it is recommended. The circle is more of a necromantic telephone call than anything else -- he is not bound to appear. If he chooses to accept, though, it serves as a "marker" in Death for him to emerge from. For example, even if he's never been to Kinaldi before, a mage can set down a summoning circle that would appear to him as a beacon, guiding him to the right place. Phaedrus can only emerge from that circle, and nowhere else in the city.

      When someone performs a summoning ritual, Phaedrus will feel it as a sudden pang of cold, or as a nagging thought bumbling to his consciousness. If he closes his eyes and focuses/detaches himself, he can see the message as if it is glowing in the darkness. If he can't be bothered, he will simply ignore it and "let it go." Phaedrus can only respond to one summons request at a time.



      HOW TO SUMMON PHAEDRUS

      • Step 1: Using fresh animal blood, a mage must inscribe a series of runes into a flat ground surface. The runes essentially translate to "I CALL SUHAIB." Suhaib is an old Ashokan name that translates to "of reddish hair," and is Phaedrus' pseudonym/caller ID for these kind of rituals.

      • Step 2: Continuing to use blood, enclose them in circle that is wide enough for Phaedrus to emerge from comfortably. For a stronger boundary, dig out a shallow trench (if working in soil) and pour the blood, letting it run until the circle is closed.

      • Step 3: If the person creating the circle is familiar with necromancy, chanting the summons is recommended. They can also add their own name, so the circle reads "I, [STEVE], CALL SUHAIB." Additionally, they can inscribe messages onto the circle -- specific instructions or requests that might pique Phaedrus' interests more, and motivate him to respond instead of ignoring a random, unknown summon.

      • Step 4: Phaedrus insists that leaving a glass of wine or plate of food in the middle will produce "swifter results."


    • Wormhole (Now You're Thinking With Portals) – Phaedrus can bridge space up to 100 ft away, but each portal between two points can only have a max diameter of 4 ft. These portals can appear anywhere: on a solid surface, in air, in water, etc. They last indefinitely until they are dispersed, or if Phaedrus loses concentration. Only 2 portals can be fully active at a time.

      There are various applications for this. The most common is opening a portal in his bedroom and another in the wine cellar, but it also has combat applications. For example, he can create one portal under an enemy and another over a cliff. They will be shot from their location and to their possible doom. Alternatively Phaedrus can open a portal in front of a charging enemy and then deposit them in front of their ally, so that the enemy runs through their line instead. All subjects moving through portals RETAIN THEIR DIRECTION AND VELOCITY. If a person falls a great distance and then enters a portal, they will be flung from the exit portal at the same speed. Phaedrus can artificially create a "falling" experience by creating an infinite loop of portals (one above another). The poor person will be stuck in the loop and continue to gather velocity.

      In addition to transport, portals can also be used as a window into another place. If he wanted to creep on someone, he could open a very small portal on the ceiling-- however, they'd be able to see him as well.

    • Spell: Labyrinth – Phaedrus can bend and warp space over an area of up to two blocks, creating a “labyrinth.". The spell automatically dissipates after 5-10 minutes, with no lasting physical effects. Everyone in the radius of the spell is affected, even non-corporeal beings.

      When used somewhere like a city, it folds and overlaps space, causing passageways and rooms to become scrambled, or streets to lead to odd places. When a person is in a labyrinth, things appear to be laid out normally -- but people often have the intuitive sense something is wrong or suffer headaches/vertigo.

      In the labyrinth, opening a door that usually leads to a kitchen might deposit you in the living room; a street that ought to lead to a market (and appears to) might dump someone in an alley; a person opening their pantry might find a man upon the toilet instead. The effects are grossly disorienting and random. Casting a labyrinth in a forest, city or large house is most effective. Though they work in open spaces, there are fewer places to get lost.

      A labyrinth cast in a crowd of people or a battle could have potentially devastating effects. For instance, allies might find themselves fighting amongst each other, charging in the wrong directions, and losing all sense of distance.


    • Gravity Pool – Phaedrus can manipulate gravity, changing the way it affects him and others. He can use this magic to walk on a wall, or use it on a target to completely disorient them and cause them to be stuck on the ceiling. He can cast this over a larger area -- for example, it could be used to reverse the directions of arrows and projectiles, bring down a flying object, or bowl people over/slam them into walls. Alternatively he could intensify the gravitational pull in an area, making it far more difficult to move, or loosen it, allowing people to move more quickly. He can center a strong gravitational pull on an area as small as an orange, and cause someone's helmet or face to cave in. (Note: he can't create black holes.)

      All objects in the bounds of his magic are affected. If he sticks someone on the ceiling, any furniture or pots on the ground will be drawn up into it too.

      This magic tends to fail on extremely heavy/large objects. For example, he can't cause a redwood to fly into the sky or send a person's house sailing. However, he can use it on a single part of a large object-- for example, he can apply different pulls to the branches of a tree. Though the main body of the tree remains anchored, a branch might rip off and fly up into the sky.

      The strength of the pull depends on how small the concentration is and how long the range is. Objects will accelerate with each second of "free falling" (the direction being relative). The rate of acceleration depends on the gravitational pull (faster for heavier pulls, slower for lighter pulls).

      For example, if Phaedrus applies it to a single person and throws them down a hallway with a heavy pull, they will gather velocity per second until they hit a wall. If he levitates someone, they will move upwards at a faster and faster speed until they exit the bounds of his magic. The mass of the object/person doesn't matter; their acceleration is only slowed by their air resistance. For example, a parachuter might fall at a slower rate, but a horse and a tomato will fall at the same speed.

      He can also abruptly dispel the magic when the object is moving at a high speed. The abrupt stop can break their necks/cause other whiplash.

      When the magic is dissipated over heavier objects, they will generally move more slowly or the pull will be far less dramatic. Once the object accelerates out of the field of his magic (for instance, if they're flying upwards), regular gravity will apply again (woops, time to come down).

      He can cast the magic on an area as large/tall as a football field or as small as an orange. Again, it "waters down" as the total mass it affects gets larger; tactically, it may be effective to cast it on a large area of falling arrows/projectiles, but not so effective to cast it on a football field's worth of people, because he has to expend significantly more energy on the latter.

      The fastest speed the magic can accelerate people (with a normal gravitational pull) is 94 MPH/166 KMH. The longest a person can stay free-falling in his magic is 4.72 seconds.

      The magic lasts for a total of 5 minutes before dissipating naturally, unless it dispelled by Phaedrus before that. He can apply gravitational effects to himself indefinitely.



    CAULCIS


    • Shifting — Caulcis can take the form of whatever directed by his master. At the moment, his current physical size limit is the size of a horse. This is the extent of mass that can physically interact with the world. However, Caulcis can lengthen himself and flatten to a shadow of enormous size (about a house, enough to fill a room), for intimidation purposes. He cannot harm anything while doing so, and behaves like any other shadow.

      In all of his forms, Caulcis appears to be a shadowy entity, absorbing light rather than reflecting it. There is a distinct unearthliness to him, as well as skeletal elements. His eyes are pits glowing with an icy blue. He leaves no physical indents or footprints in this form. Rather, if he walks over living grass, it will wither under his step, leaving a dead shape of whatever foot he had at the time. The living have a difficult time making skin contact for extended periods. Often they will begin to feel physically ill, “off,” drowsy, or a deep anxiety.

    • Store Object — Caulcis can act as storage, putting items somewhere in the depth of the Stone Heart. Almost anything can be stored; bringing them out is harder. A bookshelf can be placed in there, for example, but it would take an immense measure of will to remove it (the same strength that would be needed to drag a bookshelf from one room to another). To access objects, the Master must have the Stone Heart in hand, and focus upon locating the object, drawing on mental and physical strength to remove it. This feature is extremely cumbersome for storing swords or objects used frequently; it is more of a safety deposit box than a quick draw.

      He CANNOT store living things or unbound souls (ex: he cannot store a person, but he can store a sword with a human soul trapped inside, for example). Storing food or perishable objects is also inadvisable.

      More than one person can use this to store objects. Their deposits occupy different mental spaces and dimensions within the Stone Heart; unless a person is a psion and can read the exact mental process and spatial reasoning of the person retrieving an object, they will not be able to “steal” anything from Caulcis.

      So yes, you can keep your porn in there, and no one will find out.

    • Draconic Form – Caulcis can assume the form of a dragon that is physically (i.e. the components of his skeleton) about 25 feet long from the tip of his nose to tail, 15 feet tall, and has a wingspan of about 50 feet. However, he can project the shadows in his body to make his wingspan and length appear larger up to 2x longer (he cannot alter his height). This does not increase his base strength or defense in any way. The illusion is most effective looking up from the ground, because otherwise his height could look pretty goofy. His eyes and chest are lit with a putrid, ice-blue fire, and gouts of it can ripple around his mouth and through his ribs. It dims when he uses fire attacks.

      As his form is naturally skeletal, in order to fly, Caulcis must relegate his energies to wings and readjust his mass to be capable of flight.

      As a result, on ground, he is more physically substantial and difficult to bring down. But in flight he is physically less substantial, given he consists mostly of shadowy magics and the bare minimum to support riders (skeletal vertebrae, ribs and a skull, etc). While flying, he is more fragile, and physical attacks may be limited to swiping at enemies with talons and/or carrying them off (if they are light enough). The boundary of the Stone Heart still applies, so Caulcis cannot fly unless Phaedrus is atop him or someone else possesses the Stone Heart.

      Caulcis can only effectively carry about 300 lb in this form. (Essentially, Phaedrus and a relatively skinny rider.) Anything over that will significantly slow him down, and carrying a weight over 350 lb will cause him to disintegrate. This applies on-ground, too. So if he tried to eat a very weighty knight, it might snap his neck, in which cause Caulcis’ form would disintegrate and he would be forced into a smaller form again, or retreat back to his prison.

      Though his teeth and talons are extremely sharp (as they are jagged chunks of obsidian), they are also very fragile. They will shatter if he tries to bite metal or attack any surface that is too hard. There is also the possibility that his teeth or talons will snap off in people’s flesh.




    NON-SLOT


    • Virtuoso: Phaedrus has a pleasant singing voice and knows how to play a lute. His inclination towards music makes it somewhat easier for him to learn how to play similar instruments. He will often hum a snatch of a song or sing under his breath when he's alone.
    • Cooking: Phaedrus is an accomplished cook and baker, able to whip up tasty meals with skill and ease. His favorite hobby is cooking, in fact, and he is especially good at Ashokan fare, pies, and pastries. On a related note, he easily identifies spices, smells, and is gifted at recreating food he's tasted before.
    Edited by Phaedrus, Aug 18 2017, 01:29 PM.
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    Phaedrus
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    Thus conscience does make cowards of us all/ And thus the native hue of resolution/ Is sicklied o'er with the pale cast of thought.

    CATS

    MALO A one-eyed, friendly cat Phaedrus found in the street and nursed back to health. He is a tawny, skinny striped cat with yellow eyes. He wears a red collar with a bell on it.

    DAISY An enormous black Maine Coon with green eyes. She is foul-tempered, intimidating, and arguably tainted by necromancy. She seems to have a habit of disappearing without a sound, lurking in shadows, and moving faster than she ought to when people aren't looking. Phaedrus brought her back from the dead when he first adopted her, and she has been vaguely supernatural since. She wears a black collar with a bell on it.

    BOSCH A wheezing, rotund white-and-grey cat that appeared after the death of Hieronymous Scaevola, Phaedrus' acquaintance. He is a foul-tempered thing, with a smashed looking face, stringy whiskers, and prone to yowling or making ugly noises. He is arguably diabetic, hisses around the corners of the kitchen, and knocks things over out of spite. Tends to hide around the house.



    FAMILIAR

    Caulcis is a shapeshifting demon locked in a device he calls the Stone Heart. It is a vessel with labyrinthine runes and patterns designed to trap a powerful soul, effectively diverting their will and powers to the intent of the Master. It is a vessel of incredible talent and mastery, sealed with near-unbreakable magic. In other words, Caulcis is not leaving it anytime soon. Caulcis himself is not sure of his origins, who made it, or why—he has lost many pieces of himself over millennia. However, one thing remains: he must always have a Master. When his old one dies, he lies in wait for a new one. He only obeys a current Master.

    While Caulcis can “project” himself outside his prison, he is physically restrained by magic to stay within the radius. His max distance is about the length of a football field before he weakens so severely he must return. Besides a weak projection, enabling him to take a form and talk, Caulcis has little power of his own. He can also stretch his shadows and manipulate his voice, appearing larger and terrifying, but he has no physical abilities without a Master.

    When summoned, Caulcis is about twice as strong as a normal human (in his humanoid forms). As a horse or equivalently sized creature, he retains the strength of the normal animal (i.e. as strong as a normal horse). Caulcis can be harmed by both physical blows and magic, and is exceptionally weak to clerical/"holy" spells.

    VARIOUS FORMS




    PERSONALITY

    He is a strange mix of sassy and flighty. Quick to mouth off, yet equally quick to retreat to safety. He has a trickster's soul. However, his “true” personality is heavily restrained, twisted, and distilled by the bindings he is in; without them, he'd be violent and destructive, something thoughtlessly cruel and chaotic.

    Caulcis' evil has been filtered into veiled insults, outright insults, threats, gleeful trickery, and a general schadenfreude. It amuses him when people get hurt or look like idiots. It amuses him even more when that person is his Master, though he is magically shackled in his expression of that glee.

    For all his japes and strange charm, he is a dangerous creature, and part of him always struggles to be free. This manifests as sassiness and passive-aggression; ways to subvert, whine or otherwise wiggle against orders while simultaneously following them.

    There is an absolute lack of free will that defines Caulcis. Truly, the only media of expression are his shadow-forms and voice. He's cycled through various appearances, “personalities” and voices over the years. He can be stagy, absurd, and almost childlike, hosting shadow plays, imitating people, and generally screwing around. He'll spin wild tales and talk people's ears off if they let him.

    However, every command of his Master is final. Caulcis is only allowed to exercise free will and express his personality until his Master cuts him off by ordering him to be silent, etc. The reason Caulcis has grown so bold in the first place is because his previous Master left him to his own devices, allowing him to develop a voice and style. Most simply order him to shut up and then use him only as a conduit for magic.




    PHAEDRUS' HOUSE

    Phaedrus' house is cozy. It’s a 2-story, small merchant class house, made for a married couple or 2-3 people to live in.

    The roof is tiled terracotta. The outside is a warm color, with a facade aged and cracked in ways that are charming rather than dilapidated. Ivy snakes up one side, engulfing most everything but the windows in a cascade of green. There are a few stone steps that lead up to his door. He keeps potted plants on the steps and windowsills. The result is a somewhat mismatched panoply of flowers and leafy plants that stand out against the stone.

    His door is a garish red, with a bronze knocker crafted to look like a hideous monster. It is a superstition “to scare away enemies,” installed by the last owner of the house. However, he found it quite funny and kept it.

    Cats often loiter on his steps and around his front yard.



    DOWNSTAIRS


    LIVING ROOM

    Once inside, people remark Phaedrus' house is quite welcoming, and perpetually smells of incense or cooking. At various points through the day, spices, sugar, crackling meat or the sweet aroma of cakes fill the air.

    The door opens into a parlor and living room. This is where he entertains guests. It is an open, cozy space with a fireplace and plenty of chaise lounges. It is painted a warm, inviting color. The furniture and decor is decidedly Ashokan. Side tables are covered with incense-holders from the No'bu, vases from Eldahar, wooden boxes from east Ashoka, and so on. Low-seated Sotoan couches are furnished with colorful pillows and blankets. Instead of mosaics, Phaedrus fashions the floor with Eldaharian rugs.

    Bookshelves line the walls, full to bursting with all manner of novels, history books, and minor spell tomes (typically for mundane warding or things around the house). Phaedrus is careful to stock his “public” area with books that he would not mind being seen.

    The room is also furnished with Ashokan lamps of strange shapes and elaborate designs. When lit, they throw convoluted patterns of light on the wall and floor.

    Other decorations are a motley of what the previous owner kept on the wall, and strange additions he's found here and there, or given to him by clients. He is not terribly fond of paintings, and prefers decorative, geometric tapestries and elaborately carved wood panelling. His house is well-lit by windows, which are large and let in a great deal of light; in the summer he keeps his house cool by setting up curtains. They are diaphanous and often a rich Eldaharian color like scarlet or teal.


    DINING ROOM

    The living room bleeds into the dining room, which is adjunct to the kitchen. Away from the smoke of the cookfires is a heavy table that can seat six people, two on each long side and one on each short side. It is lovingly weatherbeaten, a piece of furniture that existed when he moved in. Usually he leaves it bare, but when guests come over, he will throw over an Ashokan tablecloth that runs in a strip vertically, leaving all of the legs exposed. It is red fabric woven with gold thread. There is usually a flagon on the table, and a bowl of apples or recently baked pies.

    He is extremely fond of Etrurian ceramic, and keeps decorative plates with geometric patterns mounted on the walls.



    KITCHEN

    Tucked away from the rest of the house and with walls of stone, the kitchen is his most-loved area, and it shows. It is simple and unpretentious, and lacks the chaos of the rest of the house. The space is exceedingly clean, every pot and pan scrubbed after use, counters mopped, boards chopped and scuffed with use. The bricks of the cooking oven and fire pit are black with smoke and ages of use, and regularly cleared of ash.

    All of his kettles, pots and pans hang from hooks, arranged in neat order along the wall. The larder is well-stocked with food: baskets of vegetables, potatoes, dried meats, at least half a dozen types of jam, preserves, and marmalades, and so on. Garlands of onions, garlic, and other well-keeping vegetables hang from the ceiling for easy access. Every spice is ordered, labelled lovingly, arranged in colorful lines. Pickled curiosities line his counter, bright with every color--red and purple for beets, white for onions, etc… so do oils and other necessary seasonings and garnishes, all in easy reach. Next to his work counter are cupboards stocked with plates, goblets, a tea kettle, and every needed bit-and-bob for serving food. Below that, ceramic pots, vases and various containers are arranged on the floor.

    The kitchen opens into the backyard.


    BACKYARD

    Phaedrus’ backyard is relatively small, and closed off on all sides by stone walls. It is easy to see into his neighbor’s yard.

    Much of it is taken up by a garden. Phaedrus is an abysmal gardener, preferring absolutely the least upkeep necessary. He is greatly fond of flowers, and is a firm believer they should merely grow. As a result, his garden is not as well-kempt or dutifully planned as the neighbors like. There is an enormous oak tree in the midst of it that shades everything. Around it grow a multitude of flowers — Phaedrus’ favorite are sunflowers, and when he can be assed, he frequently plants them. He keeps lattices for ivy and climbing plants to grow on, and they dominate the back wall of his house. In the spring and summertime he frequently takes tea outside, under the tree. There is a sturdy, circular table under it made of wrought iron and a mosaic tabletop.

    The cellar and kitchen is accessible from the garden.


    THE DREADFUL STAIRS

    Off the side of the dining room lurks Phaedrus’ most-hated part of the house. The stairs are dark wood and immensely steep, and narrow with the intent of saving space. The hallway is claustrophobic and painted with repeating motifs. It is impossible to romantically lead someone up them to the bedroom, because the steps have been worn down gradually, so there are subtle grooves in the middle of them— alright in the day, but potentially disastrous at night, when the staircase is pitch black. Phaedrus has attempted to mitigate this by putting a carpet over them, but it hasn’t stopped him from taking drunk stumbles down them before.

    Midway up the steps is a particularly crooked one, just shorter than the rest — he has vague memories of breaking it himself but cannot remember how, and forgets about it from time-to-time. There have been many times when Phaedrus is too drunk to deal with The Stairs and simply sleeps in his living room instead.




    UPSTAIRS



    If one survives the stairs, they enter the true domain of Phaedrus’ house. The first room off the staircase is Phaedrus’.


    PHAEDRUS' BEDROOM

    Phaedrus’ room, like much of the rest of his house, is a warm, rich orange-red color. It is offset by furnishings of dark wood.

    Though the rest of his house is inviting, his bedroom hints at an existence as a slowly unraveling bachelor. It is a spacious room, once made for a married couple, but somewhat neglected. He does not know what to do with it, precisely because it highlights his own vacuous lack of family, a spouse, or history. It is notably more disorganized than the rest of his house, but in a chaotic, unstable way.

    Phaedrus is a slob. There are usually empty wine glasses or teacups on his nightstand and desk, and stacks of books. Plates are not uncommon either, evidence of many midnight snacks. Long-guttered candles still in their stands, clothes thrown on the floor and the chair of his writing desk. There is a half-full and open trunk across the room, like he never bothered to unpack. The only mirror in the room is often covered, and the slight dustiness of the cloth suggests it has not been used in a long time.

    His bed is large enough for two and usually unmade, though it looks very comfortable. His sheets are silk, and his coverlets thick for Sotoan winters. There are enough pillows to make a small fort, and some evidence of cat hair suggests they are not for him. His favorite piece in the whole room is his dark wooden headboard, which is carved in a coffered Ashokan style and is quite pretty to him. In the sweltering summer he sometimes opens the window and drapes curtains over his bed to keep insects out.

    At the foot of his bed is a small chaise lounge that unhinges to reveal a hidden chest. He usually keeps a dagger, spare gold and other oddments in there. Across from the bed is a wardrobe full of male and female clothing (and an abundance of shoes).

    Against the wall of his room is a long wooden desk decorated with some baubles and blue Ashokan lamps and various candle holders. There is a leather-bound journal upon it that is warded. Otherwise it is an explosion of parchment, and has suffered many ink stains over the years. There are mad notes and to-do lists tacked up around the desk that he promptly forgets about, broken quills and nibs, wax blots, and other signs of a messy scatter-brain.

    There is a large window that lets in a great deal of light, and he usually keeps drapes over it. His room has a small balcony that overlooks the garden, big enough for 1 person.


    BATHROOM

    Leading off the side of his bedroom is a small bathroom, with space for little else but a clawed tub, stacks of towels, and a shelf crowded with a myriad of little bottles, fragrances and crystals. There is also a small wash basin and an unused latrine. It has a ceiling window that lets a great deal of light in.


    GUEST ROOM

    Further down the hallway is what originally served as a small bedroom for a household servant. It was nothing particularly fancy when it belonged to the previous tenant, but Phaedrus banished all of his disliked paintings, candlesticks, lamps, mirrors, and other decorative rubbish to this room. As a result it is overwhelmingly lavish. The walls are painted a cool color that contrast the rest of his house. There is a particularly tacky, green and gold-accented lounge there that is large enough to double as a bed, covered in blankets. He mostly uses it for storage, but in the rare event someone platonically sleeps over, it is easily usable as a guest room.


    THE STUDY

    His second favorite room in the house, besides the kitchen. It is lovely and quiet, relatively spacious, with a massive collection of books crammed into the bookshelves that line the walls. It is painted a subdued, relaxing dark green. A sunny window allows lots of natural light to flood in from the street, but an abundance of lamps suggests long nights burning the midnight oil. He has a large writing desk in there, two plush armchairs, and a low, circular table of enameled, mosaic Ashokan wood. There are maps of Soare and various scrolls tucked away in shelves and on display on the walls, along with runic diagrams and star charts.

    As he is formally known as a scholar of antiquities, he must keep up some sense of appearances... however, his "true" study is actually subterranean, located in his cellar and part of an old, forgotten catacomb. Phaedrus does NOT conduct any experiments in here; rather, it is where he keeps his collections of research notes, various translations, and anything the Mystic Occult or antique collectors have sent him to examine. As a result it is a bit of a "mini-museum" -- he keeps "safe" or unenchanted wares here, and they are constantly rotating out when he is done with them. There are a variety of instruments at his disposal, including magnifying glasses, dowsers, and the magical equivalents of spectrometers. (Think the weird shit in Howl's room.)





    BELOW GROUND


    THE DREADED CELLAR

    Phae's basement starkly contrasts the rest of his house.

    It originally stored wares and held wines in various states of fermentation, and so it is spacious, with various rooms. The first room is a root cellar, and he uses it to store meats, wines and other foods. It is unnaturally cold throughout the year.

    This feeling only progresses as the visitor gets deeper. After the food cellar is a door with a short hallway. People sensitive to otherworldly things often remark breaking into chills or sweat. They feel something negative that compels them to keep away. This feeling worsens terribly down the hallway, amplifying at the door handle.

    Phaedrus has placed a great deal of necromantic wards on the door, hallway, and area beyond. It keeps Dead from escaping. The living, however, feel tired, fuzzy-headed, or ill as they pass through--some begin to feel sapped of strength or confused.

    If they are brave enough, the door opens to the first part of Phaedrus' study. This is where he keeps relatively safe tomes and artifacts, and distills nightshade. The coldness is pronounced now, and in addition there is the onset of an emotional drain and tiredness. Phaedrus keeps his necromantic robes here. They are dark cowls made of a heavy material, hung on hooks. The entire area is lit by magic candles and lanterns, and is intended as a study. There is some warmth here from natural flame lights as well.

    The next room is worse, and the door and floor are further warded. Sensitive people begin to feel feverish or short of breath; some suffer piercing headaches. Others tremble uncontrollably, sob, or generally cannot handle the closeness to Death. The room is now extremely cold, and mist wafts from people's mouths. It is also completely silent, thanks to the wards, and impossible to tell what time it is. Sound is unnaturally amplified and loud.

    There are no candles or sources of fire: everything is lit by a dim, eerie blue light that produces no heat. He keeps his ritual materials here: arcane stones, runes and a variety of binding instruments he recovered from his Master's study. There is a necromantic circle in the middle of the room, and several covered mirrors. Black, violent slides stain the floor, and the walls and ground are clawed violently in places. He keeps the more dangerous artifacts and tomes here, some of which are warded further in their own respective places.
    Edited by Phaedrus, Aug 18 2017, 01:45 PM.
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    Phaedrus
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    Thus conscience does make cowards of us all/ And thus the native hue of resolution/ Is sicklied o'er with the pale cast of thought.

    NPCS

    WIP LOL


    Malakar ibn-Alhasan
    Phaedrus’ past form

    Appearance

    In… “Life?”

    Freakishly tall at nearly 7 feet, Malakar was… hard to miss. He had no pupils, sclera or eyebrows, and his eyes were burning, yellow slanted almond pits in his face. His nose was very long, hooked and sloped down. Alloces arrogantly gave him the same features as his own.

    When he was freshly created, Malakar had smooth, unblemished and clay-white skin. He had long, mid-back length bloodred hair, and often pleated it or arranged it into graceful hairstyles. His lips were thin and his teeth were long and sharp like an anglerfish. He had a long, snakelike tongue that could flicker out and help him smell. His fingers were long and thin, with somewhat long but well-kempt nails. His body was androgynous and wiry-strong; he was capable of decapitating people with a single stroke of a blade, and strangling a full grown man with his bare hands.

    He was fond of rich blues, teals and jade — he often wore robes and other flowing Ashokan fashions. He was fond of curled shoes. For physical combat, he used scimitars that were about four feet in length, and they hung at his waist off a sash. He dressed in lightweight Ashokan cloth and leather armor and helms — else horrifying plate armor with little else showing but his teeth.


    In Death

    After being abused for years at the hand of his Master and delving into awful sorceries, Malakar effectively fell apart. At the end of his life, he was missing his nose, and had several wounds that festered and did not heal. One of them was a gaping gash across his throat, and three violent slashes down his face that tore part of his lip to ribbons and exposed his teeth. His extremities eventually became necrotic and black from constant exposure to Death, including the tips of his fingers, his lips and the flesh around his eyes and scars/wounds.

    Though always thin, constant adversity desiccated him to a mummy’s proportions, with prominent joints and bones. His hair began to fall out and his nails grew and became unkempt and unfiled; they were effectively claws, often dirty and caked with blood.

    At the end of his life he tended to wear veils and clothes that were as obscuring as possible.


    Personality

    By nature Malakar was sweet, soft-spoken, and slow to anger. He was a good listener, and always a fan of stories and learning. He tended to be daydreamy and naive, always looking for the good in things -- but still intelligent, inquisitive and a fast learner. He was gentle to everything and everyone around him, avoiding crushing something as small as a bug or hurting anyone’s feelings.

    Years of physical and emotional abuse dialed his nerves up a hundredfold and forced him to be attuned to people's behavior: the faintest twitch of a person's brow, any indication of anger -- and by extension -- punishment.

    He became willing to bend over backwards, even quieter, afraid to raise his voice or protest, and eager to please. He also became good at weathering abuse from others, assuming it was simply normal. At some point he broke under the pain and became disassociative — often remembering little about what he did, suffering from large gaps in his memory, and generally acting erratic and unpredictable. He became violently angry, temperamental and paranoid. Towards the end of his life he had psychotic breaks, suffering from hallucinations and delusions, living in flashbacks, and essentially became non-functional. Almost no fragment of his old self and personality remained.






    Alloces
    True name: Alhasan ibn-Alim
    Phaedrus’ Master and Creator

    Appearance:

    In Life

    Upon first glance, Alloces was extremely unremarkable and overwhelming. Tottering at 5’7, he was not particularly tall, with androgynous elven features he took from his mother. He was a half-drow (half desert drow, half Ashokan). His nose was long, slightly hooked and pike-like, eyes upturned and almond. His skin in Life was a naturally dark, warm umber. Like his mother, he had naturally fine, long straight white hair, but loathed it and frequently dyed it black or brown to fit in.

    When he was living with his vizier father in the lap of luxury, he was a pudgy child and adolescent. He was fond of jewelry, often wearing earrings and gold necklaces decorated with his house’s insignias, scarabs or eagles. Like the fashion of the day (and to help with the brutal sun), he rimmed his eyes with charcoal.

    When he joined the academy at the City of Oracles and gave up his previous life, he dressed like an ascetic: gone was the jewelry and hair dye, though charcoal was considered acceptable. He was forced to wear nothing but a simple white robe, and sad meals of gruel rendered him thin.

    After graduating and working at the City of Oracles, he took to a life of wandering. The desert weathered his face and gave him premature wrinkles; he continued to wear nothing but a white robe and regularly fasted and prayed to the gods. To hide his drow ancestry, he frequently wore a turban or headpiece to cover his hair and ears.

    In the Bayt Ifrit, after losing faith and dealing with untold horrors, Alloces effectively became a functioning alcoholic. Before he embalmed himself, he was in late-stage liver failure and had jaundiced eyes, lost/thinning hair, and was emaciated.

    In Death

    His skin blackened to the color of tar from embalming fluid and preserving chemicals. It appeared leathery, like a mummy’s. His face was deeply lined and mostly immobile. Often unreadable. It bore evidence of a life of frowning, scowling, and so on; he had deep grooves in his forehead and around his eyes and mouth.

    If you were to undress Alloces (Nailah help you), you would find that the rest of his body besides his hands/face are lighter in color; his skin dessicated to his bones, and his ribcage and pelvis were highly visible. He had an unnaturally flat stomach due to the fact his organs were removed. All of his limbs were stick-thin and knobbly, with swollen joints. His fingers were nearly skeletal and black.

    As in Life, Alloces dressed simply in a white healer’s robe. He used a staff as gnarled and old as he was. The pierced holes in his ears and earlobes sagged somewhat. His eyes went white and milky from cataracts and necromantic magics, and he was mostly blind. His hair receded at his temples and forehead and hung down to his shoulders in thin, fine strands, continuing to grow after Death.


    Personality

    Cold. Reticent. Analytical. Alloces was always a serious child, imbued with Purpose — he was overly intellectual and lacked childhood levity, often lost in his own head and books. As a bastard, he was tortured by his legitimate brothers, which made him quick to learn the arts of wit and manipulation.

    Despite that, he had a deep love of his parents and bastard sister; he was fiercely protective of her and suffered frequent dread at the thought of her and his father’s short lifespans. In general, Alloces was marked by his anxiety about life and drive to succeed and make a legacy for himself; he was often unable to sit still or relax, and quickly outpaced his siblings and tutor in maturity and learning capacities.
    In adolescence, he had few distractions; he wasn’t athletic, didn’t care about trends, and wasn’t attracted to women (he hid his sexuality with great shame and confusion). His brothers regarded him as a freak and “eunuch,” making fun of his youthful appearance due to his elven heritage, and as a teenager their torture became unbearable. Mostly he binge ate his feelings, drank, practiced magic, and got stuck in bouts of gloom.

    When it became clear he was gifted and miserable in palace life, his father suggested that he go to the City of Oracles.

    While there, he blossomed, becoming less of a reticent hermit. Despite this, he was still socially awkward and had a chip on his shoulder. He was always fiercely independent and pushed the boundaries of what was acceptable, sneaking into private sections of the library, manipulating people with his psionic powers, and eventually illegally dissecting corpses. As a hakim, he developed a bedside manner that was firm but caring.

    Eventually, as his psionic powers developed and he felt like he had a greater mastery of Life, bringing back people from the edge, he got hooked on power trips. As a bastard with zero prospects, he was triumphant he had come so far, but his triumph and arrogance swiftly ended when his father and sister died from the plague.

    After that he changed — was humbled significantly, ashamed of his arrogance, and turned to the gods. But after a while his resentment and hunger came back; he was dissatisfied with what life had robbed him of, and decided to become a sultan of his own making, unimpeded in his intellectual pursuits. Thus he founded the Bayt Ifrit, a group of occultists interested in finding Eternal Life.

    To survive among the many psychopaths of the Bayt Ifrit, he became extremely manipulative and callous, traits that only worsened as he got older. He eventually lost all faith in the gods and descended into bouts of debauchery and gloom again, especially as things fell apart and his many apprentices betrayed him. However, he never lost sight of his vision, and his tenacity pulled him out of many dark places. He began hating everyone around him, finding them to be inferior, heinous, and unworthy of trust.

    After he made Malakar, all of his empathy left. At first he felt deep love for his creation, but as he strayed from his expectations, it became resentment. Alloces took out a lifetime of rage on him, losing his sophistry and manipulation and outright torturing him with his psionic powers to get him to do what he wanted. However, to other colleagues, he maintained his facade of cold, calm, unflappable intellectualism and dry wit. Only Malakar and Nasir al-Din, another member of the Bayt Ifrit, knew the depths of Alloces’ cruelty and controlling violence.








    Nasir al-Din (Charon)
    True name: Bushr Mizreb
    Glede’s Master and Creator (and creator of many untold horrors)


    Personality

    Charon was a forceful, unpleasant man. He bellowed and snarled instead of talked; he was perpetually on edge, seeing conflict where none existed; too intense, too loud, too domineering. He was a man oftentimes defined by his hate: his hate for humanity, his hate for fools, his hate for women, for gays, for anyone he considered aberrant or inferior.

    And boy, did he have an inferiority complex. He was judgmental and had high standards while never meeting them himself; quick to berate, abuse and belittle; always had to have the last word or feel superior in some way. If he did not do this by his intelligence, then he resorted to assault/abuse--mental, sexual or physical.

    In all relationships, he was domineering, controlling and restrictive -- towards his apprentices, colleagues, followers (when he was a priest), and the few, unfortunate women who dealt with him. He demanded loyalty and unquestioning obedience from others, and reacted to any betrayals with brutal violence. He raped and murdered one woman who he thought "betrayed" him (she was a prostitute, and saw other clients) and killed her unborn child.

    He was power-hungry after being denied his own power for so long. Power was intoxicating to him, and to be achieved at any cost; no act was too cruel to ensure that he maintained it. All of his creations are marked by absolute control: he literally chose to bind souls irrevocably to his will, to powerful chassises that could be used militarily. (Specializations in the Bayt Ifrit were... telling.)

    Charon had totalitarian instincts, and despite his cruelty and unpleasantness, had a way of making his beliefs sound absolute and true. He berated anyone who opposed him, cutting down their credibility; had a direct, forceful way of speaking in absolutes; gaslighted everyone; played on existing fear and insecurities; was so confident and unwavering in his views and insane logic that they almost seemed plausible. He had a knack for attracting people who thought similarly to him, and gave them outlets for their brutality.


    TBA OOPSIE
    Edited by Phaedrus, Aug 6 2017, 10:55 AM.
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