Markings of the Mali’ame

Tattoos of Status

The elves are a vibrant and expressive people, deeply attuned to beauty in all its forms. This passion for aesthetics is especially true of the Mali’ame. For millennia, the wood elves lived in wild, tribal communities within the deep forests, organized into groups known as Seeds. They upheld a fiercely naturalistic way of life, their devotion laying with the Aspects of Nature and the Mani of Beasts. Yet, even in their simplicity, the Mali’ame never abandoned their innate love for color, artistry, and expression. This passion manifested in a ritualistic tradition of vibrant skin markings that symbolized the core tenets of their identity, both as individuals and as a culture. 

The first of these was the Ilmyumier of Seeds - a term derived from old elven word meaning “to carry.” Each tribe developed a unique marking or crest, inked onto the skin to signify allegiance to their Seed. Over time, the Mali’ame expanded this practice to include the Ilmyumier of Standing. These tattoos indicated an individual's role or status within society. Initially, these marks varied widely in style and meaning, but through numerous Omentahu, the system became standardized. As a result, wood elves could recognize the rank and role of any fellow Mali’ame by their markings, regardless of tribal origin. More modernly, Ilmyumier of Creeds have also been created, made to mark an individual with whichever Aspectist Creed they follow.

Unfortunately, much of the ancient Mali’ame tradition has been lost to time. Once, hundreds of Standing Ilmyumier existed, forming a complex hierarchy of roles and rituals. Now, like the old Aspectist prayers and the names of many Mani, most have faded into obscurity. Yet, not all is lost. The teachings of the old Seeds endure in modern wood elven nations, as do their traditions. Among these, the practice of status tattoos persists, albeit in a diminished form. For the Mali’ame, these markings remain a vital link to their heritage - one they refuse to let slip away.

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The Glade of Hileia’s Ancient Archives

Scribed by Sonna Vulnrith, Keeper of the Glade and Fox Druid

Cerridwen’s Vines

Healers, Caretakers, and Mothers

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The Vines of Cerridwen, also known as the Mother’s Mark, is one of the two most significant standing ilmyumier of the Mali’ame. It represents the essence of Cerridwen herself, embodying the nurturing and gentle spirit of nature. This sacred mark is worn by those who reflect the Green Lady’s compassion - mothers, healers, and caretakers.

The Mother’s Mark is a vibrant teal, reminiscent of spring water. Its design may flow like a winding river or flourish into floral patterns, a sacred symbol of Cerridwen. The mark is traditionally placed on the hands, symbolizing the healing touch.

Cernunnos’ Horns

Warriors, Hunters, and Fathers

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Alongside the Vines of Cerridwen, the Horns of Cernunnos - also known as the Father’s Mark - is the other of the two most significant ilmyumier in the old Aspectist tradition. This mark symbolizes the father’s role in the balance of nature and signifies one’s status as a warrior, hunter, or father - roles that demand strength, bravery, resilience, and a protective spirit.

The Father’s Mark is a deep crimson, evocative of blood. Its design may sweep gracefully like a blade or mirror the rugged, jagged form of a stag’s horns, the sacred emblem of the Huntslord Cernunnos. The mark is placed either on the face or the hand that wields the tools of the hunt.

Morea’s Teeth

Princes, Chiefs, and Archdruids

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The ilmyumier known as Morea’s Teeth is named after the Mani Prince of Wolves, a patron of leadership, particularly in war. This mark is among the most prestigious tattoos, reserved solely for those in positions of authority or revered mentorship. Princes, Seed Chieftains, Archdruids, Oracles, and military leaders are eligible to bear this symbol.

Morea’s Teeth are golden in hue, their jagged and sharp designs evoking the fangs of a wolf. The tattoos encircle the flesh, imitating the form of a crown. This mark is traditionally worn on the forehead, wrist, or forearm. Only a Prince or King, of which there are none but Malin, may wear it upon the forehead as a symbol of their supreme authority. Leaders of lower rank, such as Seed Chieftains or Archdruids, must place the mark on their arms. A Prince or King, of which there are none but Malin, may further signify their higher station by incorporating additional parallel rings of “teeth” into their tattoo, emphasizing their elevated status.

Amaethon’s Antlers

Fathers, Justiciars, and Priests

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Amaethon’s Antlers are named after the Mani Prince of Stags, a revered patron of justice and compassion. This sacred mark is often worn by justiciars, individuals entrusted with upholding their tribe’s justice, as well as Priests of the Wild Faith. It is also a symbol of fatherhood, complementing the significance of Cernunnos’ Horns.

The mark takes the form of majestic antlers, rendered in various shades of dusty brown to reflect the natural hues of stag antlers. These antlers span across the back and shoulder blades but may also be inked beneath the collarbones. Those who aspire to embody the compassion and fairness of Amaethon’s justice are encouraged to carry this mark upon their skin, serving as a living testament to their dedication to balance and benevolence.

Bolomormaa’s Mark

Mothers, Protectors, and Priestesses

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Bolomormaa’s Mark is named after the Mani Princess of Bears, the revered patron of protectors, especially mothers. This sacred mark is most commonly worn by nurturing and protective mothers, as well as Priestesses of the Wild Faith. Alongside Cerridwen’s Vines, it is considered a deeply feminine emblem.

The mark features a bear paw print, typically rendered in shades of deep red or earthy brown - symbolic of the rich lifeblood and the strength of a bear’s dark fur. It is traditionally placed on the stomach, representing the children the bearer vows to protect. Women who seek to embody the fierce, unwavering strength of a mother bear are encouraged to wear this mark with pride, as a testament to their devotion and resilience.

Ohowaki’s Crest

Scholars, Teachers, and Keepers of Knowledge

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In all civilized societies, knowledge and history are deeply cherished, and the woodland elves are no exception. Among them, a standing ilmyumier exists to signify one’s dedication as a preserver and seeker of knowledge. This mark is named after Ohowaki, the Mani Princess of Owls, also known as the Great Moonlight Bird.

Ohowaki’s Crest is worn by those whose life’s work revolves around the pursuit, preservation, or sharing of knowledge. Teachers across all disciplines are encouraged to bear this mark, whether they teach history, lore, faith, or practical crafts. Librarians, record-keepers, and storytellers of oral traditions also wear this ilmyumier as a testament to their calling. This mark is traditionally placed on the palms of the hands or the back of the neck, symbolizing both the act of offering knowledge and the weight of its preservation.

Moccus’ Tusks

Soldiers, Warriors, and Commanders

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Moccus’ Tusks are named after the Mani Prince of Boars, a Dual Mani of War alongside his brother Morea. As the patron of soldiers, warriors, and commanders, Moccus embodies the resilience and strength required of military leaders. It is tradition for a soldier to receive this mark from a Priest after completing their first battle, symbolically christened in blood.

The mark features a stylized tribal depiction of a boar’s profile, crafted in shades of deep terracotta to reflect the earthy strength of its namesake. This tattoo is typically placed on the shoulder, most often on the sword arm of the warrior, serving as both a badge of honor and a symbol of steadfast might.

Siss’siru’s Grip

Atonement Seekers, Stayers, and Those Beginning Anew

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Contrary to its common perception in other cultures, the snake is not seen as sneaky or deceitful among the wood elves. Instead, it is a symbol of cunning, resilience, and formidable power. Siss’siru, the Mani Prince of Serpents, is often regarded as a patron of those who have strayed from the Aspects' path, committed sins, or undertaken wrongful deeds. However, Siss’siru does not condone these actions; instead, he wields venom in his fangs to punish the wicked and oathbreakers.

Siss’siru’s Grip is a mark worn by those in elven society who have committed crimes, betrayed their Seed, culture, or faith, or caused harm to their people. For those who have been forgiven and reintegrated into their communities, it serves as a constant reminder of their past misdeeds and symbolizes the second chance they have been granted - a chance to redeem themselves and start anew. Thus, Siss’siru’s mark is both a brand of shame and a symbol of redemption. This standing ilmyumier encircles the wrist or neck in a design that depicts a serpent biting its own tail, evoking the traditional ouroboros - a powerful emblem of renewal and the cyclical nature of life.

Meracahe’s Tail

Craftsmen, Builders, and Creators

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The craftsman has long held a place of honor among elvenkind, valued for their essential contributions to the well-being and prosperity of their people. Among the ancient Wood elves, trades such as Ame’lie cultivation, basket weaving, canoe carving, bow crafting, and tailoring were revered as noble and vital arts. In modern times, this tradition has expanded to include architects, blacksmiths, and any profession that demonstrates ingenuity in the creation of useful or beautiful things. Merchants and wealth-makers, who provide for their Seeds and communities, are likewise honored under this tradition.

Meracahe’s Tail is a standing ilmyumier dedicated to Meracahe, the Mani Prince of Beavers, who symbolizes craftsmanship, diligence, and prosperity. The mark features a pine-green cross-hatch pattern reminiscent of an abstract beaver’s tail, a fitting tribute to the industrious spirit it represents. This ilmyumier is traditionally worn on the forearm, the palm of one’s hand, or the small of the back at the tailbone, symbolizing the creator’s connection to their work and community.

Hamasta’s Dorsal

Fishermen, Whalers, and Sailors

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Wood elves are no strangers to the sea. Many of the ancient Seeds navigated coastal rivers and even braved the open ocean, earning renown as fishermen and whalers. To this day, some wood elves maintain this oceanic heritage. For these seafaring Mali, there exists Hamasta’s Dorsal.

This standing ilmyumier honors Hamasta, the Mani Prince of Dolphins, who has long been revered as the patron of the sea and all who derive their livelihood from it. Fishermen, whalers, swimmers, sailors, and those who embrace life along the rivers and coasts bear this mark with pride. Hamasta’s Dorsal is traditionally worn on the forearm, shoulder, or legs and features a depiction of a bottlenose dolphin breaching from the water, symbolizing grace, resilience, and connection to the sea.

Kwakwani’s Wings

Artists, Faith Leaders, and Pioneers

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The great raven Kwakwani is a powerful Mani and one of the most prominent figures in wood elven folklore. Known as the trickster, the deliverer of the sun, and the dealer of fate, Kwakwani is the patron of freedom and the spiritual and emotional needs of the soul. His image has become a symbol for priests, explorers, and artists of all forms. To bear the mark of the Raven is to declare oneself a servant of the soul, unbound and free. 

Musicians, painters, authors, poets, and other artists are encouraged to adopt his patterns, proclaiming their devotion to their craft and their pursuit of emotional and artistic freedom. Kwakwani’s ilmyumier depicts a full-bodied raven with pitch-black feathers, its wings perpetually outstretched, ready to soar. This mark is traditionally placed on the upper back, upper chest, or under the eyes, signifying the boundless spirit and the freedom to reach beyond constraints.

Felixii’s Leep

Secret Keepers, Silent Hunters, and Seekers

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Felixii’s Leap is named after the Mani Princess of Wild Cats, a symbol of secrets and mischief. As the patron of secret keepers and seekers of forbidden knowledge, Felixii also guides silent hunters, second in this role to her sister, Norra.

The mark features a leaping wildcat, encircled by patterns reminiscent of a cheetah’s spots. Rendered in hues of orange, sand, and gold, it reflects the diverse coats of wildcats. This tattoo is traditionally placed just below the collarbone but may also adorn the arm, leg, or hip, for the placement is not significant to its meaning. Some may choose to have it inked on a not often seen part of the body, a private symbol of secrecy and personal connection to Felixii's enigmatic spirit.

The goal of Wetlands Crossing is to be the first player to remove all of their pieces from the board, thereby crossing the wetlands safely. The board consists of three rows of ten tiles, with each tile being known as a domain. Each player starts with five pieces, which begin on the top row in an alternated pattern.

The game is played with throwing sticks, resulting in a number between one and five ((OOC: /roll 5)). The youngest player throws first. The pieces move from left to right in the top row, right to left in the middle row, and left to right in the bottom row, resulting in a zigzagging path across the board.

During each turn, a piece can be moved according to how many throwing sticks land face up ((OOC: what number you get when you /roll 5)). Pieces can jump over other pieces, in a move known as Dzalar'onn's Leap. The exception to this is if a player has three or more connecting pieces in the same row, effectively creating a blockade that cannot be jumped over, even if the other player rolls the requisite number. This is known as Meracahe’s Dam. If the player has, for example, four connecting pieces, but they are split across rows, this breaks Meracahe’s Dam and their opponent can jump over it if they roll the requisite number. Players can always jump over dams created by their own pieces. 

There can only be one piece per domain at any given time. A player can move their piece to a domain occupied by their opponent’s piece if they land on it; doing so exchanges the pieces, and they swap places. A player cannot move their piece to a domain occupied by one of their own pieces. If a player has two or more connecting pieces, this is known as the Protection of Tāmatu, meaning that the pieces cannot be exchanged even if the requisite number is thrown. This protection lasts until the pieces are separated through gameplay.

There are a number of special tiles on the board, known as Mani Domains. 

Red: Siss’siru

Yellow: Wi’wun

Blue: Kwakwani

Green: Kri’ki

Light green: Llan’sae

The Domain of Siss’suru is a safe place, meaning that a piece in this domain cannot be exchanged, even if their opponent rolls the requisite number to land on it. Other safe domains where pieces cannot be exchanged are the Domains of Wi’wun, Kri’ki, and Llan’sae.

Pieces must first land on the Domain of Wi’wun before it can progress further into the wetlands. For example, if a piece is on the tile before Wi’wun and the player throws a three, they cannot move that piece. This is likened with the Prince of Cranes judging trespassers attempting to cross flooded lands. The Domain of Wi’wun is a safe domain, and pieces on this domain can never be jumped over, effectively blocking one’s opponent from progressing.

If a piece lands on the Domain of Kwakwani, the Trickster Raven moves their piece back to the Domain of Siss’siru. Being taken back to the Domain of Siss’suru symbolises that the piece has a second chance to continue playing the game, even if they have been knocked back. If the Domain of Siss’siru is occupied by another piece, the knocked back piece is moved to the first empty domain before it. 

The very last tile on the board is not safe. If there is a piece in the final domain, and a player with a piece in the Domain of Wi’wun throws a four, they can swap their piece to the final domain. Rather than the other piece being swapped to Wi’wun, it is instead stolen by Kwakwani and moved to the Domain of Siss’siru.

Once a piece has passed the Domain if Wi’wun and is in the final domains, it can only leave by throwing a specific number. Pieces in the Domain of Kri’ki can only leave the wetlands with a three, pieces in the Domain of Llan’sae can only leave with a two, and pieces on the final unmarked domain can only leave with a one. For example, if a piece is in the Domain of Kri’ki and the player throws a one, the piece cannot progress to the Domain of Llan’sae, which is on the tile beside it; the piece must remain in place until the exact number is thrown.

If a move is possible then the player must make that move. For example, if the player has only one piece remaining and they roll to land on the Domain of Kwakwani, they must make that move even though it is disadvantageous. If no move is possible, the player forfeits their turn.

The first player to move all of their pieces off the board wins the game, having successfully crossed the wetlands.

Art by Numiyra, Amayonnaise, Marsloll, & Halified Arts

Throughout the centuries that make up Mali’ame history, they have always remained a people of vibrant and diverse personalities, appearances, and beliefs. This fact of life is apparent not only when speaking with individuals of the Wild Faith, but by simply taking a glance in their direction. Paints and tattoos are abundant upon their forms with no one elf looking quite the same as another. Antlers marking one’s face, the head of a dolphin upon another’s bicep, even a fae dragon or feline pattern wrapping the entirety of their arm. 

These tattoos, or as they’re called in the Elven tongue Ilmyumier, carry a vast amount of meaning that vary between wearer to wearer. Some are marked with the intent of being permanent banners of affiliation to their seed family or religious creed, others are signs of reputation or experience in life. 

The Ilmyumier worn by the members of different seeds are all often based around a singular, base design to identify that person as being part of that seed. The markings are given to members upon their coming of age ceremony or at the end of their trials to join a particular seed. Some notable seed Ilmyumier include that of the Caerme’onn’s stag antlers worn under the eyes or upon the chest, or that of the Arvellon’s autumnal sleeve topped with a wildcat’s head upon the shoulder.

Not all Ilmyumier are worn as kinship to a specific seed. Some are worn as badges of status or reminders of experience pertaining to memories through life, their own skills or crafts that guide their hands throughout the many centuries of life.  Some may see the head and waves of Hamatsa upon the arm of a healer, or the horns of Cerunnos’ wreathed head upon the cheek or hand of a warrior. They are strong indications of that person’s way of life or their history prior, a proud symbol to speak in place of words.

Crimson hued markings found upon the hand or face of warriors, heralds of the hunt, and the devoted fathers of the Mali’ame. They are meant to emulate the side of nature overseen by Cernunnos, expressing one’s desire to be strong, courageous, and protective of their kin. Typically, they consist of jagged or curving stag’s horns with a bloody looking fade of color.

The teal markings of the Mother that curl and twist like the smooth waters of a river, or grow and wrap like the vines of a floral branch. Those who don this design upon their skin are those who wish to express the gentler side of nature. The desire to grow and nurture, to heal decay and restore that which was lost into something new. Gentle mothers and the most kind of healers are most often seen with this wrapping their hand, or just under their eyes.

The jaws worn by the most devoted of leaders and mentors  in the Wild Faith, oftentimes offered to those who excel in these matters and proven themselves capable in their role or worthy of recognition for past service to their people. The marking, worn upon the brow like a crown or banded around one’s upper arm, resembles the jagged teeth of a wolf and is intended to express the loyalty to one’s kin and traditions.

Few outside of the culture truly understand the importance of craftsmen to the Wild Faith, yet the thatch design of Meracahe’s Tail serves as a signature badge for those who uphold the crafting skills such as the Tree Singers. One may see blacksmiths wearing the design upon the hand or wrist that wields their hammer, or tailors’ weaving fingers etched with the spring hued green.

While the Mani of Dolphins is typically associated with those devoted to the path of medicine and healing, this ilmyumier ensures that the Mali’ame do not forget her care for the seafarers. Many fishermen, sailors, and riverfolk alike mark themselves with the dorsal of Hamatsa as a blessing for calm waters and bountiful food claims from the waters they forage. It is most often designed as a dolphin breaking the surface of deep blue waters, found upon the arms or legs.

Many believe the Snake to be the patron of sinners and cutthroats, yet the truth is in fact the opposite and this ilmyumier serves to embody that reminder. The grip of Siss’siru appears as an ouroboros design upon the wrist or around one’s neck, a snake with red, poisoned fangs biting its own tail. The meaning of this marking varies between those who carry it. For some, it is a branded reminder of wrong-doing. For others, it is a symbol of rebirth and redemption. 

For the scholars and studious seekers of knowledge, the crest of Ohowaki is the badge of intelligence and history. Found upon the back of one’s neck or along their hands, many Mali’ame who frequent libraries, constantly scour the world’s tales for information, or serve as teachers of history wear the marking to show their devotion to the path of knowledge.

To the free artists and explorers go the wings of the Raven herself. The black and red image of a raven can be found upon one’s back, chest, or under the eyes. Many don this marking upon themselves as a means of instilling good luck toward their artistry or to bless their hands and hearts with the ability to create beauties unseen.

                                                       Art by Tyvar Kell

Hitching, The Tree Climbing Game

Run, run, run. Climb, climb, climb. So went the Mani of Squirrels, Saen’Dei, up the tree with a scampering and a chittering. Dash, dash, dash. Scratch, scratch, scratch. So went the Mani of Panthers, Norra, up the tree with a scrambling and a growling. One and two, so they flew across the bark to reach the top. Three and four, Norra hit the floor. Five and six, Saen’Dei made it up alive.

The game of Hitching is a competitive, Wood Elven climbing game originating from Nevaehlen. Kinsmen would challenge one another in their climbing skills, scaling the length of a tree with various branches, to retrieve the prized bundle of colored feathers at the tree's peak. Only the quickest of climbers, those said to have the spirit of Saen’Dei or Norra, prove successful in this game. 

Mechanics:
In order to play, one must have at least two players. Each individual goes in turn order. There are 12 points to gain with the rolling system, symbolizing how high the player climbs. Player 1 rolls out of 100, (3) times. For each roll that they get above a 50, they get to advance that many places, and thus gain that many respective points. Once player 1 makes their moves and rolls, player 2, and so on, may take their turns at rolling and advancing. 

Should an individual roll below a 50, that roll does not add to their advancement.

For instance, should a player roll above a 50 twice, but not a three times, they will acquire (2) points and thus (2) movements higher. However, if an individual rolls below a 50 for all (3), they do not advance at all. Once a player has acquired (12) points total, they are deemed the winner, and are able to reach and snag the bundle of colored feathers. 

** If a player rolls a 100/100, they get to move an additional spot **
** If a player rolls a 1/100, they must descend an a spot **

Art by Gabriel Bulik

Origin

During the ages of Irrin Sirame and the first Wood Elven Seeds, elders would call for an Omentahu under the towering canopies. Omentahu, formerly known as an oment’fiher, or a feast gathering, is a culturally significant tradition for the gathering of kinsmen here and there. 

These meetings were called under various circumstances, some serious to confront and solve disputes amongst tribes, or others more peaceful and celebratory. Elders would sometimes tell folk tales and share stories of yore, or others would take advantage of a meeting to put on theatrical plays or share the arts of the woodlands. 

Through the days of Irrinor, Siramenor, and now Nevaehlen, the Omentahu has adapted and changed, keeping to its original tradition, yet becoming an important time to test and challenge the actions of Wood Elves. Omentahu’s usually are opened by the Matriarch, Eldarch, or other elders within the community, to present issues that need to be addressed, or general news. They are also held during times of Green Priesthood lessons and meetings, or other cultural guilds within the Vale.

Purpose

Wood Elves are adaptable yet tradition bound folk, who work best as one. Omentahu’s are pivotal for the communication between Seeds and individuals. It is a means of gathering as a community, for the preservation of their culture, the Wild Faith, and Malin’s teachings.