esotericas

Charles awoke bathed in sweat, alone in his camp in the Heartlandic hills. His stomach churned, the adrenaline of combat still rushing through him, the thrill and camaraderie of the battle line, the glory of holy war. Outside of his tent, bathed in the early-morning sun, Charles knelt and prayed.

Ser Charles read the missive thoughtfully, and then set to work writing a letter to Georgiana, expressing their sadness at having been unable to attend this momentous Wicksmoot. Next time...

Should Oren return?

•───────────•❄•───────────• •───────────•❄•───────────• [!] A FLYER FINDS ITSELF IN THE HANDS OF HUMANITY, DISTRIBUTED BY COVER OF NIGHT ACROSS AEVOS. ANY WHO WISH TO MAY ROLEPLAY HAVING FOUND THIS MISSIVE. •───────────•❄•───────────• The holidays dawn clear and bright, The northern star shines true at night. Pure-hearted youth with souls of light, My message heed and letter write. Make your request, one gift for each, And when your letter does me reach, In my shop, wonders I will make, But hear this first, lest you mistake: Good child gifts get, bad child only woe. So children please be at your best, Don't misbehave, I'll always know! – The North Star (Direct letters to the North Star Company. Please include your home address, age, and nation of residence somewhere in the letter. Parents may assist younger children if needed. Teenagers may also write letters.) •───────────•❄•───────────• [!] ATTACHED TO EACH FLYER WAS A BLANK POSTCARD, THE MAILING ADDRESS ALREADY PENCILLED IN... •───────────•❄•───────────• OOC: [ IMPORTANT! ] Send letters to my first slot (IGN esotericas), in the comments on this post, or to my Discord (also esotericas) PLEASE include IGNS and RP street addresses, so I know where to deliver gifts to! I'm aware that it's a bit early for Christmas RP for many people, but I'd like to give people time to think about what they want, and myself time to make lots of items. Feel free to request multiple things if you want to give me options, but I will only be making one item per OOC player. Bonus points if you fill out the postcard like your persona would, and send me that! Letters MUST be sent on or before December 15th. Some things that will get you put on the extra-nice list: Providing details about color / style / etc. preferences Filling out the postcard in-character Taking your time to think about what you want Asking for creative or unusual things Being a good child and doing what your parents tell you Spreading whimsy and holiday cheer Some things that will get you put on the naughty list: Sending multiple letters from different personas Lying about your persona’s age to get a gift Asking for things your persona doesn’t know exist Being a bad child and being mean to your siblings Spreading evil and holiday gloom •───────────•❄•───────────

Alchemist tries to create the Magnum Opus, more at 12 (Upvoted) (make them real please) (it'd be so based)

THE FUNERAL OF PRINCESS CALLIOPE Penned by the County of Enswerp In the year of our Lord, 2002 TO THE SUBJECTS OF THE AAUNIC CROWN, As the question of succession flurries through our apostolic kingdom like a tempest, we as a family have become divided by the varying visions regarding the future of our realm. Nature often proves itself a harsh mistress that would not allow many a moment of respite, but, if only for a moment, the tumultuous winds of politics have ceased for our House of Alstion as we witness the passing of one of our own. The loss of our beloved Princess Calliope Analiese, sister and aunt to many, reminds all of us that in spite of our competing aspirations, we must come together to take this moment to mourn. Let her untimely passing be a uniting moment for our people as we endeavor into the uncertain hereafter of our regency. Join us in Enswerp to remember Princess Calliope in the coming Saint's week. THEIR ROYAL HIGHNESS, Charlie A. Alstion of Aaun THE HONORABLE, Lorelei Mairi Alstion-Enswerp, Countess of Enswerp and Warden of the Holy Army HIS ROYAL HIGHNESS, Robert Tiberius Alstion of Aaun

Charlie sat silently in the chapel on Lemon Hill, staring into the kitchen flames. They clutched a letter, crumpled to the point of unreadability. "God save her soul," Charlie murmured. "God save her soul. She was honest, she did not love him. God save her soul." Again, and again. They despised being helpless. Prayers were a tool for those who could do nothing else. And Charlie could do nothing else now. They did not cry. Crying was not something that came naturally to Charlie. It was a tool as well, to be used when needed. And tears were not needed now. Instead, Charlie pulled out their own letter paper, and began to write.

Charlie read the missive some time after the fact, expression stormy. "So," They murmured to themself, calloused fingers tracing over the signed names. "This is how it will be." The Alstion rolled the paper up, and tucked it away. "Very well. That is how it will be."

Charlie read the missive with a stony face, and then set off for Lemon Hill.

Charlie sat alone for some hours, after the blur of the battle and the blur of the days afterwards. An aching fact realized only belatedly: Charlie was the reason Ailred died. If they had stayed out of the fight, avoided getting injured, Raguel would not have abandoned him. The man would still live, to love his daughter and champion his faith. The once-royal teen stared out the window of their room on Lemon Hill, brows furrowed. "I drew blood at the battle, but... this, I think, is the first life I have ever taken." Holy light flowed endlessly from a potted rose on the window sill. ---------------- Manon sat at her desk, missive in one hand, tarot card in the other. "How will I die?" Ailred had asked her cards. "With glory." Manon had answered. She shuffled the card back into her deck, and stood. The budding hope of a friendship withered in her chest. The last pieces of the old world were dying. How long before she was the only one left?

Charlie stood in the bloodied, charred remains of a church. The teen - only just fourteen, far from grown, stared out at the bodies, and the wreckage. So many wounded, so many dead. Was this justice? They rested a hand over their once-wounded stomach, healed with Raguel's holy blessing. A contented smile crossed the mad child's face. Yes, this was justice. Charlie knelt to pick up their sword, and brushed their fingertips over the glowing petals of a rose... "The war has only begun," they murmured.

Charlie Alstion read the missive with furrowed brows, eyes scanning over Cecily's work. "The loss of the old ways killed the soul of Aaun," Charlie mused to a parrot in the corner. "When my father abandoned heroism and the pursuit of greatness, in favor of politik, that was the day we died. Besides, Aaun is a husk. It is no more. God does not want it rebuilt, we have seen that well enough." Still, a fond hand rested over Cecily's words. Charlie stood, and tucked the paper away, but did not dispose of it.

MY RETURN; A DYING LAND; THE FALSTAFF NAME •─────────────────────•✦•─────────────────────• •─────────────────────•✦•─────────────────────• MY NAME IS MANON Yvaine de Falstaff. Very few of you remember me, and of those who do, none will do so fondly. I was, for some forty-five years, a husk of myself; a living sleepwalker, passing numbly through the world with no control over my own body. I saw during my imprisonment many great horrors, and I watched as the forces of Iblees used my body for great sins. NO LONGER. I have seized control of my body; I have cleansed my soul of its stains, and been given the gift of a Holy rebirth, restored to my youthful body and mind, and filled with Glorious Purpose. Aevos is a dead world, a husk of what our lands once were, just as I was. Behind us are the days of great minds, great heroes, great men. I lived the tail end of those days, I saw how they fell; I see how they may be revived. Through GENIUS, through HEROISM, through LEADERSHIP. Cowardice and laziness are the plagues of our lands, and I have returned to sow the seeds that once flourished in Mankind’s history. I have two messages to impart: The first, to those Leuven descendants who claim my family name of Falstaff; I am, as Conrad de Falstaff’s last living descendant, the rightful Baroness of Guise; an honorary title I reserve for myself. Though no place by that name stands on Aevosian soil, I ask that you do not attempt to claim the title of Guise for yourselves. It is mine by right of inheritance. Avoid this, and we will have no quarrel. I advise that you read up on your family history - or contact me - before you take any great steps. It's unwise to claim a name you know nothing about. The second, to all those beyond who read this; We are the Prodigal kingdoms, turned from our path. We forget the truths of our natures; Empire, conquest, faith, brotherhood. THAT is Mankind. The longer we shy away from our True Natures, the more our kingdoms will falter and fail. God created us to do good and evil both; there is no virtue without sin. In our fear of failure, rejection, and death, we avoid all that which once made our race great. ABANDON THIS FEAR. We are on the edge of a Great Age. Be the first to step foot on the other side! Balance is key to Trueness; an empty scale is balanced, but so too is a scale with great weights on each side, and the latter is worth a great deal more. Place your weights on the scale; pursue greatness. I leave you all with one final message: seek and you will find. Knowledge comes to those who look for it. •─────────────────────•✦•─────────────────────• ✩ “RISE! AWAKE! SEEK THE GREAT TEACHERS, AND ATTEND! ✩ ✩ THE ROAD IS NARROW AS A KNIFE-EDGE! HARD TO TREAD!” ✩ •─────────────────────•✦•─────────────────────• NVZWLDH SRTS, HLFGS LU NLFMGZRM'H KVZP DSVIV LDBM'H UOZNV LU YOLLW MLD IVVPH XLNV ZOO BV, GSLHV LU XOVEVI NRMW GSLHV DSL HVVP YVXLNV GSLHV DSL URMW Signed, Her Ladyship, MANON YVAINE ASHFORD DE FALSTAFF Baroness of Guise, the Star Lord, •─────────────────────•✦•─────────────────────• ✩ WHAT WRITES HISTORY IS THE POWER OF IDEAS. AND EVERY MOMENT OFFERS THE POTENTIAL TO WRITE SOMETHING NEW ✩

Good news travels slowly, bad news travels fast. Or so they say. We mourn the most for those we know the least. Or so they say. The evil sleep soundly, the good are always restless. Or so they say. The news arrived at Maristela's door quickly, borne from Petra in the claws of a mechanical bird. Cross-blazoned, Scroll-quoting news. Marus Weiss was dead. Maristela told herself she should not mourn. Siegmund was always her favorite. He knew her, Stella told herself. He was her favorite pupil. What did she care if his kindly cousin had died? But Marus had seen and judged what Siegmund could not, the sharp broken mirror at the center of her chest. "You made him this way. You manipulated him, you hurt him. You want someone to know you? I will be the one who knows you." She had played her games with him that night. She did not know how to stop playing her games. Lied and twisted and guilted, woven words to protect herself. They were the only weapon she wielded with any skill. In the end they were mother and son again, teacher and student. Bridges rebuilt, apologies made. But Marus had seen a truth, somewhere in there. She turned his eyes away, but still he had seen. Stella stood before her bedroom mirror, watched the face of a woman she no longer knew. She'd gotten it wrong. She had done to Marus what had been done to her. There was a time when she had wanted to be kind, to stand for a cause. To die for a cause. She was once the awkward cousin, lovelorn and righteous and ignored. Always ignored. She had ignored Marus thus. A sharp knot of shame burned in Stella's chest. Had she lost her way so badly? Become her father, after all she had done to avoid that fate? She didn't know, and the not-knowing dug at her just as much as the shame did. But Stella had purpose again. She lit a candle in the window, and arranged to have a headstone carved. She had no rights over his body, but she would not forget him. She was not so far gone yet. Then, when all the house was asleep, Maristela sat down in her workshop, and began to paint. That night, for once in her long life, Maristela slept restlessly.

✩ WOMEN IN THE 1300’s ✩ VOL. I •─────────────────────•✦•─────────────────────• •─────────────────────•✦•─────────────────────• Why am I writing this? Many LOTCers take inspiration from from real-world historical aesthetics, but I’ve heard many people express a general lack of knowledge about historical fashion in particular. I generally believe that having more knowledge about a topic can help you do better roleplay inspired by that topic, so I figured I might as well share what I know! That said, LOTC is a fantasy server first and foremost, and I am absolutely not advocating for absolute historical roleplay, or for bashing on people who choose to create more fantastical skins. I do, however, think generally it’s best to know the rules before we break them, and I think understanding how garments are layered, and how they fit the body, will be useful to everyone. Skin availability? Every skin I make for this and future installments of this project will be FTU. I will post the final outfits on my PMC, which I will link at the bottom of this post. The elements and underthings will be included in the description of the skin post. [EDIT: Due to PMC being evil, I have changed this link to an IMGUR link. I'll also link it here: https://imgur.com/a/4uDPT8O ] Notes? I. This project will contain drawings of semi-undressed female figures, alongside detailed descriptions of the way various garments affect the female body. It is not intended to be at all salacious, and I will only provide detail where I think it may actually be helpful. That said, if Moderation finds anything I’ve included here to be inappropriate, I will happily censor whatever needs censoring. II. Everything in these posts will focus on Western European fashions. This is my own area of expertise, and the area I find most interesting. If people want me to cover other locations, please let me know, and I’ll try my best to do so! III. I have chosen to leave out the Houppelande from this post, as I’ll be talking about it in the 1400’s edition. While this garment was worn in the 1300’s, it was only near the very end of the century, and it’s one of the hallmarks of the 1400’s. Hope you understand! Finding an accurate reference? Artwork from the 1300's is characterized by flat colors, black linework, simple anatomy, and a general lack of perspective. There aren’t many surviving paintings from this period that I could find - instead, most of what we have are illuminations and illustrations from manuscripts. Look for those trademarks when trying to identify artworks from this period. The 1300's are also the last period in which religious art features “modern” clothing - generally after this, religious art features clothing from the 1300's or earlier. While in theory I recommend using only actual historical artwork as reference for skins, I and many other skinners also like to use Victorian artwork from the Pre-Raphaelite movement as inspiration. This artwork is not reliably accurate in terms of style, colors, or garments, but it contains much more information than Medieval art. Choose wisely! I also highly recommend taking inspiration from the garments of historical reenactors, especially when looking at how garments fit, and how people accessorize different outfits. Please avoid using AI-generated images as references. I recommend avoiding vague search terms such as “Medieval dress” or “Renaissance outfit,” as these generally bring up less specific references, or more fictionalized artwork. Instead, if you’re looking for general inspiration, I recommend searching for “14th century artwork” or “1300s fashion.” This post will also include an extensive list of the names of various garments if you’re looking for something more specific. Helpful resources? While I hope that what I write in this post will be enough that you don’t need more information, here are some of the sources I used! They contain lots of good reference pictures, descriptions of garments, and explanations of the functions of various things. FHT and Postej Stew are some of my favorites, and will be turning up again down the line. They’re especially good for finding references. The FHT articles for the 1300's are low on information, but as you progress through the timeline there’s a great deal more content available on each page. All of these sites will also include some helpful descriptions of the types of images they reference, which can help with searches. Codex Manesse is especially useful for image references, I highly recommend checking it out. FHT 1 | FHT 2 | Medieval Shoes | Medieval Headwear | Codex Manesse Illustrations Epochs | Medieval York | Wikipedia | Postej Outfits | Postej Headwear I have also linked a Pinterest board in Section V with all the inspiration I used for creating this post. I will continually update it. If you need references, look there. •─────────────────────•✦•─────────────────────• I Chemise or Smock This lovely lady is Model Mary, who will be showing off each garment in our 1300's ensemble. I’ve given her a curvier figure, to help demonstrate how garments will affect the shape of her body. The first element of Mary’s outfit is the chemise or the smock, which is a basic under-dress, worn to keep the outer layers of clothing clean from body oils. Smocks are generally made of either linen or wool, and are form-fitting, but loose enough to pull over the head, without the need for buttons or lacing. The smock is usually anywhere from knee to ankle length, and is always unadorned. This garment is essentially underwear, and should never be seen by the public. They are usually white or undyed. Hose & Poulaines Under her smock are Mary’s hose and poulaines, which keep her legs warm and protect them from mud, rocks, and rain. Hose are woolen socks, and are usually about knee-length for women. Since elastic isn’t going to be invented for another 500-ish years, the women of the 1300’s instead use garters to keep their hose from falling down. These are usually thin strips of cloth or ribbon tied just under the knee. Poulaines are ankle-height, sewn from soft leather, and pointed at the toe - sometimes so pointed that they stick out over a foot, although those are only on the poulaines worn by the very fashionable, as they’re rather impractical. Even commoners, however, have a little bit of a point to their shoes. Shoes of the 1300’s are much more flexible than modern ones, and don’t have stiff soles. Instead, they fit more like a very sturdy sock, allowing the foot to more easily flex and move. Likely only the soles or toes of the poulaines would be visible when creating a skin, but those who wish to might want to try using Figura in order to create the pointy-toe effect. Kirtle or Cote The kirtle is the main dress worn over the top of the smock. It can be worn loose around the chest, but by the 1300’s, most women lace theirs either at the sides or at the front of the chest. This lacing provides the primary bust support in this period, and generally presses the chest flatter and upwards, smoothing out its shape. Kirtles are usually tight in the sleeves, which is achieved by buttoning up the arms, either to the elbow or all the way to the shoulder. Sleeves are at least wrist length, but might extend down over the hand if desired. Kirtles are usually solid-colored or patterned with simple, geometric patterns or floral brocades. Practical kirtles are made of wool or linen, and fancier ones can be made of silk or brocade. Because of how the kirtle affects the bust shape, consider shading both above and below the chest, to highlight its “pressed flat” appearance. Generally, the kirtle’s neckline should never be lower than what I’ve done with Mary’s skins - dresses in the 1300’s are quite modest, and necklines are high and flat. II Overdresses are any type of dress worn over the basic kirtle. As cloth is extremely expensive in the 1300’s, overdresses are generally reserved for cold weather, or for the wealthy and fashionable. They can be made of any of the same materials as a kirtle, and are often brightly colored, patterned, and feature the most trimmings. These might be colorful necklines, trimmed skirts, contrasting pocket detailing, etc. Overdresses can be tight to the skin or loose and flowy depending on preference and age - generally, younger women wear tighter clothing, and older women wear looser clothing. Scholarship is conflicted on what to call the various types of overdress, but I’ve separated them into two general categories. Keep in mind that searches with these terms may turn up items that don’t fit the descriptions I’ve used here. That’s fine! Surecote & Tippets The surecote is an overdress much akin to an ordinary kirtle, although Mary’s here has shorter sleeves, and features extra tippet sleeves. Short sleeves are common on surecotes, although not required, and sleeve length can vary from shorter-than-a-t-shirt to about mid-wrist. Surecotes are laced or buttoned down the front, either to the waist or all the way to the hem of the garment, and may be either floor length or shin length, to show off the kirtle beneath. The tippet sleeve is a detail unique to surecotes, and is a white oversleeve attached on above the elbow, with a long trailing panel. Tippets can vary in length, but can even reach down to the floor in extreme circumstances. They may also instead be made as part of the main surecote sleeve, not attached separately, in which case they will be made from the same fabric as the surecote. Cotehardie & Pelice The pelice is a sleeveless overdress worn attached to a yoke over the shoulders. These overdresses can vary in coverage and in tightness - Mary is wearing a cotehardie, which is a version of the pelice with large cutouts at the side, to show off the kirtle. This is a fashionable but scandalous version of the more conservative pelice, which generally only has gaps for the arms to fit through. Like the surecote, the pelice is a fashionable extra layer, and generally isn’t worn for any practical reason. The yoke around the top is often either gold or a contrasting color of fabric. III Hairstyles Most women of the 1300’s don’t cut their hair. Children tend to wear their hair loose, or in simple braids down their backs. Adult women almost always wear their hair up, and married women always cover it. (Though in Italy and other warm countries this is more of a guideline and less of a rule.) Women of the upper class do so for modesty, but it also serves a practical purpose for lower-class women who have to work. Covering the hair keeps it clean, and protects it from damage and the elements. As far as I’m aware, most hairstyles of the 1300’s don’t have particular names, but they all generally consist of symmetrical braids, pinned to the head to frame the face. Crispinettes, Crespines, or Cauls Cauls are a pair of circular metal cages, or soft nets, worn on either side of the head. The hair underneath is braided into two buns, and pinned into circles, giving a sort of “Princess Leia” look. This look is also seen on Padme in that one scene. The more fashionable cauls are often paired with a circlet, and decorated with pearls or precious gemstones. Many women also choose to wear a veil over their cauls, as an added layer of protection and modesty. Barbet (or Barbette) & Fillet A pair of accessories almost always worn together, and which are already fading out of fashion by the 1300’s. The barbet is a linen band that goes under the chin and over the top of the head, and the fillet is a matching linen band that goes around the front and back of the head, with the top left open to the air. Barbets can also be worn with cauls or crowns, although they are most often seen with fillets. Hoods Hoods are probably the most common hair covering, available in a wide variety of shapes, colors, and styles. They’re generally worn to protect the head from the winter cold, and are usually made from wool. Some cover only the head, some also cover the shoulders, and some feature the iconic Medieval point at the end, leading down into a tail over the back. IV Wimples Wimples are a more conservative style of veil, which covers both the top of the head and the neck and chin. These are generally only worn by women of the Church and matronly older ladies. Younger women may remove the lower half of the veil to show off a bit more skin. Belts Belts are generally an accessory of the common people, worn high on the natural waist. The low-slung hip-belts often seen in Medieval-inspired artwork date from more like the 1200’s, and would be outdated by the time the 1300’s roll around. Belts can be made of metal, leather, cloth, or rope, and are used either as fashion accessories or to hold up purses. Pockets Another option for holding things, pockets are occasionally sewn into dresses. Their openings are usually lined with contrasting fabric, and I believe some pockets connected in the center, something like that of a modern hoodie. Either way, given the fashionable tight fit of a kirtle, they likely didn’t have much space, but it’s much better than nothing. Clothing & Class Contrary to popular belief, peasants in the Medieval era do NOT wear only brown unless they want to! Colorful dyes are affordable and readily available to almost everyone regardless of financial situation - richer hues are more expensive, but pastel or washed-out colors are available to anyone with a job. What is inaccessible for the poor is fabric, and therefore clothing. Many working women will have only a single kirtle, and only change their smocks from day-to-day. Women of the working class will often unbutton their sleeves and fold them up at the elbow, keeping their sleeves clean and away from their work. Similarly, they usually wear a linen apron tied around the waist to keep their (likely only) kirtle clean from mess. Women who work outdoors will usually wear some sort of brimmed hat to keep the sun off their face. All working women keep their hair tied up, and usually covered, to keep it clean and out of the way. V If you’re in need of references, inspiration, or are just curious about what I was looking at while making this post, check out my Eso’s Guide Pinterest Board! I plan to add a new section for each installment of this series, and each section will only contain artwork from the period, and high-quality reenactment costumes. The Model Mary 1300’s skin is available at my PMC here, and all the extra layers of her outfit are uploaded to Imgur here. Thank you for reading! •─────────────────────•✦•─────────────────────• ✩ WHAT WRITES HISTORY IS THE POWER OF IDEAS. AND EVERY MOMENT OFFERS THE POTENTIAL TO WRITE SOMETHING NEW ✩

CHARLIE OF AAUN said nothing, peering down at the missive she had so crudely signed her name on. Silently, she wondered if she had made the right choice...

"And so the men who could be great refuse to be great, and the world remains unchanged," murmured an Alchemist, reading over the missive. She frowned, and began to draft a letter to an 'Edda.' Far across the Heartlands, a young princess spent some hours poring over the missive, puzzling out its words and quotations. When she reached the bottom, the bonnie princess Charlie of Aaun, second of her name, stared in horror at the word exiled, and wondered what might happen to her family.

Galina Georgina read the missive with pride, and set off to find and congratulate her beloved daughter.

✩ THE OFFICIAL FOUNDING OF ✩ ✩ “AN ISLAND IN A VAST SEA OF IGNORANCE” ✩ •─────────────────────•✦•─────────────────────• LONG HAVE THE WORKS of the great craftsmen laid dormant, sleeping beneath the hearty soil of the midlands, awaiting the day of their rejuvenation. The Highlands and Heartlands both are reborn under new regimes, new structures, and new souls; change is at hand. A new world requires a new foundation. Here at NSCO, we offer not only exquisite, custom-made machineworks and smithing, but also a center for bright, curious minds of all ages to gather in safety, and explore the wonders of the world around us. The rare, unique few might even find themselves learning directly from our talented Alchemists in the heart of our operations: at Le Chateau Deguise. Those looking to lighten their wallets may instead find their eye caught on our home-brewed wine, custom-made automata, hand-smithed weaponry, and couture jewelry, all available for bulk or custom order. Whether you come seeking knowledge, artistry, or something else entirely, NSCO has something for everyone. CURRENTLY OFFERING: Custom Mechanical Prosthetics Custom Mechanical Companions Custom Alchemical Items Custom Plush Companions Custom Weaponry Custom Jewelry Bulk-Order Housemagic Drinks Bulk-Order Mundane Drinks Various Alchemical Services Tutelage On Occasion Looking for something else? Write to us - we can make it happen! Inquire with A. de Wees or M. von Distrugere at the address below, or stop by Deguise in person for a chat! •─────────────────────•✦•─────────────────────• ✩ SCIENTIA POTENTIA EST ✩ ✩ KNOWLEDGE IS POWER ✩ •─────────────────────•✦•─────────────────────• Signed, Her Ladyship Lady of Deguise, the Star Lord, the Starsteel Alchemist •─────────────────────•✦•─────────────────────• ✩ “IN EVERY LIBRARY, THERE IS A SINGLE BOOK TO ANSWER THE QUESTION THAT BURNS LIKE A FIRE IN THE MIND” ✩

"Who could have predicted this?" Said an unsurprised Alchemist from within her study, skimming through the missive. "Charles has learned his lesson. An Empire can not be built on diplomacy alone."

A certain Alchemist, once an Ashford de Falstaff herself, read the missive with a faint glimmer of interest. "I should speak to this boy," she murmured to herself. "See what he actually knows of our family."

A certain Alchemist read the missive with an impassive face, mulling over the Shaman's words. "Is it such a surprise," she wondered, "that mages are corrupt? Magic makes us lazy. With laziness comes greed. This almost does not bear publishing. Of course there is darkness in that place." She carefully folded the paper away for future use.

PASSING OF THE TORCH One chapter ends, another begins. Published 16 of Vyzmey ag Hyff, 540 E.S. With new monarchs comes a new era, and a need for new leadership - or perhaps more crudely, new meat. The aging members of my own generation must resign ourselves to a backseat, and let our children take the reigns of our nation, confident we have taught them well. It is for this reason that I intend to resign from my position as Baroness of Verskaya. It has been an honor to bear the title, and rebuild some of what my brother has broken. I have chosen my second daughter, Gavrila @wardyn, as my heir, to take up the mantle of Baroness once she has officially come of age according to family tradition. Until she has done so, I will continue to manage the house as a regent, preparing the way for her. Krusae Zwy Kongzem.

"Yippie!" Says Maristela.