Spindle

😳

3rd round of edits implemented. (See: Change Log)

The feedback should be already worked into the post.

I understand, but I've tried to keep this piece as simple as possible. I found with my other projects they came too bloated.

Implemented feedback into post (26/01/23)

Another good thing to add, thank you!

<3

This is great feedback! I'll add in what I can I've not yet considered this. I'm up for suggestions.

After talking with others, you are right A thing of names can be changed, however this does tie in to the original chi lore and is not some unrelated entity. Perhaps the old Chi lore fell into disuse due to this exact reason of a tied-in and set-in-stone culture with the Oyashiman (being juggled between a certain few and characters related to). Maybe this rewrite will spread easier as it is open to its own cultural development while also having a theme to follow. @Islamadon

The redlines are to be expanded upon (26/01/23)

Foreword Chi Introduction Hou-Shen & Chi The Monk’s Chi Energy Chi energy is everywhere. A distinct source of power that remains latent and imperceptible. Chi is one's own inner strength and willpower granted physicality, brought out and harnessed by means of the connected monk. Under ordinary conditions, the Chi from all parts of the body tends to flow together as one mass. This happens without the beings knowledge and typically results in Chi slowly leaking away from the body without any consequence. Monks utilise the Mana Gates called the Seven Chakras, a path of seals innate to every descendant that regulates their active and passive mana from within, unlocked to grant mastery of the self. By opening these gates, a Monk has greater control over their mana flow, while also allowing them to alter ambient mana like an Oscillit. Unlike an Oscillit however, a Monk cannot manipulate the natural mana around them, instead intertwining it with their internal mana flow. They are able to exert high concentrations of mana, flowing out in rhythm with the natural mana flowing in to make up for what would otherwise drain and kill a descendant. This heightened state of mana is called Chi. To carelessly open these seals is a fool’s game, and the process requires one to train the mind, body, and soul. A Chi monk can access the powers of Chi when in a state of deep concentration. Chi, and a monk’s utilisation of it, has a distinct and tangible tell. This has been left free to a degree, varying in colour and expression of energy, but must be kept around the body of the user. For example: White tendrils like haar surrounding the Chi monk. As a bodily thing, weapons cannot be used in tandem with Chi Arts. The Seven Chakras The Seven Chakras are vital in progressing in the Chi Arts. Along with abiding the tenets of a Chi monk, unlocking each point must be done in a session of meditation guided by a TA holder. The Ajna Chakra, the Third Eye Located in the centre of the forehead, the third eye is the site of the Ajna Chakra, associated with light, perception and intuition. The Anja Chakra is the first to be opened by a new Chi monk and is a “connection”, and must be done by an existing Chi monk with a valid TA (see: Connection & Tiers). Muladhara, the Root Chakra Located at the base of the spine, the Muladhara is known as the very foundation of the Tantra and the entrypoint of chi, it is crucial that all monks preserve balance in the Muladhara as it is their core connection to chi energy. To open the Root, one must liberate themselves of all hesitation and disquietude within the mind, and reach zen in time of uncertainty. This can be done in times of emotional turmoil, acting as a redirection of those feelings and sensitivities into the chakra to open it and free oneself of them, or for those with a composed temperament, finding peace through meditation in an environment that instils unrest. Chi monks with an open and balanced Root chakra feel a sense of grounding and power. When it is made imbalanced, the monk will feel as if they are on unstable ground, susceptible to feeling anxious and stressed. Swadhisthana, the Sacral Chakra In the lower abdomen, beneath the navel, the Swadhisthana is associated with awareness, relationships, emotions, and unconscious desire. This chakra, blocked by guilt, is said to be most difficult to open as the monk must face and stand above the five poisons: Egoism, greed, ignorance, selfishness and carnal desires. One who meditates on Svadhishthana will be made aware of all temptations that they may witness throughout their daily life; things such as excess food, wealth, and pleasure, all of which must be resisted and avoided as to prove that the monk can truly go without. Throughout this period, the monk must also begin life anew, one without ego and ignorance, not taking without first giving, and living without earthly desires. Unblocking Swadhisthana is a trial of will, where the monk will only succeed should they lead the aforementioned lifestyle of purity - free from the five poisons. To give in to such desires would render the Sacral Chakra closed. Redlines Monks must live a simple life without the five poisons. For example a Chi monk would not also be able to play a merchant or monarch or any in a position influenced by greed and selfishness. This would extend further into a hardline against bandit roleplay influenced by ego or greed; wherein the Sacral Chakra will need to be reopened. Manipura, the Solar Plexus Chakra Above the navel, the Manipura governs digestion and metabolism, promoting the absorption of all good food, thought, and emotion, as well as the elimination of toxicities. A well maintained diet is key to opening this Chakra, and as a result, there has arisen a peculiar menu eaten by monks. Chi monks survive solely on water and a strange food-thing called Mukha. Mukha is a bread-like food made from flour and Clecire Dewberry, and oddly is a completely unbalanced food containing only carbohydrates. This gives them energy, and the lack of hard to digest protein and gluttonous fat is key in maintaining a clean diet and opening the Solar Plexus Chakra. Redlines The Consumption of Mukha is solely cultural and to disregard this will [not] close the chakra point. Anahata, the Heart Chakra The Heart Chakra is one of the harder chakras to open, relating to love and attachment. In opening this chakra, a Chi monk must rid themselves of all worldly love apart from themselves. As a result, romantic interests are unable to be pursued; friends and family are viewed with a distant fondness curtained by a love of the self. This notion should not be mistook as selfishness. A Chi monk cares dearly for all life, but with equality. Opening the Heart Chakra is a long journey of meditation and separation from those dear to them. Redlines Romance roleplay is strictly forbidden to a Chi monk - this would be a tether to something worldly. A Chi monk would see all people with an equal fondness. Friends and family, who were prior loved by a Chi monk before taking on the art will be regarded without attachment. This is a hard shift in a Chi monk’s mentality and must be considered in roleplay. Vishuddha, the Throat Chakra The Vishuddha pertains to all breath related things. This extends as far as the internal balance of heat and cold in the body, wherein a Chi monk will find a greater fortitude to hot and cool climates. Deserts will seem of a fair temperature, and wastes of ice and snow are much the same. A technique utilised by Chi monks to open the Throat Chakra called Ujjayi breathing. Ujjayi breathing is done by clothing ones throat and breathing through the nose, containing the air in the mouth and heating/cooling it with Chi. Redlines Ujjayi is a technique for regulating heat within a Chi monk’s body and coupled with mediation, is required in opening the chakra point. Once opened Ujjayi breathing is not necessary in its remaining open. Sahasrara, the Crown Chakra The Crown Chakra embodies all things mighty of the Chi monk. The strength of will and is the chiefest and final Chakra that must be opened once all others have been. To open the Sahasrara, a Chi monk must be at the end of their Chi Art journey, mastering all other abilities and opening all other chakra points. Strengthening one's body and mind is key to opening this chakra. In this, a Chi monk is recognised as a master. Confidence and decisiveness are crucial in unlocking this chakra. Redlines The Crown Chakra must be the last point to be opened. Once achieved a monk may apply for a TA. General redlines Disregarding the methods of opening chakra points will close them for a time (Unless stated otherwise in the above redlines). They must be opened again (2 weeks apart) and informed on your MA. This is up to the integrity of the user and is hoped to be played in good faith. However, ST have the discretion to dole out warnings where necessary. Exhaustion Exhaustion for the Chi Art has been left freeform, viz. A rough guide without concrete limits like Voidal Evocations. A Chi monk would find the usage of Chi abilities all of the same exhaustive potency, as while they are not physical, is a similar system of energy rather than an external source such as the void. This is to say, a similar feeling to stamina and greatly connected. An exhausted monk will be unable to revert to non-chi-assisted attacks like a magi, and will be generally exhausted in all ways. A prolonged battle in which Chi Arts are used consecutively, eg. [5+] abilities are used, a Chi monk will begin to feel tired. Anything over this amount will continue to wear upon the monk, ultimately rendering them incapable of continuing a fight. In the case of Tadasana being used, Chi monks are incapable of feeling exhaustion as their bodies are pushed beyond these limitations. The degree in which a Chi monk has progressed in their MA will not have an influence on exhaustion. Chi Arts should be viewed as a more exhaustive version of physical attacks. Chi Arts Weightless [NC/Passive] Inner Peace [NC/C] Monk’s Vigour [Passive] Balasana [C] Redirection [C] Offensive Temper [C] Defensive Temper [C] Ardha Chandrasana [C] Overwhelm [C] Bellows [C] Anja Ustrasana [C/N] Absolution [C] Tadasana [C] Connection & Tiers Progression in Chi has been left freeform. Meaning—once connected—a Chi monk is free to choose what Chakra points are opened. An exception to this rule is the Crown Chakra, which must be opened after all others have been. Should a Chi monk unlock all 7 Chakras, a TA can be applied for. A Chi monk with a valid TA can take a total of 3 students at one time. The unlocking of Chakras/tiers should be written on the related MA of the user, and a new Chakra can be unlocked each [2] weeks. A Chi Art MA is a 3 slot magic. The Anja Chakra is the first to be opened for an aspiring Chi monk. This opening awakens them to the flow and sense of Chi energy. The opening of the Anja Chakra is a means of connecting a student. To open the Anja Chakra and connect a student, the TA-holding Chi monk would place a Chi imbued thumb over the Anja Ustrasana, at which point a restful sleep takes the student. When they wake, the perception of Chi and control over it will seem clear to them. The modern Chi monk utilises restful teas and the recreational use of mind altering drugs to relax and open the student to a heightened state of perception. However, this would seem a cultural choice. Progression Incompatibility Credits Spindle - Author Hexe - Writer, Foundation and Ideas Kujo - Ideas and Proofing Lockages - Proofing Olandyr - Ideas Xx_BloodStalk_xX - Secondary Feedback Changelog

I believe the original pushes for greater cooperation within covens

Dost thou love picking meat? Or would’st thou see A man in the clouds, and have him speak to thee? Bunyan Mists & Rushes In the twilight came a woman in her middle years. Before her was a broad bridge, and near the water's edge a hedgerow of rushes mingled with a mist by the bank. She was with herself—her thoughts and the occasional murmurs of the wind her sole companions—and everything lay before her very still. The far-away noises and lights seemed near and clear and there was upon her a great silence. She was spurred on by the occasional wind-words at a heartpace when a new sound came. Gravel crushed underfoot as a secondary woman (one of less years but built lean and muscular) drew behind in tandem. The mild air of the sloping Petran landscape was sucked through her teeth like the bellows of a forge; a breath that was bated and held in it an evil. The first woman crested the bridge without regard; her ear remained to her thoughts and the silence seemed heavy and vast like morning mist. ‘Kazimira,’ came a hard voice. Her free hand rose. She sought to stop the woman's carefree meander. She turned to regard the sounds. ‘P-pardon?’ the woman said and blinked the night from her eyes. Soon many thoughts stole quietly into the woman-called-Kazimira’s mind. They mingled with the midnight tricks of moonlight and mist and drew her in a world known only to her. For all it seemed, the world held fast its breath; it came to her as if through a fathom of murkwater, and she realised then her fate. She was dead. Kain: ‘Kazimira, I presume?’ Blædswiþ: ‘This— This is her.’ Kain: ‘It was.’ Blædswiþ: ‘Was.’ From the door came a rapping. Alabaster: ‘It's me.’ Kain: ‘A-ah-h.’ Alabaster: ‘What the f*ck are you doing. She is Hesperia's girl.’ Kain: ‘It was. And I'd never seen this old thing until good-Blædswiþ brought her as she is now. ’ Notes I’m not exactly sure how or where to start with this. Netzhal/Kazimira was fun, but it felt high time to get her out of my hair—combing out an annoying (but dearly loved) knot. Apologies if some stories remain unfinished, for I know there were a few. Chiefly it seemed I’d done too much on Netzy as it was. Too many rounds, in too many communities. Time for something new! If there are any cute character ideas bubbling away in your minds, get to me here: Spindle#7394. I’m open for anything. <3

Nice!

You've been on an absolute roll!

Pretty pretty writing.

The Magus The following is the roleplay between the characters Netzhal and Emelius. I am yet to see any forum retellings of roleplay, so this format is very much experimental. These are our emotes. Adjustments have been made, but the original tone has been kept. Some forewarnings are without the need of being stated - I take it this recount will not be twisted for the benefit of others. For Fowles, the diviners, and the secret places known to them. May you rest in peace. Prologue ‘I speak of Mayflowers and trees, Windswept dunes and grassy hills And a sea of sand; A tall ell and sky-water, A writer sleeping soundly And a golden muse. I am a bright vividry —Eyes and oceans—vast as night. I am the Magus.’ Act 1 In the Great Desert The writer Netzhal travels with the peculiar Magus. She is promised a muse. ‘In a desert bazaar, in a deep valley, Netzhal glanced at the sun, her gaze awned under a starkly white hand that seemed only to grow brighter under its burning. She drew up her dress and the train trailed her wake, weaving a gentle trough into the sand as she spoke with a merchant. The little woman returned with a camel by her side, a slack rope in her hand that led the creature by the neck. Hitched to its lumpy back was a water barrel and a carpet saddle and provisions.’ ‘The Magus, once she returned, lumped himself and his own goods onto the beast. He fastened with twine his trinkets and oddities to the creature.’ ‘The two depart with the rising sun behind, over windswept dunes and ventured to the place known only by the Magus.’ Act 2 By the Ell’s Bough The writer Netzhal sleeps under the limb of a great ell tree. ‘The pair arrive by a single tree, perfectly pruned with heavy limbs. The Magus finally took to rest, yanking the reigns to bid the camel stop; they violently lurched forward in that action - though this motion was hardly familiar, as the journey itself would have been similarly rough.’ The Magus “Mmm…” ‘After a long moment of puzzling at a tattered map through a camel-ride cracked magnifier, the Magus sought to speak again.’ The Magus “We've arrived.” ‘First, the Magus dismounted, reigns held, and while he drew his bearings, he extended a hand for the lady. Netzhal took his hand and gave thanks in the customary flourish of those familiar with courtly duty. The man allowed his road-worn hands to be about the work of a tight knot and he fastened the camel to a well-proportioned and heavy-set rock. Between parched lips, he spoke with an esoteric firmness.’ The Magus “Now, I'll put the Magician's Mark upon you. I can't progress further to the twin trees. It will sense a wizard's presence within moments.” ‘The man produced amidst those rations and baggage, a small pot of navy ink, and a peacock quill to match. Netzhal stood silently, and as the sleepy sun fell past the horizon, she spoke.’ Netzhal “Where is it I should go? This seems an isolated hill of no discernable interest.” ‘A smile sealed the words; in the twilight, her teeth, bright and white were the last vestiges of light and the Magus made a puzzling gesture, two fingers forward. Then, those fingers glided over to the rightmost trunk, shaded - a natural safe haven. The Magus spoke then, and out came a short reply sealed by knitted brow laced with fearful beads of sweat. It appeared he himself, was at unease’ The Magus “Under there. Lay under the canopy for a while. The creature's realm will begin revealing itself shortly afterwards. Now… Now- come here. Let me apply the mark. Is there any particular icon, or form you would like it to take?” Netzhal “This is your doing.” ‘The Magus paused before dipping the feather quill within the pool of glimmering ink, raised the dripping implement before he extended a hand of his own - coaxing the woman.’ The Magus “Right hand, please. The topmost side, if possible.” ‘Netzhal brandished her hand, the flat of her palm facing the ground. Held atop the palm, droplets of ink would fall upon it. Upon contact, the ink would seep, low, within the skin.' The Magus “Algiah. Moriah. Satar. Moriah. Shraw!” ‘The foreign words carried far in the embrowned air, and atop the hill, his eyes, for a mere moment rolled deep into the depths of his skull, revealing two entirely white spazzing irises. Then the magus finished and the ink beneath Netzhal's skin rearranged into the symbol of a bright thing: the morning star. Then he drew back, his eyes flicking normal. It was as if he was in pain. The man gasped; wearily, his brow creased in fatigue.’ The Magus “Aaa-ah! There. I am finished.” ‘Finally, as he withdrew, the marking of a morning light, embedded within Netzhal's hand began to glow with finality. A brand of luminous hues. Netzhal beheld the star symbol and its lustre played in her eyes in a melange of greens and blues. She smiled, and the luminescence licked her white teeth.’ Netzhal “This sort would have left me scatter-witted in the past; now? not so much.” ‘The Magus winced while the ethereal gleaming shone at his eyes. Half-shielding his face with a verdant shoulder, he marvelled at his work.’ The Magus “Mm, that should be insurance enough. You say this sort will not leave you agape? Good. You will need it for what lies ahead. It will not be far back from here. I doubt you will even need travel. Find me in Balian, if all is successful. Lie beneath the rightmost tree, and wait. Goodbye, Banu Netzhal. Good luck.” Netzhal “Travel safe.” ‘The Magus departs and the woman Netzhal lies beneath the ell’s bough.’ Act 3 Dream Speak & the Anima Netzhal experiences a phantasmagoria ‘Netzhal lay in the shade of a great bough, her sole companion was the lanternlight, warm and sputtering to the low growl of the wind. Her chest rose and fell gently to a heart pace and by the light, she slept. Then, the skies split, strange and changing; a churning nimbus causing commotion above the leaves that inexplicably began to contort into a vast sea. Ancient eyes appeared within a fathom of sky-water, pulsing to the beat of Netzhal’s heart.’ These eyes, luminous in the dark, beheld the gnarled willow trunk, and by extension, the wordsmith that lay sleeping. Warm gales washed over the solitary peak while haunting vividrys bathed the scene with an eerie glow. Something had changed, unseen by her and opening from the ripples in the wood would peer golden pupils. These eyes in the wood observed her silently for a time. If she dared to wake, they would regress into the tree - before it was possible for her to spy them. They simple stared for a few moments longer. Discerning all they could, about the woman.’ ‘Netzhal blinked the night from her eyes. Then, inexplicably, appearing within the span of her next blink, was a gate of white ivory; sitting inert, for but a moment. It was rendered with designs of depicted scenes and peoples; artisans, each one performing a craft. One fiddled with a lyre, the other, donned an exaggerated performer’s mask and danced about foolishly while the last appeared to be carving the very gate that the woman would inspect. Oddly, they looked frivolous in these actions, even careless in their motions - it was as if their grand talents came naturally, even effortlessly. Above them all, engraved into the ivory was an entity; a muse in strange garb, two bestial ossicones perched on his brow, wearing a grin.’ ‘Netzhal stirred for a time as the long shadows that seized her countenance—a shadow among shadows—crept away by the light and departed into the larger pool of night's shade. Now revealed to her, as she awoke was this peculiar sight. Something that was not there before. This strange gate, displaced. It was all for her to view, and to try comprehend.’ ‘Motivated by forces unseen, the mighty doors of this pale structure fastened themselves. Two unlit torches on each side of the archway suddenly burst into lambent embers and smoke. These orange hues coated the structure. Finally, upon the gate’s inscribed door, made clear by the flickering tongues of flame, did a shadow manifest and take shape. It shuddered, and coalesced before moving on the surface of the ivory, arranging itself into the likeness of that weird creature she might have seen engraved upon the relic itself.’ The Kerub “A woman, come to muse? See a muse? Be? Who art thee?” ‘The animated shadow queried, in a voice which sounded like three speaking in unison: Firstly a low beast-like growl, then an old Harridan’s drawl, and finally a lordly man’s brogue. It then waited for an answer, curiously.’ Netzhal “A writer wandered too far from the beaten path.” The Kerub “A writer!? What dost thee seeketh?” ‘The shadow laughed thrice, each voice vying to be louder than the others. From that odd bout of mirth, a little voice pierced.’ Netzhal “I aspire for nothing, and in honesty, I've arrived at this place with little details.” ‘Her voice was held by a particular inflection, quivering and scared.’ The Kerub “Thy form is laced with magic, wordsmith. Who brought thee here, here, here?” Netzhal “The Magus - Emelius,” ‘The utterance came as a whimpered and her gaze flicked across the fractal melange of eyes and sky-water and bright things. And then the thing spoke, and it mused in a tone like raging fire, whilst the low, dangerous overture of growling lingered just behind. The shadow itself raised a clenched fist.’ The Kerub “Emelius. . . How lucky thee is; thy palm brand, it marks thee exempt from mine powers, as long as these gates remaineth shut. “Yet! were ye to open the seal…” Netzhal “W-what are you? Some amalgam of evil - ancient magic like that man spoke of?” The Kerub “Nay, nay. I am an honest spirit. I revile magicians, not wanting to earneth aught for themselves in earnest.” ‘All other voices quieted and on the bountiful hill, all was with stillness for a fleeting time. The Kerub's shadow dictated with a cautioning finger, now, speaking solely in the voice of some wisened elf; it was unaged but sagely in tone.’ The Kerub “But I can causeth some excellent chaos. I once did, long ago. This is how I am sealed.” ‘The Kerub paused, realising the fault in his drawl.’ The Kerub “But such things art behind me. I have made recompensed by aiding many artists and epic heroes. I am, in all ways - a Muse.” Netzhal “Chaos is not my intent, a muse is what I desire.” The Kerub “Mine own word then! Remaineth honest—true—as thou art. In exchange, I shall giveth thee the greatest inspiration of all time. Fair? Just alloweth me leave.” ‘At its utterance, the licks of flickering flame began to dwindle.’ Netzhal “Stories speak of great men tempted by evil - is this one of those tales? Faust in his search for knowledge unknown to mortal minds?” The Kerub “Cometh now, thee lives real. I have nay a reason to deceive, doth I? I knoweth of those texts thee speaketh of, but we art not in the Aeldin. If 't be true you are not It, 'twill beest another. I am a wandering spirit, with dram purpose beyond aiding the plight of mortals. No connection, nor allegiance have I.” ‘The thing hissed and quickened in speech, and the flame grew shorter, his shadow dwindling, causing his appearance to warp and change; and as the shadows drew longer than light, and the sputtering lantern cowered in the wind and weirdness, Netzhal spoke.’ Netzhal “Then, Muse! What is it I gain? I wish for time. Time to write - an eternity!” The Kerub “Time still? Verily! I shall stayeth with thee for a time, if 't be true thee proveth worthy, I shall gift thee the time thee so desperately craves. Doth we hast a deal?” Netzhal “We do.” ‘A veritable desire swam in the woman's night eyes. Thereafter, the sounds of a deep grinding beneath a rotating wheel of stone ensued, a melody of strenuous effort. The Kerub muttered something unheard and a shadowed hand extended before the writer.’ The Kerub “Pull, and open these cursed gates.” ‘And weak as the writer was, she gripped the hand and pulled - truly a Faustian anima, and out came a gust and green clouds and strange smells of a foreign land, and Macbeth laughed on the winds. For only a moment would the writer glimpse this other place; it was a realm of abstracts and ever-changings. Yet quickly behind did the ivory archway slam shut, and out of thin air did the creature truly materialise.’ Act 4 Faust Above the Sea of Fog The Kerub and the writer strike a deal ‘This Kerub - this peculiar wandering spirit; how best could he be described but strange? He was tall, no doubt- but not exceedingly gargantuan. His skin shimmered and it was as if he was made from pure gold. Although his face appeared as a mask, its mouth moved fluidly. Inlaid within, three dark sockets peered at the woman - each bearing a golden pupil. His garb was prismatic and reflected light in many ways and aquamarine fog enveloped him. He released a single breath, adjusted his head with a sickening crack and waved a lion-coloured palm.' The Kerub “Mine freedom is claimed. How wondrous.” ‘Netzhal beheld this less than absurd shape of a man with a silent curiosity. This silence was shaken only by the gentle rustle of the leaves above which now lacked the vividry of moments past.’ Netzhal “You are the Muse? My, Muse?” ‘The Kerub's gilded smile widened as his three dark eyelets affixed the woman. He extended a palm forward, before lowering into a deep bow. His eyes glittered, looking upwards.’ The Kerub “I look forward to travelling with thee, but thy name I require.” ‘The woman replied with her true name and the string of sounds carried heavy on the winds like a foulness, a mockery of a name that pained all those ears unfamiliar with its occult origin. The Kerub smiled knowingly.’ The Kerub “But that is not your only name, is it?" ‘The creature's jaw suddenly protruded with two orcish fangs.’ The Kerub "No… thy folk are always so guarded with origin. Fear not, we will explore it soon enough. Netzhal. Thee and I will be linked for some time, it believes.” ‘The Kerub spoke with pure excitement. His now clawed fingers swirled with joy and a plume of azure smoke huffed and shaped before the novelist to the likeness of parchment. It was detailed papyrus, scrawled with fonts of passing varieties; some obscene in their size, others too small to make out.’ The Kerub “Sign thy name of birth. You will inscribe that, and a current epithet - like Netzhal, if that is what it be. Then the binding will be complete.” ‘Suprise first flashed on her face, but soon she drew out a quill from the shadowed innards of her dress and signed.’ ‘The Contract shuddered as it was consummated with the penmanship of the woman. It flew back- at an eagle's pace into the hands of the creature. It then raised a finger, allowing the parchment to collapse into an ethereal mist once more. And he smiled.’ The Kerub “When shall we pair meet again? In thunder, lightning, or in rain? I will call you. We next meet, in the swathe of sand We have much to do, little writer..” ‘Then, the Kerub collapsed into a flickering ball of pure light and shot away—a shooting star—across the vast sea of windswept dune waves, casting them with momentary lambent bands.’ End

Why do people like to RP ? I just don't get it? Like, what drives you to want to act like a fake person. It's unbelievable how we can all just sit here and look at RP and just decide 'yeah, I think people wanting to RP is just fine'. I'm sorry, have you gone mental? I am truly baffled on why anyone would want to act this out. Can someone explain to me?

These pictures remind me of 80's and 90's fantasy book covers. Pretty.

Your bio says you enjoy reading. What books would you recommend?