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Boomzerang

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About Boomzerang

  • Birthday May 10

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    Boomzerang

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    Male
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    The United Kingdom of Great Britain and Northern Ireland
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    mineman

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  • Character Name
    Akrûkil'Lur
  • Character Race
    Uruk

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  1. darude - sandstorm

    1. Nolan_

      Nolan_

      get - to f*ck

  2. Somewhere, an orc paints a picket sign about cultural appropriation.
  3. Gâmum Kotrestruu-ob Kotrestruu’s Visit Most every orc raised among orcs has heard the tale of their first ancestor’s demise. The first orc, Krug, brother of Horen, and of Urguan, and of Malin, cursed by Iblees for his defiance in the face of greed, lust and envy. This curse gnawed at his mind, and to this day still gnaws at the minds of his children, an ever-present pull to release themselves from what remains of their mercy in exchange for endless devastation. And yet, the uruks, difficult as it may be, define themselves not by their bloodlust. After Iblees had been defeated, the four descendant brothers were blessed, just as they had been cursed. Krug, like his brothers, was not expunged of his curse, but rather given a blessing to aid in combating it - in his case, that of honour, and valor. It is the clashing of these supernatural yearnings that Kotrestruu’s Visit is said to rest upon. “...during that first week, I remembered - or recorded. The lines have become all too blurred recently - the feeling of recalling a tale of a hunt from the month before, only to be corrected time and again on every detail…” Despite its name, this malady has little to do with the orcish spirit of memory, beyond wisps of legends passed through word of mouth by the more superstitious. Instead, it is believed to be brought upon by the mind’s attempt at balancing the two unstoppable forces that pull on it in opposing directions. To an outsider, those affected by the early stages of Kotrestruu’s Visit appear to suffer only very mild memory fog - chalked up to some physical trauma of the head, or simply to old age. This symptom seemingly always comes paired with a complete loss of memory when relenting to bloodlust, something that even in healthy orcs is not all too uncommon as their minds suppress the morbid pleasure in massacre that they must endure. Even one suffering under it may ignore it, in hopes that each detail forgotten was not in fact forgotten entirely, but rather misremembered in the moment. Unfortunately, the sickness instead rapidly worsens over the course of a few Saints’ weeks. “...By my fifth visit to the witch doctor, which I remembered only as my second, it became clear that my mind had been playing tricks on me. I have records that I suspected a curse from one of my brothers, perhaps some mage I had angered…” Indeed, as an orc reaches his latter years, his body weakens, as does his mind - both are reduced from precise instruments honed for their particular jobs, to ineffective at best mockeries of their previous states. Despite the superficial similarities to other similar afflictions, Kotrestruu’s Visit differs in that its victim at no point forgets themselves, nor acts markedly differently from how they would before their condition - bar a few caveats. Among these is the overcompensation of the mind in the recall of emotions and interactions, in its bold attempt to placate its host, and the decisions made as a result. “...That day - I have it written here. That day, I had gotten to know a brother far better than I had prior. The next week, I journaled being told that the same brother had spoken against me - that I had not spoken to him in months before then…” Beyond the four Saints’ week mark, those under the effects of the malady are relinquished to one of two fates - to either continue their lives as ‘normal’, abdicating from the ability to trust in their own experiences, or indeed the second, more common option, especially among those orcs that have grown wise in their age. That is, to record their thoughts in a less corruptible medium. Orcs, by nature of their curse, are often emotion-driven. Their bloodlust makes it difficult at times to differentiate a superficially unkind action taken by a friend for some benefit in the long run, or a backstabbing from some dishonourable fool wishing only to further their agenda. As such, they are conditioned to trust their gut, their instinct, when the time comes to judge. When this instinct is based on every prior experience, which has now been lost, forgotten, or even butchered beyond recognition, the job of judging others becomes exponentially more difficult. Often, it is easy to distinguish between the house of a normal orc and one ailed by Kotrestruu’s Visit. Where the former will hang treasures and trophies from wall to wall, priding himself in his accomplishments and the challenges that came with them, the latter instead stacks notes on papers on books, all recounting how they felt during some hunt or fight - some more organised, dated and archived such that events can always be found, others chaotically strewn about the place, pages torn from the insides of pocket journals, where whichever orc is affected by the sickness knows only his memories from the week before. Regardless of the case, both are cursed further than when they were born - cursed to know not their own emotions, rather to have them described by books and sheets, hastily scribbled for fear of being unable to recollect mere hours after the event. There are few remedies for this disease, though even these are temporary. A shaman may aid with spirits of mental comfort, a haruspex may recall some great tale to abate the symptoms, but these are only temporary cures. A shaman speaks on the spirits, a haruspex the body, but Kotrestruu’s Visit is a disease of the mind. A wizened seer is called, often one who dwells far away from orcish civilization, where the cursed afflictions of the orcish people are hidden in the dark, and the bright light of the Stargush’Stroh shines from above. An Ilzhonak is pulled away from their starry abode, and set to work on the ailing orc’s brain. Most commonly, a complex ritual that can permanently undo the mind-altering disease, or at least banish it to the back of the orc’s mind.
  4. Uruk-Hai Ghashanuz | Aanash Bûrzum-ishi Orcish Legend | The Dawn in the Darkness In the days of Axios, before Atlas, or Arcas, or Almaris which came after, there was a great plague that overcame the world. Waves of undead poured forth from the abyss, and overthrew a great human fortress, Bastion, on the isle of Tahn. The undead soon tainted the land about them, and it seemed all was lost for those people that resided nearby. Indeed, it seemed all was lost for the island itself. As the undead swept their territory out, corrupting the very land upon which they stood into their own twisted soil, the residents of the lands were powerless to stop them; indeed, even after having evacuated to regain strength and returning en masse to overthrow their usurpers, they were unable to reclaim the lands that were once theirs. And yet, throughout this chaos, throughout the destruction and uncertainty that the undead abominations had sown, there was one nation that did not buckle. They did not fear the undead for what they were, but rather resented them. These were our brothers, our sisters, our forefathers which sallied forth to clash with the undead forces. For many years did the skirmishes between these forces endure. Orcish lives were thrown into the frontlines, many believing that they may not return to their home - but all knowing that if they did not, their sacrifice would have not been in vain, for with them they would drag down dozens of the rotting scum that poured fort from Bastion. Fruitless battles continued, until the rise of one uruk. Throughout the years, many details of the tale have been lost and added. More still have been reforged into bastardizations of what they once were. And yet, one detail remains the same. It is said that the turning point of the war had been caused by a single uruk. His name has been lost to time, unfortunately - all we have are descriptions. Skin a dark crimson, hair a raven black, tusks well-formed and the fires of Skathach roaring behind his eyes. His presence alone made the heavens split, and great rays of light to shine down on the urukish legions, and his actions remain bored into the minds of those who saw him. The orc rode forth into battle. Not upon the back of a horse, nor a wolf, nor even a rhino, like the Braduks of old did. Indeed, this orc charged forth upon the back of a mythical scorpion from days long past; a scaddernak. Its plating was said to glimmer like the gold that so pains the undead, and it thrashed with such force that with each swing of its great pincers, swathes of undead collapsed and were still. The great orc that was mounted on this beast of legends was not lifeless either - indeed, as the animal decimated the undead forces, its master launched dozens of great golden obelisks, granted by the powerful spirit Schorthuz himself, toward the ever-advancing soldiers that came to replenish the front lines. Some impaled the slower of the horrors, others simply buried themselves into the accursed soil below. Those monstrosities that were not immediately struck down by the obelisks were soon disintegrated as they attempted to push past them, their very beings crumbling to ash and being wished away by the frigid winds that howled about them. These forced the undead to rear back, and to revere and be humbled in the shining glory of what some uruks believed to be the spirit of Krug himself, manifested. The identity of the orc, however, remained irrelevant and unknown. More important was the effect of his glorious actions, which roused the courage of the brothers that surrounded him. As if new life had been breathed into their weary souls, the uruks of the front lines roared in unison and together forced the undead back from whence they came, too terror-stricken by the urukish forces to act bar turning tail and returning to the realm of Iblees, where they undoubtedly originated. As the last of the ghouls was cut down, the uruk was said to ride after them into the abyss, perhaps in pursuit of further glory, or to ensure that no portal the likes of this one was opened again. No matter, however - the uruk, and his fabled golden scaddernak were never again seen, nor was an undead force of the scale of that which overthrew Bastion. OOC: A quick legend I wrote about the fall of Bastion back in Axios from an orc’s perspective (obviously). I’m going to be moving towards an author of some sort with my orc, so expect more mythos-oriented stuff in the future.
  5. 1. How long have you been playing your character, and how have they changed and developed RPly? Played for a burst at the start of 2020 up until ~May or June time when I got tired of playing, and then I've picked up playing over the last couple months off and on for a day or two a week. Basically started off as a character to shoot the ****, get drunk in foreign bars, and PVP on. 2. What are some small nuances or details in your character that might not be so obvious to other players upon interaction? Nothing in particular comes to mind. He was originally designed as a simple character, so I never put much thought into little nuances. That being said, he turned into an orc that's fiercely loyal to people that have 'proven' their competence, and fiercely opposed to anyone whose actions he sees as incompetent. He also likes a bit of a giggle innit. 3. Does / Did your character have a strong bond with another character that you found to be memorable based on what it was founded on? With the orcs being a small enough community, everyone practically knows each other fairly well. That being said, he formed a fairly strong bond with Fiil'Yar, who basically advised him through a lot of the time when I actually played him. 4. What's the most badass thing your character has ever done? Becoming Rex is fairly high up there, but admittedly it was during a time when orcs were lacking concrete leadership and during a losing war, so it wasn't hugely difficult beyond a certain point. Beyond that, while Rex he gave up his arm to end the war with the Dwarves and spare the lives of Orcs who, in his mind, were practically just bodies being thrown at the front lines. Pretty short-lived Rexdom to be fair, mostly because I entirely lost drive to play soon after taking up the position. If you really, really wanna read more, then take a look at this. 6. Anything else you'd like to talk about regarding your character? Nah not really. Just a big ol' green man.
  6. We'z da orkz,
    Dakka on

     

  7. bepis On a serious note, as much as I clown on LoTC in VC, I genuinely enjoyed the time I spent on it, I've met hundreds of people that I would've never met otherwise, and it probably helped me pass my English exam 3 years ago. Genuinely crazy thinking I joined 5 years ago, and I still remember my first day properly on the server. Excited to see the world archives open so I can look around Vailor one more time. Thanks for diverting some money away from your pepsi funds keeping the server up all this time, Tythus
  8. IGN: Boomzerang DISCORD: Rob Boss#5332 RP NAME: Akrûkil'Lur RACE: Orko AGE: 102-ish SHAMAN OR WANT TO BE ONE: Studying to become one
  9. Haruspices The Martial Shamans Origin “...TO KRUG, SHE GIFTED HIM A BONE KNIFE MADE FROM A MILLENNIUM OLD DRÛTH SKHELL TO CARVE TOTEMS WITH, SO THAT HIS STORIES WOULD COME TO LIVE WHEN REMINISCED BY THE FIRE…” Within the ancient orcish lands of Mor’Ghuun, shamanism was in its infancy. The early children of Krug did not understand the Elemental and Immortal Spirits, nor had the power to walk their planes. In the war against Iblees, many of the orcish people were lost to the undead, empty souls wrenched from the Soul Stream to fight against the living. War horns blared distant, sonorous booms into the fields of battle. The armies of the Four Brothers clashed with Iblees’ undead legions. With each fallen descendant, a novel undead soldier shambled forth in their place, using their weapons to carve their past kinsmen asunder. Yet the Urukin held steadfast against the Fallen One’s onslaught - so too, did the other descendants stand strong in the face of the undead. For decades the battles raged on, and when the dust had settled, and the soulless battalions were driven off, all that remained were the tarnished breastplates and weapons once wielded by warriors of legend. But these were not simple weapons, nor were their blunt edges devoid of use. Once Apohet saw the might of Krug, he created the Spiritual Realms; Immortal, Elemental, and Ancestral. The weaker spirits gushed into the Mortal realm to embody aspects of the world, in hopes of pursuing greater powers within the Spiritual Realm. Dlimbok the Wise, the most intelligent of Krug’s four early children, was the lead strategist in the war against the undying. He watched as his people were slaughtered in battle, and their lives lost. It brought him an indescribable anguish, and a rage that nearly matched his father’s. In this age, there was no Ancestral Realm, no grave tenders, and no records to preserve those who had fallen. To mourn for the lives of his fallen, he took forth the storied knife of Krug, and drew forth a tale that no orc would forget. He collected their weapons, armor and tomes and restored them to their original form, drawing their energies into him. He offered himself up, etching his skin, flesh and bone with the dagger gifted by the Daemon Ydea. The orc had hoped his offering would please the spirits, but instead they granted him a power even greater. His flesh became tapestry. In rending the flesh, his blood, bone, and body became an ink that preserved what was made dead. A finger, a hand, an arm. Dlimblok carved away and with it, those who had been lost became as clear as the night sky. The ink stoked the minds of the orcish people. They could see their battles, their losses, their mistakes, and their culture deep within the magic of Dlimbok’s storied flesh. Much of recorded history had been cast into the horrid fires of Iblees, and with it had gone the proficiency of veterans long dead, but this newly-restored knowledge would help to reshape the ragtag bands of amateur fighters into elite squadrons of feared combatants. Under the same banner, and led into battle by Azgal the Titan, the orcish war machine began once more churning and pushing back against the forces of Iblees, now able to outmaneuver and preserve the lives of the living. They matched the once seemingly endless ranks of undead in fierce combat - and as they spread their knowledge to the other descendant races, Iblees’ lines and formations grew thin across the many fronts. And so, with its aid in Iblees’ defeat, the orcish people learned and grew reverent of this primitive form of shamanism, and many of the former soldiers learned among the greenskins sought out Dlimbok, so that he could teach them in his ways. Explanation Dlimbok was a great orator and strategist, and taught his future students how to use this art in providing knowledge to his people, allowing them to gain insight via the spirits and how to extract insight from the world around them. When the great orc had died, his body was blessed, torn, and scattered across the world as a testament to the profoundness of stories and their tellers. He would become an eternal tale, one that orcs could draw upon at any time to preserve their history. Haruspicy is a non-combative magic dedicated to story-telling and preservation of stories. Haruspex draw upon the torn body of Dlimbok. Rather than connecting to the spiritual realm akin to other types of shamanism, haruspicy calls upon an extremely powerful Ancestral, one who’s blessed body remains within the mortal realm akin to the Muyakelgs of the past. These spells do not grant the user any abilities featured in shamanism, nor allow the user to speak Old Tongue without having knowledge of it. To become a haruspex, one must have studied and devoted themselves to the spirits for at least one IRL month, as Dlimbok would be unlikely to lend his power to one that he believes would be unworthy of it. This feat does not teach any form of shamanism or any aspects about it, though many of the more devout followers of the spirits may know of it and spread the knowledge, orally or through books they may have written on the matter. These could help a prospective haruspex begin on their journey, after which they would continue to forge their own path toward mastery of the feat. Someone experienced in the cultural practices of haruspicy could write a book describing and depicting the processes of these feats and work as a means of spreading the practice. To draw upon Dlimbok’s power, one must create a Threshing Inkwell. This device, powered through various different offerings acts as a catalyst that interacts with the many scattered pieces of Dlimbok. A haruspex calls upon the power of the ancestor Dlimbok for their powers. While his powers extend so far as to allow the user’s memories or stories to come to life, it comes with the caveat that these memories are just as susceptible to degradation as any other memory before they are recorded - that is, haruspicy does not provide perfect memory, and memories from longer ago may therefore be inconsistent with the actual events. Threshing Inkwell The Threshing inkwell is simply a place of offering that threshes all of Dlimbok’s scattered pieces from around the world, and draws power from them. Traditionally, they may be placed in homes or places of gathering, where they are readily available for use. To function, they require an idol, some sort of ceremonial arrangement specific to the haruspex, and a bowl to collect the spiritual ink. To charge the bowl with spiritual ink, the user makes an offering, whether blood, gift, but the most potent-- literature and other storied artifacts. Any thoughtful prose suffices, with the varied offerings empowering the ink in different ways. In the case of physical offerings, these can be burned or otherwise destroyed in proximity of the Threshing Inkwell, which will fill with ink on its own. The Threshing Inkwell only produces ink and exists as a way for the haruspex to channel their powers towards Dlimbok. Destroying the inkwell would simply cause the ink stored within to spill and revert to regular, black ink. Mechanically, the Threshing Inkwells are a communal structure which simply hold a large, but still limited amount of ink charges (up to 60 maximum). Exceeding 55 charges causes the inkwell to begin overflowing. There is no limit on the number of extant threshing inkwells, beyond the fact that any haruspex may only create and ‘own’ one at any given time, despite their communal nature. Upon being created, the inkwell should be reported to any ST members (though they need not be signed, and can be used even if an ST member isn’t immediately available). Any RP to refill the inkwell should be screenshotted and saved. As ink drips down the inkwell’s sides, it has a tendency to transform into small animated figures, perhaps simply out of boredom on Dlimbok’s side. Nevertheless, these figures scurry about the area for a short while before disappearing entirely. The amount of ink that drips from the inkwell is insignificantly small - it does not reduce the amount of ink in any way, and simply exists for roleplay taste. Ink Tiers Tier 1 - 1 Charge - Gifts and Basic Offerings (Prayer, Meditation, etc) Forming a black and basic ink, this form of ink serves as a general base or go-to option when other materials aren’t available. It is also often mixed or added as a filler to other inks. Tier 2 - 5 Charges - Blood and Bone (Descendant/Animal Sacrifices) All viscera, whether animal or Descendant can serve as a more powerful offering to the Threshing Inkwell. Once the ceremony is complete, the bowl fills with a pungent, dark red ink. It smells somewhat like blood, although much more aromatic. At this level, the imagery is extremely striking, though still appears as paints and colors that dance and move. Tier 3 - 15 Charges - Literature, Books, Artifacts Important literature, large books, and powerful artifacts can be offered to the Threshing Inkwell. The ink shifts colors between many deep and bright colors, but will serve to paint in the haruspex’s desired color. At this level, the paint may draw upon the user’s senses, though only briefly and in the more striking parts of the work. Ink Red Lines - Only descendant or normal animal viscera will serve as a tier two offering. - A haruspex cannot use their own blood to fill the Threshing Inkwell. - Stronger inks (Tiers 3+) or more particular effects require a MArt and more significant offerings. - Offerings to the Threshing Inkwell are destroyed in the process of offering Spells Pages Alive [Non-Combat; 2 charges] Description: The caster is able to utilise their Threshing Inkwell’s ink to write onto a book or other such item with a small surface area, no bigger than that of a banner. This ink comes to life when the page is turned, causing it to play out the scene imagined when the ink was first put down, as opposed to having the reader read it. This can also be used to make two-page spreads, though the ink never comes off of the surface of the page itself. Mechanics: To enact this spell, the haruspex first creates the type of ink they wish to use for the pages. Once the haruspex has chosen said ink, they draw symbols, characters, or etchings in whatever language or artstyle they’re most familiar with in the palm of their hand, or another tool like a quill or paintbrush. Once they do so, the ink resonates with their hand, and the whispers of storytellers are faintly present. Then, the haruspex simply touches the material, and the ink transfers. A haruspex may follow this process to fill books without needing to restart the entire process, but requires additional ink for every page. The process is done in four emotes, but can be shortened to two with tools like quills, paintbrushes, and so on. 1) The haruspex readies the ink, meditating on the story or picture they wish to tell. 2) The haruspex draws on their hand, or simply soaks it within the ink. 3) The haruspex touches the paper, smearing the ink on to canvas. 4) The ink transfers from their hand onto the paper, shifting and twisting into the desired image. Pages Alive - Redlines: - Characters in the story who are not known to the haruspex simply appear as faceless visages with no discernible features (horns, tusks, hair etc.) and cannot be used to discern any information about them whatsoever. - A haruspex is only able to put their own memories into the book/banner, and these memories cannot be used to teach magics or other complex skills that need to be taught in person. - A written book or banner is no stronger or weaker than the original product, and the memories written to it are not updated in any way unless updated by another haruspex. - If the surface on which the ink lies is cut in half, or similarly seriously damaged, the ink simply acts as normal ink and dries up. WRITING: 1 EMOTE MEDITATION, 1 EMOTE WRITING EXAMPLE WRITING: [Emote 1] Tulgarok opens his book, as often he had before. He dips his quill into his Threshing Inkwell, as images of what he is to write begin already to form in his mind. Taking a deep breath in, then out, he imagines the way these thoughts will flow on the page. [Emote 2] The orc now puts quill to paper, and begins scribbling down crude forms of people, among other integral parts of his story. Even as he writes, the ink begins to swirl and move just as he had envisioned it. A Storied Artifact [Non-Combat; 20 charges] Description: The caster is able to impart spiritual ink on an object, allowing them to portray a tale stored within the weapon - this may be done through fire, water, paper, or for more experienced practitioners, the events may be played through the very mind of another. To tell the story, the haruspex must spill their blood onto the object, and onto the canvas (or person) they wish to tell the story. In meditating, they connect to the scarred body of Dlimbok, and utilize the power within Ydea’s dagger to bury a powerful memory within an artifact. Once the haruspex grows more proficient (2 weeks IRL), they are also able to preserve stories within the object of its wielder through ritual. The haruspex must have the memories so vivid that they are able to describe and feel the sensations the memory’s owner experienced. By engaging the senses with stimuli relevant to the story (the smell of burning flesh, the sounds of war drums), the user is able to fully immerse himself, the tether between Dlimbok and the haruspex strengthens. The more objects and information they have relating to the event and its characters, the more vivid and detailed the story becomes. Mechanics: Essentially allows for a storytelling aid, where whatever selected medium comes to life to show the story stored in the item. In the case of the initial writing of the item, only the memory holder’s items may be used, under the idea that the item itself has ‘memories’ of its own.When the story is replayed in someone’s mind, they must be in physical contact with the item. The memories within Ydea’s artifacts are just that, memories. Prone to incorrect detail, or pieces missing, a memory only holds small pieces of reality. Often intense experiences and emotions cloud the transferring of the memory, and the haruspex’s own mind may warp the overall message(i.e an arachnophobe depicting a spider as three times its actual size). These memories are not permanent, and just as quickly, if not more prone to error or forgetfulness. A user may remind themselves of the vision by looking through the artifact, but overuse (more than 3 times per IRL week), leads to severe headaches, memory loss, and mood swings. The items themselves, upon creation, are signed by ST. In the description of said item, beyond any text describing the item’s appearance, it must include the ingame username (or other form of contact, eg. discord tag) of its creator, whose responsibility it is to record the stories within however they see fit. A Storied Artifact - Redlines - The object must be signed or have some roleplay significance. A normal sword or object is too nondescript to base memories off of. - The haruspex must already have extensive knowledge about the wielder, usually by having known them personally for at least an IRP year (one IRL week), or being told of them by someone who has known them personally for at least two IRP years (two IRL weeks). - Characters in the story who are not known to the haruspex (including if someone who does know of them is being shown the vision) simply appear as faceless visages with no discernible features (horns, tusks, hair etc.) and cannot be used to discern any information about them whatsoever. - A haruspex is only able to put the memories of the owner into their own tools. Memories cannot be put into items that belong to other people, and these memories cannot be used to teach magics or other complex skills that need to be taught in person. - A written weapon is no stronger or weaker than the original product, and the memories written to it are not updated in any way unless further updated by another haruspex. - If the written weapon is seriously damaged (i.e, the head of an axe is separated from its handle) it becomes unreadable, though if repaired further memories may be written to it. - A vision cannot be forced on another player. Their characters must fully consent to seeing the vision before they are able to see it. - Only one scene/vision may be recorded in any one item, as any given item may become ‘saturated’ with the haruspex’s ink. - Constantly living the memories of others has a severe impact on mental wellbeing, causing headaches and even memory loss. - The memories themselves are just memories. There is no way to permanently retain this information, and it would be lost within 2 IRL weeks. READING: 1 EMOTE MEDITATION, 1 EMOTE SLIGHT MOVEMENT The scene that plays out is then emoted by the haruspex EXAMPLE READING: [Emote 1] Tulgarok seats himself in front of a nearby campfire, a dulled war axe in his lap. He closes his eyes, and emits a low drone from deep in his throat as he lays his hands over its handle. His fingers press into each of its grooves as the weapon’s story makes itself clear to him. [Emote 2] Now the aged orc lifts his hand over the weapon. He slices into his palm with a bone dagger, before tightening his grip such as to make blood drip from it onto the weapon, then into the centre of the fire. He takes another deep breath, and begins to speak as the flames come to life. [Storytelling/Emote 3] “It waz during our latest war with da pinkzkinz…” The fire splits, showing two clear sides. Each lick of flame lashes out toward the opposite side, as if it were one soldier mocking another with a war chant… (etc.) WRITING: 1 EMOTE MEDITATION, 1 EMOTE RECALLING, 1 EMOTE WRITING EXAMPLE WRITING: [Emote 1] Tulgarok seats himself before the Threshing Inkwell, dipping his fingers briefly into its bowl of ink, and a short spear in his lap. His eyes shut, and as they do, Grommok, his apprentice, lights a number of items aflame - wood and pig’s flesh - and slops a handful of thick mud right below Tulgarok’s nose. All scents from the hunt before. [Emote 2] Grommok soon leans into Tulgarok’s ear, describing to him the events of the hunt. How they’d tracked the beast for days, and finally cornered it in some deep cave. The animal’s bellows, as it realised it had been beaten and stood upon its hind legs and swiped at its hunters… (etc.) [Emote 3] Tulgarok breathes deeply, as he finally lifts his hand from the bowl of ink and begins scrawling symbols on the blade and shaft of the spear, eyes darting from side to side beneath their lids as the story unfolds in his mind. The ink quickly squirms on the weapon’s long handle, before seeping into it, leaving only a faded, dark trace that it had ever been there. Finally, Tulgarok rises from the ground, spear in hand. His job was finished. Cave Painting [Non-Combat; Charges vary] Description: Haruspex are able to paint with spiritual ink, invoking life into a stony canvas. Through this, they are able to paint their tales and those of written items onto walls so that others might see them. The figures painted move, twist and dance as if they lived. Each character within the painting requires 10 ink charges, while larger set pieces (large boulders, buildings, etc) and environments (grass, lakes, etc) take 5. Mechanics: As shown below, the player is able to build a mural roughly describing the story (though this is not necessarily required). More importantly, the player is then able to author a book describing the events taking place in the mural, which RPly would be in constant motion (though this is obviously impossible in minecraft). To create these paintings, the haruspex would begin a similar process to Pages Alive. Readying the ink, through the tool used would be the haruspex’s hand, clay, a chisel, or some other etching instrument. Once the tool was soaked in the ink, the haruspex’s mind would begin to clear, and they’d draw upon the power of the Threshing Inkwell, invoking the ink to mold into and twist what the haruspex had worked with into story. Cave Paintings - Redlines: - Haruspex pieces are displayed within minecraft as murals (whether through clay, banners, roleplay materials, blocks, ink, etc), and the story/moving figures are described within the book. - Characters in the story who are not known to the haruspex (including if someone who does know of them is observing the mural) simply appear as faceless visages with no discernible features (horns, tusks, hair etc.) and cannot be used to discern any information about them whatsoever. - The scenes cannot be used to teach magics or other complex skills that need to be taught in person. - A written wall is no stronger or weaker than the original product, and the memories written to it are not updated in any way unless further updated by another haruspex. - The person whose memories are being written on the wall needs no prior connection with the building etc of said wall. - If the wall is significantly damaged (i.e, up to one third of it is broken by an explosion or construction work), the ink simply acts as normal ink and dries up. WRITING: 1 EMOTE MEDITATION, 1 EMOTE RECALLING, 1 EMOTE WRITING [Emote 1] Tulgarok stands before a large, flat sandstone wall - a clean canvas upon which to make art. His eyes shut, as he dips each of his hands into a bowl of ink. Already, somewhere behind his eyes dance the silhouettes of soldiers, fire and great cities. Silhouettes that will soon dance on the walls of his home city instead. [Emote 2] Charred wood is strewn about the place, and several orc kubs are told to jingle chainmail, bang sticks against helmets and snap twigs loudly. All this aids in Tulgarok’s mental recreation of the raid, how his ears rang with the terrified screams of women and children as they evacuated, leaving their homes behind. [Emote 3] Pleased enough with his mental recreation of the raid, the orc begins slapping his palms against the stone wall, dragging them to make crude shapes which soon swirl and correct themselves into what he had envisioned minutes before. As he steps back from his masterpiece, the ink begins to churn into the image of an orc impaling some human halfway down the haft of his own spear. General Redlines - A haruspex needs to be able to interact with spirits and thus other non-spiritual magics interfere with this practice, this also includes creatures that are unable to cast deific magics. - A haruspex cannot identify anyone in their visions unless they have extensive knowledge about the person within the story already, or have interacted with their tools or weapons via ritual. - “Extensive knowledge” implies knowing the person personally for at least one full IRP year (one IRL week), or being told about them in detail by someone who has known them personally for at least two full IRP years (two IRL weeks). - Memories written to objects or murals cannot be used to learn magic, or other such supernatural tasks. - Dlimbok is dead and his body is physically scattered across the world. His pieces could be hypothetically found through ET or dredged forth in a MArt, but he is otherwise uncontactable, being very much dead. - A haruspex’s memory is not perfect. Details can be misremembered, especially in older memories. This feat is primarily for storytelling, not perfect renditions of past events. - Either memories or stories/fictional events may be recorded in any given medium, though fictional events cannot be recorded for malicious or seriously deceptive reasons(i.e a fake war with real memorized characters), as these would go against Dlimbok’s personal views on honour, and he would simply not allow his power to be utilised. - Real world stories and memories would possess more sensory detail (although not entirely accurate) while fictional stories would have more visual creativity and detail. - Overuse of haruspicy leads to issues like headaches, memory loss, and mood swings. Tier Progression Tier 1: The haruspex reaches this tier immediately upon learning the feat. Haruspices are able to transform a little of their ink through prayer and meditation. They also have access to the Pages Alive spell. Tier 2: Two weeks after learning the feat, and through regular practice, the haruspex is now able to better transform the lifeblood of sacrifices into more powerful ink, and gain access to the Storied Artifact spell. Tier 3: At this tier, six weeks into their journey, the haruspex is able to take their final step into the art, gaining access to the Cave Painting spell and being able to sacrifice more powerful artifacts and literature into even larger amounts of ink. Greater tiers may be achieved through MArts or Events by staff, though the capabilities of the artifact or action (holograms, living stories, ancient messages from the past, etc) should be discussed with lore holders, older haruspex, or ST. Ultimately, the decision falls to the staff on a case-by-case basis. OOC: This is a feat accessible to anyone with knowledge of the spirits and a desire to learn the histories of weapons and wounds alike. In doing so, I hope haruspex gives more flavor to post combat, in being able to regale tales of battle, as well as making RP items more valuable and useful to the people who have them, rather than sitting on the shelf till the next map. I realise that some objects cannot be 'written' as such - that is, their stories can't be described as their owners may not use the server anymore, which is the sole caveat of the feat itself. Maybe it gives them a reason to come back, or gives characters more of a reason to create powerful stories. Thanks for reading! Inspired by: https://www.lordofthecraft.net/forums/topic/151780-%E2%9C%93-origins-of-the-orcs-and-morghuun-the-land-of-warfare/?tab=comments#comment-1433374
  10. Just wanted to put together this forum post of stuff I wrote a while ago relating to the server but for whatever reason never did. A couple of them are from when I lead the orcs, others are just bits and bobs that I decided to write them. I know most people won't end up reading them, but for those that do hopefully it gives you guys some inspiration. Might update this in the future, probably won't. Enjoy. A MISSIVE TO HUMAN NATIONS UNTITLED REXDOM PIECE A PACT OF BLOOD, A BID FOR CHANGE A RUNT IS PUT DOWN
  11. image.png.77050ee37e64a82fcb2c9fa4b3d4ef70.png
    grown ass man returning to mineman rp in 2021 smdh

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