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About Ivorey

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    ivory but it's taken so ivorey
  • Birthday November 2

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    mary philippa
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  1. blue hanseni 2000 red and white 4200 rose embroidery 2000
  2. blue hanseni 2000 red and white 4000 rose embroidery 2000 u kno it
  3. blue hanseni 2000 red and white 3000 rose embroidery 2000 ivory#8860
  4. Ivorey

    My Story

    I love u Archie, and I'm so proud of you. It was a really bad situation, all around – but what's important is that everyone has grown and learnt from it.
  5. Elizabeth claps for John but not for Irene.
  6. Elizabeth Anne pens the date into her calendar with a smile!
  7. https://www.planetminecraft.com/skin/lotc-peter-amadeus/ – this is one I’ve done with longer hair. I tend have the overlay on every side, and down the sides at the front! As for elven outfits, they tend to be a lot messier than human ones. I only very rarely make them – but my best advice again is to find reference pictures! Wood elven skins have more fabrics draped across, and tend to use darker, more earthy colours.
  8. Heya So I thought I’d put together a little guide to help out people who’d like to learn to skin. It’ll be as detailed as I can make it, and will have my tips/advice for starting out. It will mostly be about human skins, as that’s all I really make- but the same principles can apply to skins for other races 🙂 This guide will be a little lengthy, because I’m putting my entire process, start to finish, with lots of tips and tricks! Bear with me. Ivory’s Guide to Skinning: STEP ONE: Coming up with a design The key to a good skin is in the design. Shading only amplifies the design, so the trick is to come up with new, dynamic designs for your skins. References! Whenever I make a skin, I almost ALWAYS have some sort of reference/idea of what I want to do. Obviously, you need to modify lots to fit on the limited pixel space a skin has, but having the basic outline/guide really does help.I use these references to make an unshaded base. To make my base, I use the (unpopular) https://www.minecraftskins.net/skineditor I just find this one much easier to search for the right basic colour. Examples: It’s not always necessary to have an exact reference like those above. Sometimes it’s a certain colour, a singular detail or pattern that you can build the rest of the skin off. In any case, references are extremely helpful to making realistic skins. It’s also a great way to try out new things that haven’t really been on skins before. My favourite skins are always those that build around unique features. It’s easy to whip up generic, boring skins- but being able to have skins that incorporate new ideas are much nicer, as well as more enjoyable to make and experiment with! Especially when making human male skins, I like to start out with some sort of unique feature to build around. It could be a cloak, belt- etc. It’s a lot easier to build an interesting skin around one, nice detail. Examples: In these two, I was able to build the rest of the skin off of the central feature- being the plaid throw, and the blue sash. References can come in handy for these central features, or for the whole skin. Faces / hair! When making a skin, I generally like to start with the face and hair. This way, I can make it match nicer with the colours and design of the clothing later on. Male: Okay, so I have a personal style that I always follow for male faces. I always put the mouth pixels on the bottom of the face, as higher just looks weird (PSA to always put them on the bottom row). With hair, overlay can be put on the front, and possibly the sides & back of the head (but not always necessary!) For the base layer of hair, the top three rows of pixels are where you’d start, if wanting short hair. The middle is usually higher, as it sort of ‘rounds’ the face shape. For the sides of the face, always make sure to include the shape of an ear. It can be done in a few slightly different ways, but this is pretty standard. Having overlay around the sides and back is a personal preference. If trying to make the hair look a bit longer/scruffier, or otherwise with more volume, it works quite nicely. Females: Female skins have a similar, uniform face structure for most skins. Generally, the basic design is like this: Mouth pixels on the bottom, and eyebrows four down from the top, eyes below. Hair goes down each side to the bottom. As long as you have those key elements, the design for the hair at the top can vary. Again, however, the general shape usually rounds out the face. The sides, same as on males, should include some sort of ear shape. With an overlay, this can look really nice. Just be sure not to make the ear area too big. Next comes overlay! My biggest tip is to make the overlay for hair lighter than the base colour below. This lets you see the overlay a lot better, and will play into how you shade later on. For the front, the rough outline is this. The specifics of how long the fringe is can be played with, as well as if you want the one side higher, or both equal. Again, all that’s necessary is the rounded shaping. The sides generally match the overlay from the front for the first column, then move thinner atop the ear, then thicker again behind. Finally, the back is where it matters a lot what you want to have the hair be styled as. Having a bun, braids, using different hair accessories etc can influence this. Play around with the shape until you’re happy Designing the clothing: It’s hard to specifically outline steps for this, as every clothing skin is bound to be very different. So, instead, I’m going to share a few of my tips for general designs. Dresses Skirt designs can be really fun to come up with! Try experimenting with colour, shape and overlay to make something new- a reference can help. To make a simple pattern, using a variation of light/dark in stripes will create the basic dress look. Be sure to also dictate the shape and height of the waistline. High waisted dresses will look very different to low waisted dresses. Play around with colours and patterns especially, as these can make skins look much more interesting. Same goes for male skins. Play around with designs- look at other skins, and how those skinners have manipulated the pixels to create certain shapes / effects. Try new things out. This is how I start a skin. I work on the general base, then I add an overlay on top of that. The purpose of overlay is to accentuate the details on the bottom layer. You’ll end up with a base skin looking like: Next up, shading! Shading is what can totally transform a skin. For this, I switch to PMC3d: https://www.planetminecraft.com/pmcskin3d/ I use the ‘HSL shift mode’ tool to do this. LOTC is categorised, usually, by less intense shading to get the ‘realism’ effect. Each skin is different, but my shading tends to be a bit more mild for most features of a skin. Usually, the more detail on a skin = less shading needed, as the differing colours will render shading a lot lesser. Whereas, if you have a large area of a singular colour, more shading is needed. I use 101% or 102% on my shading, rarely more than that. The way this tool works is essentially just lightening the pixels that you click by the percentage that you use. As a general guide, the darker the colour, the less intense %. When shading something like white I maybe using 103-104%, but black will be 101%. Hue shift and saturation can be used, but I personally don’t tend to use them as much. Now, onto the how of shading. The thing with shading is that everyone tends to do it a little differently. I’ll explain how I shade, but this will objectively be very different to other skinners. There’s no real right or wrong, and shading techniques can also drastically change with different skin designs. The easiest way to shade a simple design is to use a ‘box’ sort of pattern. Start darker in the corners, and work your way to lighter in the middle. Generally, this principle can work for most skins. You can follow though a gradient for different features of a skin. Simple shading isn’t too difficult, to be honest. Simple shading on skirts/dresses works in a similar manner, except you shade each vertical line individually. This is why it’s important you have a base with the two stripes, with one lighter in colour. Work from darker at the two edges, to lighter in the middle. Allowing each line to be a little different will create a nice effect overall. For some features, you can use more complex shading to get certain effects. This is especially relevant for features that are meant to resemble certain fabric textures (especially capes/robes etc.) For example, something like this. To mimic the folds of the red cape, I used a darker line across the middle, with the lighter areas on each side. Again, it’s a simple gradient to shade- but these variations in colour can have a really nice effect in the end. Same goes for the fur on the shoulder of the second skin. I worked from darker to lighter, in a bit of a more complex gradient to the ‘box’ technique from above. Those principles can generally work for most clothing skins. Now, onto faces! Female and male face shading operates a little differently. For females, I start with the darkest shade at the corners of the face, and work lighter from there. The pixel directly beneath the whites of the eyes can be made a little pink to resemble pink cheeks. I always have one column a bit lighter across the two in the middle, which somewhat resembles the shading of a nose. I also always have one pixel of the mouth lighter, usually the pixel below the lighter stripe in the middle. The eyebrow pixel above the coloured pixel of the eye can also be lightened to have a nice effect. Male faces are somewhat similar, but they also have a bit more to shade. I work in the ‘box’ style gradient, going from darker in the corners of the face, to lighter in the middle. Again, I use a lighter stripe down one side of the middle, and a corresponding lighter pixel on the mouth. Similar to females, the pixel on the eyebrows can be made lighter. Hair is a totally different ball game that I'm still honestly working out for myself. I’ll make another guide once I figure it out properly and am able to explain it well! I’ll drop some examples of hair designs I’m really proud of - but I’m not sure I’m totally competent enough yet to advise others on how to do it. An absolute goddess with hair shading was Roseways, so have a look at how she does it ! https://www.planetminecraft.com/member/amyselia The BEST advice I can give for learning to skin is to just practice. The more you play around with designs and shading, the easier it will become and you’ll learn specific ways you like to do things! I personally try to come up with new designs and new things to add into skins all the time. My favourite skins are ones with cool details - hats, capes, patterns, or particular colour schemes. Also do always feel free to drop me a PM on discord if you ever want some skin advice. I’m always happy to help and guide!! I’ve also made a skinning discord along with TJB, so join that one if you’re a skinner or would like to just vibe. https://discord.gg/4U9HrVn Skinning obviously has a lot of different elements, and this guide only briefly touched on a few of them! Let me know if there’s any specific things I can make little guides on and I’d be more than happy to do so 🙂
  9. THE HAUNTS OF THE NOVELLEN A recording of the Princess of Helena’s personal experiences I have studied the Novellen palace and its history extensively - both in the nature of her past, and the figures who shaped it to be so. My experiences first began with dreams, in my youth. They were often terrifying nightmares which would keep me awake for hours, fearing what I may encounter when I slept. Certain figures would reappear in my nightmares, you see, and on occasion they would speak to me. I grew to understand them individually – their nature, traits and appearance all distinctly different. However, as I grew up, these visions shifted from my dreams. No longer were they confined to the night as I closed my eyes, and instead I began to see them in my waking life. It began with simple noises, but slowly progressed to brief sightings. Sometimes, I see them fully – and I am able to watch them wander and interact. Very rarely, they will speak to me. It was then that I realised these visions were no mere figment of my imagination. I researched them extensively, detailing each haunt’s character and appearance that I could recall from both my dreams and my waking observations. Here, with the aid of the Lady Vespira, I publish my findings. She believes my ability to see such otherworldly beings comes as an inherited trait, and I have included her theories on the matter. It should be noted that these are only the few haunts I have identified thus far, and I’ve no doubt that there are many more that lurk within Helena’s walls. I shall write of new ones as they are discovered, as well as any additional observations on these following haunts. The Grey Lady The ‘Grey Empress’, or ‘Grey Lady’, as I’ve dubbed her, is a spirit most prevalent within the Novellen’s walls. She often wanders the palace, day and night. The Grey Lady isn’t an awful spirit, I only have means to describe her as a saddened woman - for her wailing is oft akin to mourning. This sadness is often translated into the very air, and one can feel her presence. To me, she speaks as somewhat of a Mother figure to the palace, a wisened woman with many regrets. She wears the crown of an Empress, perhaps one of old Oren. As such, I’ve researched expensively whomst this Lady may be. As best I can figure, she is the Empress Claude, a born princess of the old Kingdom of Lotharingia. It would explain her wailing, for the Empress’ life was shrouded in much pain and heartbreak – the losses of both her young son and husband. Both men were taken much too violently and much too early, leaving Claude with a miserable life afterward. I hear her in the upstairs ballroom, often alongside the Mournful Revenant. If one is to look closely enough they may see the trailings of her gown amongst the starry night floor, dancing to the classical tunes of the piano. The Mischievous Mistress of the Kitchens This haunt has grown to be one of my favourites, I suppose. She’s relatively harmless - only causing the occasional mischievous occurrence, hence her title as the ‘Mischievous Mistress of the Kitchens’. I was easily able to identify her as the Lady Maude of Copper Court, afamed mistress to the Emperor John II. Maude will notoriously hide things in different places to which you left them, or will otherwise be heard laughing whilst moving things about. She seems to be acquainted with the Wicked Mother, and sometimes I will see the two of them plotting together. She tends to linger by the palace kitchens, and has an affinity for causing a ruckus. Never an angry one, only the antics of a playful haunt. Most notably, her presence can be sensed by the intense smell of papayas. The White Guardian I am hesitant to even label this lady as a ‘haunt’, for she brings forth such a wonderful aura. I see her often near the Palace Chapel, and is always wearing a billowing white gown with a white veil over her head. She makes one feel protected, and for that I have titled her as ‘The White Guardian’. She never interacts with any other haunt, and will vanish as soon as another appears. I have only ever seen her once pay note to another haunt. It occurred when Hugo the Headless was tormenting the young Boy of the Statue Gardens. The White Guardian swiftly came between the two, causing Hugo to relent his antics and leave the Boy alone. She comforted him for some time, before returning to the Chapel. Due to the warmth and light around this spirit, I was drawn to believe her a holy lady of some sorts. As best I can gather, she is the Abbess Julia Adelaide Alstion, a woman renowned for her piety. Julia Adelaide perished whilst defending Reza from a coming demonic attack, yet as most of her life was spent in Helena I am inclined to believe that she chose to remain in the city she had lived in. The singing of psalms is known to garner her attention, and if one was to pray extensively within the chapel - they may catch a glimpse of this pure, protective spirit. The Red Duchess This spirit began to appear to me when I used to spend long periods of time within my mother’s bedroom. I have a distinct memory of her from my early childhood, clear as day. I must have been nearing seven years old, and as any other child, I was playing games in my Mother’s empty chambers. However upon this day I reached to try and take a book from a bookshelf far too tall for myself, causing the entire shelf to sway - very near falling on top of me. If it was not for the Red Duchess, I would have been injured gravely. She appeared that day, and held the bookshelf still. The Red Duchess is undoubtedly my paternal grandmother, Mariya Barbanov. I’ve read her story - a tragic tale. I believe she lingers in the Empress’ chambers as those were constructed for her use, yet she never spent a single night within them due to her husband’s early death. She can be incredibly angry, throwing books about the room and tearing papers - however she can also be very kind, as she was that day she saved me. Her deep red and gold gown is easily noticeable, yet I do not believe she will appear for many people; only a select few. She will never venture near to the Wicked Mother voluntarily, and the two will bicker if they ever cross paths. The Wicked Mother The Wicked Mother is a treacherous haunt. She lingers within the grand courtroom; always near to my Grandfather’s throne. It was not hard to discern the figure behind this haunt - the infamous Empress-Mother Cesarina of Marna. Oftentimes, she will sabotage the ladies of the court in a number of ways. Purses and jewellery vanish when left in the courtroom, and the young women will on occasion hear angered whispers from behind them. Alongside the Mischievous Mistress, she will torment women from the moment they enter the palace until the moment they leave. Wigs seem an affinity for the Wicked Mother. Women, especially young wives, will experience tugs at their hair and clothing if stood near enough to the throne. She is a vengeful spirit - and I tend to avoid her. Lady Vespira tells me that she has some use, however, and if one dared to summon her they could converse freely with the haunt. However, she is known to be notoriously difficult to contact, and seems to only be willing to see women sharing her same wicked temperament. The Boy of the Statue Garden As the only child amongst the haunts I’ve noticed thus far, the Boy of the Statue Garden is undoubtedly fascinating. He garnered his name due to the many times I’ve spotted him about the imperial busts within the gardens, usually those of the main pathway to the front door. He is a playful spirit, and will often coerce the Grey Lady to entertain his games. Similarly to how I was in my youth, the Boy is terrified of Hugo the Headless, and will frequently hide when he spots the old Duke. He would appear in my dreams frequently, and is a spirit full of childlike life and laughter. I believe him to be the young Emperor John Maximillian, a boy slain far too young due to political violence. Sometimes, he shall ‘play’ with the living through moving their objects around, or otherwise attempting to scare them. Hugo ‘The Headless’ The worst of them all is the haunt I’ve identified as the Duke of Adria, Hugues Sarkozic. A grotesque figure - one in which seems to lurk about the gardens. Unlike the other haunts, to which I’ve learned to tolerate and perhaps accept, Hugo had frightened me ever since I was a little girl, and still frightens me today. His anger can be felt from afar, and I often hear him whispering of failed plots and fallen rebellions. Particularly, this haunt sports a hatred for the Grey Lady, and will yell obscene things at her. Most confrontingly, this spirit lacks a head. His form is monstrous, a reflection of the violence in which the man had seen in both his lifetime, and his death. His head is entirely severed from his body, and he will usually be seen to carry it around under his arm. Hugo never speaks to me - instead I only hear his screams of anguish in the night, always from that same spot within the gardens. The Mournful Revenant I’ve studied the spirits of the Novellen for some time - and yet, this is the only of the few I’ve encountered and have not been able to identify. As I pen this, I have only recently begun to hear ‘The Mournful Revenant’, as I’ve named him, in the past two months. I’ve yet to see this spirit- only hear it. He lingers in the same ballroom as the Grey Lady, and at times I hear them conversing together. They seem to share in a certain grief and sadness, hence why I title him ‘The Mournful’. I also hear her comfort him with a motherly warmth, often. Most notably, this spirit plays the piano. Classical tunes ring out during the nighttime - however every time I enter the room to find the source of them, the sounds vanish and I see no figure. This new haunt is still a mystery to I, and I shall have to further investigate as to who he is, and why he lingers in the Novellen. A Note from the Majordomo of the Novellen, Her Grace the Duchess of Sunholdt, Vespira d’Arkent. It is my supposition that certain natural-born women of Horen’s dynasty, upon reaching the age of maturation, attain heightened sensitivity to something of a demi-monde, or a ‘half-world,’ more plainly put, where umbras and eidolons roam in limbo. While such visions of apparitions may likewise correspond with an over-active imagination or a manifestation of sincere enthusiasm for history, it’s a most intriguing notion to explore the possibility of an acute awareness of such a world in our women. Females, as the gentler sex, have been frequently characterized for their impassioned emotional nature. While I cannot attest to the accuracy of this claim in regards to all women, I posit that in this particular situation, it is the acute emotional responsiveness of Princess Elizabeth that opens her to such ‘otherworldly’ experiences. There is another recorded example of such sensitivity in Imperial women in HIH Charlotte Sophia Horen, the final Princess Imperial of the Fifth Empire. Court aides divulged several examples of the young Princess Imperial staring intently into the waters of the Palace of St. Adrian, prattling endlessly on and on about the faces she saw beneath the water’s surface. Taking up again the theory that the affectation of women is what makes them more likely to experience such discernments, one might also hypothesize that this is precisely why apparitions of female disposition are more frequently reported than their male counterparts. As to why the Novellen is so popular a host for these illusions, it is likely due to the palace’s proximity to the magi’s Tor Siderum, said to be a nerve center for thaumaturgic energies. As a consequence, the veil between this demi-monde and our own is thinned, and spirits feel beckoned to dwell in our marbled halls.
  10. The Queen of Barnadia arrives alongside the Aeldinic Empress.
  11. Elizabeth Anne returned from a conversation with Mary Lucille d’Arkent – entirely changed. Truly, she had fought to keep her composure within the other girl’s presence. Yet once confronted with the heavy silence of her solitude, she could no longer. “What have you done, Peter Amadeus?” The girl murmurs to her empty chambers, the letter’s words echoing throughout her mind. “I told you not to dwell upon your pain – to rely on those who supported you” Death was a confronting, morbid thing. It was something that this girl of sixteen had yet to face, yet to bear the pain of. Her eyes drifted to a single preserved flower, lifting to return it to her hair as she’d worn it so many years ago. As the night fell, and hours of a restless mind continued, Elizabeth did the single thing she knew how to do amongst a world of unknowns. She wrote.
  12. The War of the Two Emperors By HIH Princess Elizabeth of Helena Synopsis: The War of the Two Emperors, as a pivotal political conflict in shaping modern humanity, centred around two opposing emperors: Godfrey II of the Imperium Renatum, and Joseph I, Holy Orenian Emperor. The war officially began with the dissolution of the Empire of Man by Antonius I, alongside the Nenzing proclamation, in which the lords of Haense and Adria threw their support behind the newly reformed Holy Orenian Empire. This play represents a small, summarised retelling of the coronation of both Godfrey II and Joseph I in the lead up to the Siege of Helena. It was originally performed within the Helenan Veteran’s festival of 1774. CHARACTERS: Prologue Narrator - (Originally cast as Elisabeth Ruthern) MARNANS: Joseph I - (Originally cast as Peter d’Arkent) The prudent and introspective Imperator who vied for the Throne of Man. Conrad Falstaff - (Originally cast as Grey Galbraith) The amiable Count of Leuven, oftentimes considered a right hand man to Joseph I. Marius II – (Originally cast as Vasili Vanir) The brash King of Hanseti-Ruska who housed Joseph I in his Kingdom. High Pontiff Everard V – (Originally cast as Alpha Carrington) The High Pontiff of the Canonist Church. Coronated Joseph I. RENATIANS: Godfrey II - (Originally cast as Edward Galbraith) The young Emperor of Renatus who was known to be shadowed by his familial relatives. Antonius I - (Originally cast as John Pruvia) The cruel natured Emperor of Man Empress Adeline - (Originally cast as Mary Lucille d’Arkent) The cavalier and youthful Renatian Empress who ruled with an iron fist over her husband’s demesne. Anabel I - (Originally cast as Elisabeth Ruthern) The resolute and lavish Empress-Mother of Renatus, later Queen of Curonia. Vivienne The sweet and cherubic mother to Adeline; Princess of Alstion. Prince Martinus A Pertinaxi prince and member of the Renatian council The original cast of ‘The War of the Two Emperors’, alongside HIH Princess Elizabeth of Helena PROLOGUE Enter NARRATOR Scene begins with Antonius wielding a sword, seated on a throne. Seas apart, we let our tale begin, Through the plight of two parties, a war did arise. For Antonius, the rule of the dragon akin, To a steel-bearing tyranny; the source of demise. His flames, the most unforgiving, poor Ves had seen, With women and children facing cruel fate. In their eyes they begged for a state that was clean, For a ruler of peace, the land would await. EXIT Antonius. Enter Joseph, scene set for a ship. Joseph, a mere fiddler, sets out for his claim, With a pious wife bidding a teary adieu. His vessel, her grandeur, with grace of a dame. “TO ARCAS!” He shouts “MAY GOD SEE US THROUGH!” ENTER Antonius on the Final line - the two Emperors face each other. Days, into months, the fiddler did sail, His nights spent drafting his empire’s reign. A sailor spots land! Let their arrival entail, The War of Two Emperors, for both can’t remain. All exit EXCEPT Joseph Joseph: I hear of the Emperor’s cruel-natured heart, His tyranny dictates the death of too many. It is in this moment, I see where to start, My thoughts, they are now clearer than any. I shall liberate man, through work of my quill, I’ll promise the freedom of all. To write, and write more, it is all I’ve done ‘til, I’m afforded this chance, Antonius shall fall. His Empire shall yield, in mine we will thrive, I compile my grievances - I find eighty five. EXIT Joseph ENTER Antonius I, seating himself at his throne. Antonius: Aha! How I revel in being an emperor. I watch those people of Ves cower at my feet, my men slaughtering them in cold blood. Their city burnt to the ground on orders of my Prince Yuriy. Miserable souls, they were - and now, they perish. ENTER Martinus Martinus: Sire! Our spies have received word of a rebellion! A man of Marna leads their charge - aside the men of Haense and of Ves. We look to you, now, our good and loyal leader! Antonius: Bah! How many of their army, General? Martinus: Growing visibly nervous Many more than ours…. Hundreds of thousands. They prepare to strike against us, sire. Many of our own desert us, for the men of the Marnans promise liberty and freedom. Antonius: To audience Liberty and Freedom? For the peasants? Preposterous! Begone, General. I shall contemplate your news EXIT Martinus Antonius: I’ve heard the whispers of rebellion strewn across the land, They’ve thrown around the thought of fight, yet now they take a stand? Their cries were quenched with iron fist, their pain would never clear, And I, a man with crown and scepter, hoped they’d disappear. But disappear I’m afraid they won’t, they plot and plan my fall, I won’t allow it. No - I won’t, I shall not hear their squall. And yet my empire, weak in frame, can not guarantee my win, So I shall not stand beside my men, yet I also won’t give in. I’ll end my empire in this stand, I care not what is just, I care for my own wretched pride. My empire returns to dust. EXIT Antonius The original performance of ‘The War of the Two Emperors”, 1771 ENTER Joseph, Conrad Falstaff, Marius, and a number of Marnan soldiers. Joseph: Reading aloud And I, Emperor Antonius, declare myself the last - may my empire be no longer, and title fade to obscurity. Conrad: Antonius had left! Sire, the man has abandoned his own, a far cry from the warlord we expected to fight. We’ve no longer an empire to oppose. Surely their army shall fall into disarray, and we may claim the city for our own. A coward of an Emperor, he could not even see his empire through until the very end. Marius: Do we march on the city, sire? Joseph: This is intriguing, certainly. Joseph places the missive down on a nearby table Antonius shall be forever remembered as the Emperor who slaughtered his own, and was yet too prideful to accept the challenge of their outcry and revolt. We shall avenge those lost, those needlessly put to the blade. Marius: The Hanseni people welcome you, your Imperial Majesty. We shall host your coronation within our walls, house you within our palace. We stand with you - we stand with Oren. Joseph: Lord Falstaff- muster the men. Following my coronation, we shall march upon the city of Helena. Conrad: I shall do so with vigour, your Majesty. Leuven shall muster our entire military might. We march upon Helena, for justice - for liberty! EXIT Joseph Conrad: The torment of Antonius’ reign comes to an end, finally. Allow us a drink, men? They pour themselves each a glass, raising it to the sky ENTER Joseph (in coronation clothes), High Pontiff Pontiff: Placing the crown upon Joseph’s head. I proclaim you, Joseph of Marna, the rightful Holy Orenian Emperor. May your reign be blessed in GOD’s light. All cheer. Joseph: Men of Oren! Let us march upon Helena! All exit. From left to right: Grey Galbraith, Peter d’Arkent, Alpha Carrington and Vasili Vanir. Performing ‘The Coronation of Joseph I’ ENTER Martinus, Anabel, Vivienne and a number of Renatian soldiers/citizens. Anabel: The Orenian army march upon our city. Our own army saw their first battle, of roddenburg - a loss. We must retaliate, and must crown a leader of our own. Martinus: The Prince Godfrey. He shall be the Emperor - not of man, for the title is improper with such a fractured humanity. Godfrey shall be the Emperor of Renatus. Anabel: As my kin, he holds the blood of Devereux - of Curon. Perhaps they shall see sense and abandon their rebellion against their liege, the crown. Vivienne: Mon Cherie! Your son must require a wife, non? Each Emperor must have an Empress! My daughter, Lord Romulus, the fair Adeline. She will do finely for Renatus, and finely for her people. Martinus: Summon the girl. She will wed prince Godfrey upon his coronation - and we shall defeat the Marnan’s army. ENTER Godfrey II and Adeline. He approaches the Altar of the throne room, lifting the crown high into the air. Godfrey: My people - those loyal to the blessed line of Pertinaxi, and the Empire of my ancestors. These men whomst march upon us alongside their Emperor Joseph shall find no glory. They shall fall to our blades, and tremble at our feet. He places the crown atop his head I proclaim myself the Emperor of Renatus. May we fight with the fervour of our blades, and the might of our blood. Today, the Imperium Renatum is born! All exit. ENTER Joseph I on RIGHT of stage ENTER Godfrey II on LEFT of stage, and Adeline behind him Godfrey: I was a born fighter, raised to hold strong, As those of my heritage were known for. I emerged from silence, a crown and a song, An Emperor, bred for this war. With stalwart devotion, I remained as a figure, Intended to inspire the crowd. Inspire it did, my people with vigour, For they cheered and clapped - I was proud. Adeline: I led in the places my husband could not, I ruled with stony disposition. Never born to rule, yet it ‘twas what I got, Fate fuelled my own ambition. Joseph: I was a visionary, my ideals astute. I fought for the liberty of many. Yet when put to the test in active pursuit, I was not an Emperor of any. My army, devout, fought fight after fight, Yet the Pertinax rivalled my force. They narrowly defeated my army in route, With blind loyalty and little remorse. My war, it had failed, when ends came to meet, My writing no match to their blade. For my army was forced into rapid retreat. My ideals, to live on, I prayed. And live on they do, I am known for my word, I’ve inspired a new way of thought. Perhaps my writing, at the time was not heard, But in future - it is what shall be taught. Godfrey: For with a final siege to defend, Joseph: The War of Two Emperors, it came to an end
  13. (Queen) Anabel of Curon smiles from the seven skies. She turns to (empress-mother) Vivienne d’Amaury beside her, the two clinking their wine glasses as they watch the empire of their descendants.
  14. OF PROVIDENCE; A Mentor to the Future The compiled writings of HIH Princess Elizabeth Anne The ideal of providence has fascinated me ever since I was a mere little girl. I sat upon my Father’s lap, barely five, and begged him to speak more of the mysterious term to I - the term that I had been told reflected my very Empire, my core and foundation. As I’ve grown, I’ve come to understand it more, though as with all lessons, I’ve more to build upon, more progress to make. Providence is echoed in our Empire. Her very function, her legacy and truth. In each decision made, each step taken forward: Providence is the key to ensure these steps are made to better Man, and better Arcas itself. It is not something to be reached, but it is something to be followed. I mistook this, as a younger girl. I saw Providence as something to obtain and achieve - something to see with my own eyes, and hold within my hands. Yet, that is impossible, so I’ve come to understand. Providence, you see, is the eye of wisdom;* the eye of God himself. In Providence we inspire liberty and justice, innovation and progress. You cannot ‘reach’ providence, for it is an idea. It is the guiding light to move us from one place to the next. *The true Eye of Providence stems from the tale of the Exalted Prophet Sigismund. Due to a disfiguration in his youth, one mortal eye was left to the world – becoming the relic of humanity, inspiration for the ‘Eye of Providence’, as an all-knowing testament to the future of Man. Those who stray from Providence’s path will stray from these ideas. Greed and temptation, in power or otherwise, stem from an ignorance of Providence, and a disallowance of its guidance. I’ve researched the Empires of the past, their rises and falls. I see each dictated with blunders made – primarily the fear of progress taking ahold of those leaders. Providence tells us one thing, among many: to innovate what was set before us. When this is cast aside – when Providence is cast aside, corruption will leak into the minds of people and their actions. A companion of mine had posed an intriguing question: can all embrace Providence? If Providence is to come from God - what of those who are not of the canonist ideas? Or those of different races, different lives? I turned to Mister Basrid and Mister Armas for such advice. They tell me that all beings have the capacity to see Providence, and to be guided by her eye. No matter the individual, be that of an orc, elf, human, dwarf and all in between, each has the aspiration to reach for something better. Providence may vary soul to soul. What a priest may seek, for example, will vary to a bureaucrat or statesman. An Everardine may see differently to a Josephite - yet all are bound in one single, shared desire: to work in good and gracious intent, and to seek a society bound in prosperity. For that is our making, no matter who the maker may have been. Providence shall guide me, as I hope it will do to those who stand beside me. May it lead us, as both an empire and a world, upon a path blessed by those who have walked before us. For in them, we learn the past, and in Providence - we shape the future. HIH Princess Elizabeth Anne 1769
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