Search the Community

elnarnsae’ame ilmyumier (Tattoos of the Wild Faith) As mali, we are blessed with the ability to experience centuries of history first hand, rather than be party to the realm of dusty tomes. And as ancient beings, the history we experience forms into stories which, either literally or metaphorically, mark and scar us. I believe that we should honor the skin, as mali. Some, like the blessed elves, believe that we should be maintained in the image of purity. I believe to honor the skin is to turn the mali form itself into art. Tell the story of your life's history, belief, and duty through the expression of shape and color in the art of Elven ilmyumier. Here I detail my process, tools, and the designs I have created for my own expression of my faith for the benefit of our people, the mali who employ the ilmyumier and follow our Wild Faith and Aspects. iller'ilmyumier (Application of Tattoos) To bestow, and have bestowed ilmyumier is a sacred process, one that should be sought to be carried out by a trusted and trained individual. It is for this reason that I have a certain disposition towards the notion of a tattoo parlor, where markings of the skin are applied as a cold transaction of business. One giving ilmyumier should do so in exchange for nothing. If you find an exchange is necessary, I believe a friendly and thankful gift is appropriate; typically equal to the amount of supplies spent on the ilmyumier you received. As any sacred practice, the application of ilmyumier should be treated as a ritual. To sit through the process, especially for large pieces, is a test of endurance and respect should be given in equal parts to the artist and recipient as they undergo a process which I believe in itself to be holy. Customarily, a prayer is said by the artist to Sha'maidan, calling upon Her strength and endurance as the recipient readies to bear the burden of pain. In turn, the mali getting tattooed will speak a prayer to Kwakwani to guide their artistic hand. As such, it is typically appropriate for an ilmyumier artist to have a token in the image of both Demidogs, or tools carved to depict them among the artist mali's equipment. fer'ilmyumier (Tools of the Trade) An example of fer'ilmyumier and the accompanied rod. (center) To use this tool, the needling ends of it are dipped generously within the ink, while the back of the instrument is repeatedly, rapidly, gently tapped with the rod as it makes quick impressions and inks the flesh. The process of using this tool is bloody, but effective. These tools are commonly hewn in the images of Kwakwani (left) and Sha'Maidan (right). Several of these tools, each with differently-sized needling heads, are often found in a kit. Many variations of these tools include a simple wooden rod with the honed needling points sticking from it at a right angle. These typically have little embellishment, and are used in training until an ilmyumier artist comes into their own. The art of ilmyumier uses an array of different tools and supplies required for the application, each with a unique use and function. These tools may alter the level of detail at which you work, or make the process itself pass quicker. All methods, unfortunately, carry the sacred pain of application, but there are certain methods that assuage some of that burden at the request of the recipient, or the compassion of the artist. A normal set of tools includes a single thin needle, common amongst all tattoo artist. In my own practice, this is used for thin details and outlines, as well as filling in sharp corners within my designs. However, the majority of my work is with a tool I call the fer'ilmyumier. Wooden rods with an angled and pointed handle, at the end of which is a series of sharp points. This piece is often made of honed flint, or stone. Making this out of wood leads to wear, and a flimsy, broken tool from the moisture of ink. As one might expect, the tool used by every artist of tattoos is ink, whose stains come from any number of sources. For the most common, black ink, one can typically make these out of ash or charcoal depending on the darkness they like. More colorful inks I source from nature, either from berries with bright, pigmented juices and flesh, or from the petals of flowers. An interesting, subtle art to using ink made from the pigments of petals is the implementation of Tiva into one's craft; making inks from particular flowers to convey a message known typically only to the artist and recipient. As with anything, caution is recommended when using berries or flowers to mark the flesh. Nature is vicious, angry, and you may end up marking your skin in poison. Finally, the knife. This is rarely used in practice safe for particular applications of ink, and scarification. Scarification is an honorable variation of ilmyumier, each story it represents carries with it the spirit of endurance. Nearly every design to be featured can be done with scars instead of inks, and I encourage those willing, especially those of the Ichor Way, to immortalize their patrons in pain. Ilmyumyer Designs of the Wild Faith While ilmyumier can denote standing, seed, and clan, my greatly favorited way of using it is through the expression of my faith in representing not only the Aspects, but the Demigods of the Wild Faith. These are designs I have created honoring them, and I encourage those reading to find inspiration in my designs and the motifs used for each one. Each design represented is easily done with scars, as well, for those desiring. Valmir'ilmyumier Rites Most anyone can apply ink to the flesh. But Elven ilmyumier is more than tattoos alone; they are a honed and sacred practice which carries weight, and fosters a connection between those that would create it, and the others that would receive it. To set one's self down this path is easy, and begins only with the desire to not only put markings on skin, but to create the designs yourself. Many of the old markings are lost, but new traditions can be forged, as they should be. Once the desire is cemented, the artist will have another valmir'ilmyumier mark their dominant hand in the markings of the craft while they both recite a joint prayer, to their choice of the Mother and Father, or to Kwakwani and Sha'Maidan. After the rite of application is complete, the newly arisen valmir'ilmyumier allows their markings to heal before they begin constructing their sacred kit, hand carving fer'ilmyumier in the image of their preference, typically of the Mani they venerate. The mark of a valmir'ilmyumier is done on the dominant, working hand, in the preferred/favorite color of the artist. Typically only one color is done, but as the mali'ame are a colorful people, several vibrant pigments are hardly out of the question. Stylistically, the mark can change, but the staining of fingertips and fading lines along the knuckled to the wrist remain mainstays of the mark. Above depicts the author's own mark, featured on his left working hand. - Gilliaen Alhanavir [!] All depictions of tattoos, and tools are drawn by me.

Villager Task Board [!] Pinned to the Village Board the villagers of Nevaehlen would find different tasks & chores. A small message would be etched on the board by Thordir. “Villagers of Nevaehlen, every member of our community has a role to play in making sure our village remains strong and ready for anything. The tasks bellow will allow you to contribute to our cause. - Thordir” First Task: “A singular of wild boars has settled to the west of the Vale, having no natural predators they’ve began breaking the balance in nature around us. Hunt a couple of them, enough to bring back balance. Make sure nothing goes to waste, WE ARE NOT VALAH! - Yae’vel ” Craft five (5) Boar Tusk Spears and deliver them to the forge in the father circle. The task is due in 18 elven days. ((20th of October)) Second Task: “Our leather supplies are running low, it seems like this stupid sky water has made it so we waste more than expected. Go out there and hunt responsibly. Bring back the leather, AND DON’T GET KILLED! - Nenar ” Hunt and skin different animals around the Vale, bring back their pelts to the forge in the father circle grove. ((Bring as much leather as you can!)) The task is due in 18 elven days. ((20th of October)) Third Task: "sEvErAL E Ll VEN MONTHs aGo i taUg HT a FErwe O F YOu HOW to woR k ILkUR'AmOLnn, tHE SAcred WOD USed BY Our acaNeSTnors” [!] The former would be crossed out. A similar, though more coherent message below. “Several elven months ago I taught a few of you how to work Ikurn’Amonn, the sacred wood used by our Ancestors to defend themselves and settle down. The Vale is in need of quality weapons for its Rangers, prove you can work the wood. REMEMBER YOU NEED TO SING TO IT! - written by Medli, spoken by Miven” Craft five (5) Ironwood spears worthy of a Ranger of the Vale. Bring back the spears to the forge in the father circle grove. The task is due in 18 elven days. ((20th of October)) Fourth Task: “The Vale is growing, and with that so is the need for new journals so newcomers can do their trials. I trust there are capable people among you able to procure said journals for me. - Laedrad ” Procure 7 research Journals and bring them to the library. The task is due in 18 elven days. ((20th of October))

Beneath the Bark - An Anthropological Study of Wood Elves ____ By Krenanteon Stolt’aroloth ____ Forward “To study the world is the joy of living.” Those are the words of yours truly, the renowned writer and intellectual Krenanteon Stolt’aroloth. While the pursuit of knowledge, both deep and near, is my goal within this strange mortal coil, there is one topic which has always fascinated me beyond all. Since my days as a small icicle, the nature of the primitive wood elf filled my cranium with bountiful curiosity. Thus, five years ago I decided to finally study these puzzling creatures in a depth that previously lay undiscovered by outsiders of their culture. Living among the wood elves and deeply immersing myself within their habitat, I observed them closely. What follows are my findings. Physiology The wood elf is a “creature” whose name is apt. Born from seed, these nymphs of the forest bloom under the supple teat of the sun, relying on the blue milk of the earth to blossom away from the muck in which they were implanted. This development process of the Mali’ame, however, like that of most primitive beings, is a slow one. It begins with the growth of seed within a male ‘ame’s hair. Each spring, there is a chance of such phenomena occurring. However, being (debatably) of the mali taxonomy, and so cursed with infertility, this phenomena is one that is exceedingly rare. If, by slim chance, a wood elf of the male variety does find an earthy kernel within his plumage, he treats it with care until reaching a ripened white state. This is a crucial stage that often ends in catastrophe, given the reckless demeanor of the male wood elf. Although, once in a green moon, the seed is not treated haphazardly and is able to ripen. When this occurs, the male plucks the pearl from its brown, keratinous branch and begins his search for a suitable “mate”. If a female is willing, she takes the seed and places it in her belly button. The seed then sits in this cavern for a number of days, given a regular watering from its new host until it finally germinates. Once the initial sprouting has started, the seed is fished out of the belly button and is brought to a suitable place in the soil. Typically, wood elven parents elect to plant their seed within their home garden. It is here that the final, and longest, stage of their development occurs. Growing in the dirt, the mother and father care for the seedling, giving it ample water and sunlight. Through such gentle nurture, they sprout what the layman would define as elven features. After many months, pointy ears, pointy faces, and all manner of limbs bud from their spriggy stem, coming to resemble the typical wood elven form that we all know. But what lies within this elvenoid exterior that we claim to know? While many a critter of the realm gain their vitality through the thick red ichor most commonly referred to as “blood,” the same cannot be said of our woodland “kin.” Like all trees born of seed and dirt, the wood elf is composed of wood. This, however, does not mean that he or she is less vulnerable. They too contain bits on the inside that need to stay on the inside. Planty fibers drive their movements and organs of cellulose maintain a natural order within their husk. However, none of these internals can function without the life-giving sap that runs through their bodies. This sweet, viscous syrup pools through the spongy mesophyll, pumping in and out of their vital sacs, making the bodies function (application of this syrup upon breakfast cakes is at the reader's own discretion). As it must fill all areas of their form, the sap flows close to the surface of the wood elf, allowing them to be easily tapped. Much like blood, loss of this syrup proves catastrophic to the wood elf, leading to a quick death. Thus, the vitality of the wood elf is balanced on the edge of a knife by this arguably delectable fluid. Behavior Being a creature of wood and bark, the Mali’ame is highly susceptible to most types of damage. Sharp and pointy objects like swords and axes cleave easily through their oaken flesh. This is commonly demonstrated by the lumbermen of the forest. Moreover, if not properly hydrated, the wood elf is highly flammable, able to combust in seconds when in the close presence of fire (See appendices for data). For these reasons, the wood elf has a deep and innate sense of cowardice which compels him or her to nearly always run away from a fight. However, this is not always possible. At times, a woodland sprite may have no choice, and in deep internal conflict with its own nature, it must engage in battle. Given that loss of bodily fluids is a concern, it is starkly important that animals have the ability to defend themselves. The elves of the trees, however, are composed of dense, woody fibers that are stiff and difficult to move. Thus, they are neither agile nor quick on their feet, holding a significant disadvantage on the battlefield as a result. While this dense limb composition may allow them to lift a weapon with relative ease, the stiffness of their woody tissue does not allow them to move the blade effectively. For this reason, a wood elf will never engage in a duel with another race of mali, choosing only to fight in great numbers to make up for their significant lack of skill. Similarly, the weak physical makeup of the wood elf has resulted in the development of a constant state of hiding. These wood nymphs lock themselves away in shambling villages barricaded by mountains and trees, keeping their gates under lock and key at all times due to their constant fear of the vastly superior beings of the continent. This cowardly and distrustful behavior, however, has seemingly made them a bigger, and more sporting, target for said beings. Religion and Druidism In terms of religious affairs, the ‘ame people worship a grouping of fictitious and blasphemous “gods” known as the Aspects. In the name of these false idols, they carve large wooden statues and conduct strange rites atop tall hills. Strangely, despite the wood elves’ innate weakness to flame, part of these rites involves the construction of large pyres in which to dance around in a primal fashion. In groups, they skip and bound in circles round the fire, chanting strange phrases. While in Elvenesse, I witnessed several ‘ame perish to these fires amidst their dance rituals, and it remains unclear as to whether this is an intentional (albeit in vain given the falsities of their “gods”) sacrifice, or whether they simply jigged too near to the flames. A foolish move for a foolish people. The worship of these so-called gods holds close ties to a heathen magical practice known most commonly as “Druidism.” These druids adopt the primal rites of the Aspects in the use of heretical ceremonies as a means of conjuring magics, hexes, jinxes, obeahs, voodoos, hoodoos, snoodoos, and the like. Given the falsity of their deities, the enchantments of such wiccans are likely little more than parlour tricks. However, the intent of any magical rite or incantation is a foul thing that breeds foul things. Thus, caution should be warranted around those that practice such depravities. Language While today it is true that these “elves” speak the same tongue as their “fellow” mali, through careful and stunningly accurate observation, it became inescapably evident that there is more. Before adopting the dialect of higher beings, the Mali’ame developed a form of speaking that was entirely their own. After months of deep immersion into their twiggen culture, I began to see flickers and glimpses of this communication, which can only be described here as primitive, insulting, and a bit rhombus. Hiding from the cover of the scratchy underbrush, I was fortunate enough to witness an “interaction” between two “elves” of the woodland complexion, the like of which I doubt has been seen by a more advanced creature for thousands of years. What I witnessed appeared to be an exchange of odd, guttural grunts that were highly offensive to the ear. It was not for many moments until it became apparent that these grunts actually held some form of “meaning” behind them. Not only that, but the language seemed to stem beyond mere throated yarps, and in fact, included motions of the hands and feet. Strange combinations of tapping, kicking, and crossing of limbs seemed to coincide with brash facial emotions, in tide with specific grunts and gurgles from deep within their woodpipes. An oral/visual language form! I have taken to calling it “barking.” What follows are interpretative meanings of the observed expressions: Hello: “Hgurgh!” + wave Goodbye: “Ggurgh!” + wave Yes: “Ygurgh!” + nodding + clapping hands No: “Ngurgh!” + shaking head violently + stomping + optional slapping of peer Tree: “Tgurgh!” + wide eyes + waving of both hands up + widened stance Leaf: “Lgurgh!” + wiggly fingers tapping forearm Fruit: “Fgurgh!” + Salivation + Enclosed fists clanking together Banana: “Bgurgh!” + look of excitement + wide eyes + pounding chest Appendix I. Wood Elven “Tapping” - Tree taps were inserted into the bark of 5 wood elven subjects - Only half inch tap was required to gain adequate sap flow - Average of 10 minutes to drain all sap - Average of 11 pints measured II. Wood Elven Flammability Tests: Quality Control: (All torches were of the same heat and placed to the same region of the wood elf’s body) Wood Elf Time to Ignition Tree log Time to Ignition Subject 1 6 seconds Log 1 4 seconds Subject 2 5 seconds Log 2 5 seconds Subject 3 2 seconds Log 3 3 seconds Subject 4 5 seconds Log 4 6 seconds Subject 5 3 seconds Log 5 5 seconds III. Wood Elven Growth Rate & Protocol Quality Control: (All seedlings were harvested from the branches of the same ‘ame) 1) Harvest seedling from male ‘ame hair branch 2) Implant into female ‘ame belly button - Check for germination progression each day and water regularly - Average Germination Time: 2-3 days 3) Remove from belly button and plant in warm, moist soil (long term) - First sprouting after 2 weeks - Should see healthy growth for many months - First sign of ears: inconclusive IV. Stolt’aroloth Breakfast Cake Recipe Ingredients - 2 Greet eggs - ¼ cup of caribou milk - ½ cup water (melted from Fennic ice) - 1 cup flour (finely sifted) - 3 Tbsp melted butter (pasteurized from caribou milk) - Dash of vanilla extract - Sprinkle of zested cactus hide Directions 1. Mix all ingredients into a large bowl. 2. Per cake, pour 1 cup mixture into an omelette pan. 3. Let each cake cook for 1 minute. 4. Serve. 5. Application of freshly tapped syrup recommended.

Dark Elves (also known as Mali’ker) Physical Appearance Dark Elves are the most muscular sub-race out of the three and as such are the best suited for physical labour and combat (as a note, this does not give you the right to be unrealistically strong, it is just that the other Elven sub-races are not as hardy as this sub-race). Mali’ker may be the strongest but are by no means the tallest with Dark Elves averaging around 5’10 to 6’4 in height (any taller than this and it you are reaching into High Elf territory and they’re called High Elves for a reason so, please, stick to these guidelines). The most defining features of Dark Elves are their skin colour, eye colour and hair colour which greatly differ from their paler counterparts. Dark Elves are renowned for their dark skin colour, unseen in any other race on Lord of The Craft, and range from light gray to jet black pigmentation. Purple can be a skin colour of Dark Elves but this is a rare occurrence and rarely seen in game. However, in direct contract with their dusky skin colours are their hair which is commonly pure white, like snow, or silver/platinum which is very common as well but hair colours such as black and a light blue (and I mean light as in edging on white with a blue tint, not vivid blue) are rare yet not unheard of. Typical eyes colours of Mali’ker include blue, green or violet, yet red is still commonly seen on the server and is a unique trait only Orcs and Dark Elves have. Dark Elven eyes are generally duller than their High Elf equivalents i.e they’re more low-key and not vivid or unrealistically bright. Brown and yellow eyes are not eye colours Dark Elves can possess. Mithius Dalma (Jonificus) Culture All three sub-races of Elves have their own different distinct and cultural differences from each other. Dark Elves, unlike the other sub-races, live their lives based almost entirely on passion and emotion which consequently means the other races often view them as simple or basic despite this not being the case. However, this is not to say all Dark Elves are headstrong and thrust themselves into positions without thought, Dark Elves will often consider their options and make a decision based upon rational thought over brashness, this comes with experience as most live decades upon decades. As said before, Dark Elves wear their hearts in their sleeves and are evidently more spirited than their paler counterparts and this is shown by even their fashion sense. Dark Elves dress in bold colours which darker reds, browns and black being popular but also light greens, blues and purples. Dark Elves are believers in natural beauty and as such female Dark Elves often show a bit of skin (this is not an excuse to dress provocatively or skimpily i.e no bikinis or anything of the sort). Jewelry is also incredibly important to Dark Elves and rings, brooches and even piercings are all used and common in Dark Elves, normally used to show which clan or family one is from or head of. Dark Elves also have a very family oriented society which is ruled by a military dictatorship basically with young ordinarily being trained in combat at young ages to make them effective warriors but also to discipline them. Dark Elf parents often decide what line of profession their child/children end up in as Mali’ker children are eager to meet the bars set for them and strive to do so. Dark Elven culture is all about honouring your clan and your ancestors, helping your fellow Dark Elf and respecting each other. Ancestors are well respected by all Dark Elves and are the diseased Mali’ker who possessed remarkable traits or achieved great things in their life times leading to them being eternally remembered. For more in depth knowledge on Ancestors, look at Dakirennis’ guide. For more in depth knowledge on Dark Elves as a whole, look at Lego XBOX's guide. Notable Dark Elves Khel Oussana Dak'ir Des'nox - Leader of the current Dark Elf settlement Mithius Dalma - Famous merchant and jewelist (Big thanks to Jonificus for helping me with this section.)