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Moderators: Ishmayl, brainface, limetom, Nomadic
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| Kalos Mer |
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The Old Oligarch, the Ardent Intellectual![]() [ Moat Cailin ] | Note - no discussion thread for Tasothilos, go right ahead and post comments here... once there's something to comment on. I'll be hosting my stuff in a more organized fashion on this server as it gets developed. If you are new to the setting, feel free to skip this initial post. The second post in the thread gives an overview of what I'm trying to accomplish, and the third post gives a few 'back-cover' style selling points - the sort of blurb you'd read on the back of the dead-tree edition of Tasothilos in the bookstore, if there were to be a dead-tree edition. Those two posts will give you a better idea whether Tasothilos is a setting you want to read more about. Now, though, let me just make a Note to my Long Time Readers:Some few of you who are old-timers may remember the Tasothilos setting, either from the Wizards boards or from here. Consider this to be Tasothilos version 3.0. I did not have the heart to trash the old setting, but reading over my own material accumulated over the course of the past three years, I've been disatisfied with several features, the sorts of things that minor revisions were not going to be able to undo. I'm not starting over, per se - the nations from Old Tasothilos will still be represented, the same NPCs and everything will be around - but a number of fundamental changes will be made:
While the revision is in progress, all of the old material can still be found here. Next up: An updated overview! [ Edited Tue Jul 31 2007, 04:11PM ] My Setting: | ||
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| Kalos Mer |
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The Old Oligarch, the Ardent Intellectual![]() [ Moat Cailin ] | Tasothilos Tasothilos (literally "The Central World" - a reference to the fundamental doctrine of the Ekeusian (major human) faith that the world has been destroyed and recreated once, and will be destroyed and recreated once more), colloquially sometimes called Algarlin by it's inhabitants, is by far my most detailed attempt at a campaign setting, and is being pieced together from notes taken in various journals and on scraps of paper. (And adjusted, of course, in reaction to your earnest criticism!) Work on the project has been officially taking place since about July of 2004, but the oldest ideas presently incorporated can be traced back to as early as 1998. (In fact, one minor NPC currently included in my setting notes is based on the recently-rediscovered character sheet of a PC I created for my first 2e D&D game in 1995.) As mentioned above, Tasothilos has been in development on the Wizards of the Coast boards for about three years now. However, I am starting semi-over, rebuilding Tasothilos using my improved body of knowledge on matters of lingusitics, economics, history, mythography &c, as well as correcting a few flaws in my design and a large number of inconsistencies that creeped in over the years. Also, I'm using my own classless, level-less system to build the game. However, as the setting dabbles only rarely in mechanics and is largely 'fluff', it should be fairly easy to adapt for 3.x Dungeons and Dragons or any number of other systems. (Only a few things, like the magic system, will present some trouble.) My ultimate goal in this project is the creation of an interesting and distinctive world which is still largely a Western-European Fantasy style game. Also, I am very much working towards consistent internal logic. (I find the term 'consistency' fits with the idea of a fantasy world better than the term "realism". Roleplaying doesn't necessarily have to be realistic, but it should make sense and be consistent within its own set of 'laws of nature'.) The main thing which distinguishes this setting from other Western-European S&S settings out there, I feel, is the level of detail I've invested - the world is being built to be playable, but a large part of the process has simply been for the joy of building something using my scholastic background. To borrow some parlance from the Guild, I see my world as having both Ethocentric and Divset features- there are several themes which bind together a lot of my design, but they are not absolutes and my hope is that they operate on a fairly subtle level. In this, I'm aiming to imitate Earth history - while I find in my studies that certain trends and themes are repeated over and over, it's always on a subtle level. [ Edited Tue Jul 31 2007, 03:57PM ] My Setting: | ||
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| Kalos Mer |
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The Old Oligarch, the Ardent Intellectual![]() [ Moat Cailin ] | Reserved for 'selling points' - coming real soon [ Edited Tue Jul 31 2007, 04:11PM ] My Setting: | ||
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| Túrin |
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A Túrin Turambar turún' ambartanen!![]() [ Cave of Ridges ] | Here's at least one Long Time Reader (yay caps!) still interested. Don't hesitate to PM or email me when new material is posted. I'm not on very often anymore and I might miss it. Anyway, go ahead and post. I can't wait to see what's been brewing in Rhode Island. Túrin Orden's Mysteries (my setting) hosted in website format thanks to the CBG Orden's Mysteries on the WotC boards ![]() "Then shall the last battle be gathered on the fields of Valinor. In that day Tulkas shall strive with Melko, and on his right shall stand Fionwe and on his left Turin Turambar, son of Hurin, Conqueror of Fate; and it shall be the black sword of Turin that deals unto Melko his death and final end; and so shall the Children of Hurin and all men be avenged." - J.R.R. Tolkien, The Shaping of Middle-Earth | ||
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| Kalos Mer |
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The Old Oligarch, the Ardent Intellectual![]() [ Moat Cailin ] | The Tasothilos System An Overview When I first started the Tasothilos: the Second World project back in 2004, I designed it for the only (current) game that I knew very well at the time - the Dungeons and Dragons 3.x system. It is my hope that interested parties should be able to run the game in that system if they choose to. However, while designing I often times felt like I had to betray some parts of my 'vision' in order to make the game conform to the rules that I knew. When I brought the setting back to the CBG in spring of 2007, I had moved beyond D&D and tried to create Tasothilos using my own homebrewed d20 variant, which I called Axis Mundi. Since that time, I have since taken things one step further. The Tasothilos System is now a different monster altogether: It brings in elements from d20, Storyteller, Ars Magica, HERO, and the D6 system, in addition to several elements created wholesale. The aim is to create not a generic system, but a system particularly suited to the kinds of stories I want to tell in the world of Tasothilos. This thread is primarily concerned with the Tasothilos *setting*, not the Tasothilos *System*. However, I will use this post to give a general taste of how the system functions, so if I ever post NPCs with stats, you will not be at a loss. *coming soon* [ Edited Wed Aug 01 2007, 01:04PM ] My Setting: | ||
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| Túrin |
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A Túrin Turambar turún' ambartanen!![]() [ Cave of Ridges ] | I wasn't talking about the next 24 hours. I'm having this week off so I won't miss much. But if you keep it up as I'm hoping, I'll occasionally miss some of the new stuff as I'm busy with the next semester. On another note, I didn't know you had your own d20 variant. What's that all about? Túrin Orden's Mysteries (my setting) hosted in website format thanks to the CBG Orden's Mysteries on the WotC boards ![]() "Then shall the last battle be gathered on the fields of Valinor. In that day Tulkas shall strive with Melko, and on his right shall stand Fionwe and on his left Turin Turambar, son of Hurin, Conqueror of Fate; and it shall be the black sword of Turin that deals unto Melko his death and final end; and so shall the Children of Hurin and all men be avenged." - J.R.R. Tolkien, The Shaping of Middle-Earth | ||
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| Kalos Mer |
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The Old Oligarch, the Ardent Intellectual![]() [ Moat Cailin ] | Glossary A collection of frequently-encountered terms Preface: A note on Timekeeping There are several systems of note for numbering the years of Algarlin's History, but the one used by scholars and nobles in Salabria, which is most widespread and easiest to handle, is centered around the rise, height and decline of the Ekeusian Empire. It divides history into 3 great eras: Mar Parthikone (MP) - literally 'Before the Empire', refers to all time before the defeat of Messara by Ekeusion and the coronation of the first Emperor. Yrmos Partikos (YP) - literally 'The Living Empire', refers to the 491-year long reign of the emperors of Ekeusion Athil Partikone (AP)- literally 'After the Empire', refers to the 1497-year (so far) period after the fall of the Empire. I. Geography Algarlin: Algarlin is the geographical name by which natives of the Salabrian region call the entire world which they inhabit. It encompasses two known super-continents (one but recently discovered) and large tracts of unexplored oceans. The name comes from Algaril, a king of somewhat Adamic status in the Ekeusian mythology. Salabria: Salabria is the name given to the region of land which immediately surrounds the Salabrian Sea (q.v.) and to the nations located in that land. It also extends to the islands within the Sea. Thus, Philstaros, Andozia and Sanceline are all examples of nations which would be termed Salabrian, while Ferrund or Sakrtskaya would not, strictly. (The former is sometimes lumped in with Salabria proper, the latter never is.) Salabrian Sea: The Salabrian is a vast inner sea located in the north-eastern portion of the continent of Ephos, the main continent of the Tasothilos campaign setting. It is a deep, famously calm body of saltwater with an ancient history - civilization in some form or other has existed on the shores of the Sea for more than five thousand years. The Sea is very rich in all manner of fish and (in certain places) pearl-producing oysters. It is also dotted with islands - many are small and rocky, but a few of the great ones are large and fertile in their own right. The point where the Salabrian connects with the greater Ocean beyond is called the Gate of Ephos, after ancient custom. Tasothilos: While 'Algarlin' is the name that the natives give to their planet in a geographical sense, Tasothilos is the name they choose to describe the world in a more metaphysical sense. It translates as "The Central World", and the word sums up in brief the central notion of Second World religion. Tasothilos and it's derivate pronunciations in other langauges obviously only occur in countries where Second World Doctrine has taken root. II. History Ekeusion: Ekeusion was the name of an ancient city which first flourished more than 2500 years ago. In the century or so preceeding the YP era, it gradually assimilated a number of the surrounding cities and eventually developed into the capital of an empire which had influence all around the Salabrian Sea. While the line of the Emperors terminated abruptly in 1 AP, the city of Ekeusion itself stood for several centuries longer as a vibrant (if turbulent) monument to the grand history of humankind before it was captured by goblins around AP 500. These goblins and other unsavory creatures held the great city until very recently - in 1493 AP, the city was recaptured by a band of adventurers and for the past four years the slow process of rebuilding and restoration has been making the city grand again. Ekeusion is the nominal form of the name, the adjectival form (used to describe the Empire, the language, etc) is Ekeusian. [ Edited Thu Jan 25 2007, 12:24PM ] My Setting: | ||
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| Kalos Mer |
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The Old Oligarch, the Ardent Intellectual![]() [ Moat Cailin ] | This post was supposed to contain races. Darn post limit - apparently 14,000 words is too much for one post. I'll figure out something else to put here later - maybe a finalized map and some basic geography, or something. [ Edited Tue Mar 20 2007, 07:38PM ] My Setting: | ||
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| The Rose Of Montague |
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I Am Blasphemy![]() [ Greymist Valley ] | Hey Kalos, stopping by for two quick thoughts. #1, I want to see some of this mythology you've worked so hard on. I'm a big fan of artificial religions, and I want to see what you can make with your fancy education. If I missed it already, that's because I only got to the third post or so of this thread before posting.Thought 2 Kalos MerThe importance of numbers and numerology - in Old Tasothilos, I largely accomplished this by the introduction of Arithromancers - mages who cast spells based on precise mathematical calculations. While the Arithromancers still exist, I intend to bring this theme out more artfully and universally in the revision, as the occurence of certain numbers will mean certain things.![]() I'm an Existentialist, a student of Religious Studies, a Hopeless Romantic, and an all-around walking Contradiction. Did you miss me? | ||
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| Kalos Mer |
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The Old Oligarch, the Ardent Intellectual![]() [ Moat Cailin ] | OOC: Some History of Tasothilos What follows is a summary overview of the processes that went into creating Tasothilos. It's posted more as an aside than anything else, and people who are interested in the setting itself rather than the history of the project can skip it. Next up, Crit gets his wish as I post an overview of the major human pantheon. [ Edited Sun Jan 21 2007, 05:21PM ] My Setting: | ||
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| The Rose Of Montague |
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I Am Blasphemy![]() [ Greymist Valley ] | Are you kidding, that was light reading I can't wait for the pantheon. ![]() I'm an Existentialist, a student of Religious Studies, a Hopeless Romantic, and an all-around walking Contradiction. Did you miss me? | ||
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| Túrin |
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A Túrin Turambar turún' ambartanen!![]() [ Cave of Ridges ] | As Crit said, it really wasn't all that much to read. While the third paragraph was mostly a rehash of what I already knew, the first and second paragraph contained some interesting bits. Surely, Chronicles of the Fated must have been a fascinating campaign, and I can only hope I'll ever create and run such a longstanding campaign. Let's take a look at Tasothilos d20. Most of the stuff you mention is hard to criticize without more information. In particular, I'd like to hear more about the dueling rules. That could be really cool, if done well. Good calls on dropping multiclass penalties and alignment. Villainy Points sound like a good idea, though I'm not quite as sure whether crunchifying virtues and vices was such a good idea. I imagine the basics of the pantheon will be largely as I know them? I suppose that's a good thing to start with, considering its importance in your setting, though I can't wait to see some new material. Túrin PS Thanks for the badge! You didn't say where to link it to, so I linked it here. I suppose that's alright? Edit: I see you've done that too, so nvm. [ Edited Mon Jan 22 2007, 04:00AM ] Orden's Mysteries (my setting) hosted in website format thanks to the CBG Orden's Mysteries on the WotC boards ![]() "Then shall the last battle be gathered on the fields of Valinor. In that day Tulkas shall strive with Melko, and on his right shall stand Fionwe and on his left Turin Turambar, son of Hurin, Conqueror of Fate; and it shall be the black sword of Turin that deals unto Melko his death and final end; and so shall the Children of Hurin and all men be avenged." - J.R.R. Tolkien, The Shaping of Middle-Earth | ||
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| Kalos Mer |
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The Old Oligarch, the Ardent Intellectual![]() [ Moat Cailin ] | Chronicles of the Fated was a whirlwind campaign, probably as much fascinating from a psychological perspective on the players themselves as it was in terms of plot. By all accounts, it should have been a 'bad' campaign - several of the players were simultaneously trying to be the 'main protagonist', there were several interpersonal feuds and stuff, a couple munchkinny players, and I was an uncharacteristically Monty-Haul DM as well as very disorganized. And yet, it remains the best-loved game I ever ran, both on my own account and for many of my players. Dueling rules resulted from an impromptu thing in one of the playtest sessions for the magic system, and I've been trying to expand it and streamline it - it's still very rough and in need of (a) completion and (b) testing. As soon as (a) gets accomplished, I'll host them on the site for anybody who's willing to give them a shot. The goals are as follows: Keep the mechanics simple, allow resolution quickly, allow variety in fighting styles / tactics to have a mechanical effect on the results, and keep the mechanics simple (that one bears repeating.) I'm putting in some serious time on that next weekend - you guys can be the judge of how well I succeed at those goals. The 'Crunchification' of Virtues and Vices extends far less than the crunchification of Alignment did - it really is intended to be more of a flavory, fluffy element. So far, the only 'crunchy' aspect of it is that spells/Abilities that would previously analyze alignment instead give the caster some indication of the 'nature' of the target, as reflected by virtues and vices that the character has been playing. The idea is to create a much more subjective view on morality while still allowing (through Villainy points) that there are certain evils which ARE objective. I *think* it should be fairly hassle-free, but I'm not averse to changing it or removine Virtue and Vice if playtesting indicates otherwise. The Pantheon will be largely as you know them, but the write-up I'm doing now also features new material I don't think you've seen before. As a preview, here's one of the 'stat blocks' that I'm working on: I've got six deities finished already, and I'm progressing at a rate of about two deities per hour. The post will also include a never-before-scene list of the half-dozen or so most important 'secondary' deities. [ Edited Mon Jan 22 2007, 07:55AM ] My Setting: | ||
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| Kalos Mer |
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The Old Oligarch, the Ardent Intellectual![]() [ Moat Cailin ] | : Out of Character :This IS really long, no doubt about it. I can promise you there won't be another post this long for a good, long time.The Ekeusian Pantheon: An Overview Intoduction The Ekeusian pantheon is the major set of deities for the human race, consisting of fourteen principal deities. As the name implies, it was originally the religion of the Ekeusians, an ancient people who lived on the coast, but worship of these gods was spread both by military conquest and (later) by peaceful missionaries. Nowadays, all of the nations around the Salabrian Sea worship these gods, and several more distant nations worship deities that seem to derive from the Ekeusian faith Aspects of this same pantheon are also shared with the gnomes, the dwarves and the halflings. (Elves and Orcs have no share in the human pantheon, instead sticking with their ancestral deities.) In addition to the fourteen central gods, there are a number of lesser deities. About a half-dozen of these are fairly universal, the most noted of which is Lia, the wife of Oniwalu Ardalor. The rest of them are more local divinities, perhaps remnants of earlier pagan faiths that partially survived the ‘conversion’ of their followers. While these deities are worshipped by the common man, they only rarely have temples and have almost no clergy to call their own. It is important to note right up front that Tasothilos is a ‘distant gods’ setting. ‘Miraculous’ manifestations may happen on occasion, and persons who pray to the gods receive spells from SOMEWHERE – but the gods never manifest themselves to mortals, and in fact there is no absolutely concrete proof that the gods even exist. (Atheism is much rarer among the intellectuals of Tasothilos than it is among the intellectuals of Earth, however. This is both because science has not yet progressed far enough to answer basic questions about the universe and the ‘human’ condition, and because people of Tasothilos are much more attached to their old ways and ancestral traditions than we are. A note on Old versus New Religion The Ekeusian faith can be historically divided fairly neatly into two halves. The gods began as a number of different pagan spirits in the earliest days of the Ekeusian people, but about 2800 years ago, they were formally codified by the poets Otho and Simo into a divine family/council, with the King of the Gods, Onaleus Ardalir, at it’s head. This was the great era of pagan mythology akin to the Greek model, with countless tales of the exploits of the gods and men being written, sung, and performed in plays, and most of my mythology as I’ve conceived it so far was ‘written’ in this period – it is the Old Religion, very earthy and sensual and very exciting. Roughly 1600 years prior to the current date, however, a prophet/author re-imagined the gods in a new light – instead of a divine family who had been born of primeval nothingness, the author imagined that the gods had once been mortal heroes in a world *before* this one. They had fought against the ultimate evil in the great battle at the End of that world, and as a result of their heroism, they became the new gods in the next incarnation of the world. This doctrine teaches that the days are coming when a second Great Battle will occur, and at the end of it a third and final World will be created, one which lasts forever. In this religion, some of the old myths have been re-interpreted as exploits of the mortal heroes prior to their becoming Gods, while other myths have been dropped from religious teaching altogether. (It still survives in great works of art from the past, in addition to the occasional song or tale by an accomplished bard.) Although this mythology is a little less satisfying to the scholar or the romantic, it has succeeded because it provides both the elites and the downtrodden with something that they want. The elites are told that they have their exalted positions in this life because of the glorious exploits their previous incarnations performed in the First World. Therefore, they are entirely morally justified in enjoying their current existence. Meanwhile, the peasants are promised that if they are virtuous, they will be able to become something better in the next incarnation of the World. This religion has therefore proven quite stable and long-lived. The Ur-Gods The Ur-Gods (an OOC name, their IC name is not yet determined) are, according to Old Mythology, the three generations of divinity who preceded the gods of the Ekeusian pantheon in much the way that the Titans preceded the Greek gods. Their ranks are much smaller, however. The full creation myth cycle will come later, but in summary, here’s how it works: The world begins with a primordial, monstrous wolf, Ortha. She gives birth to Magir and Magi, the Creators of the Universe. (<*mag- “to make, createâ€) Magir and Magi create a world, but Orthal devours it. Magir slays Ortha, and then he and Magi create the world anew. Magi gives birth to three daughters and two sons. The daughters are Namri, Tithalia and Anarina, the sons are Durzir and Saros. Magir gives Namri to Durzir and Tithalia to Saros in marriage. Namri bears Durzir Lia, Myria and Suphi; Tithalia bears Saros Maxinir. Angered that Namri failed to produce a son, Durzir kills her. He then attempts to seduce Anarina – she scoffs at him, and Durzir puts out her eye in vengeance. At last he seduces Tithalia, and by her he sires Onaleus and Rholerex. Saros confronts the two in the act of lovemaking, but he is killed. (Interestingly, Otho and Simo disagree as to which of the primordial adulterers killed Saros – Otho says Durzir did it, Simo says Tithalia was guilty.) This draws the wrath of Magir and Magi, and the two couples wage a war in Heaven. Tithalia is slain by Magir, but Durzir then kills his father Magir and commits the ultimate sin in violating his own mother. The result of this twisted union is Alamir, though the birth proves fatal to Magi. Durzir is now the Lord of Creation, and he rules over Heaven and Earth like a tyrant. The gods, (all but Maxinir his own children) strive against him, but they still squabble amongst themselves, too – the children of Namri and the children of Tithalia cannot get along. At last, however, Anarina councils Onaleus to unite the two parties, and also to win over Maxinir. Together, the six gods overpower Durzir and kill him. Onaleus, who lands the killing blow, then becomes the new king of the Gods. He adopts the one surviving member of the old order, Anarina, into his own family, calling her ‘sister’. The rest of my mythology will come later, but I wanted to give you the current version of the creation myth in outline to give you a framework for what comes below. The Fourteen Gods What follows is a brief overview of the fourteen principal deities. Alamir The Mad Tempter Physical Description: Alamir does not appear evil at the first glance. He is portrayed as a handsome, tall man in the height of youth. Beardless, he has medium-length silver hair and usually dresses in a simple but elegant grey robe. Sometimes, he is portrayed flying on silvery dragon-wings, though unlike Onaleus he is just as often portrayed wingless. Symbology: Alamir has no clergy, so he has no official symbol of the faith. In religious art, however, shades of grey are closely associated with Alamir. Ice and flies are also frequently symbolic of him. Portfolio: Alamir is the dark tempter, the secret corrupter of men. He is the god of lies and betrayal. Traitors are said to have ‘walked with Alamir a step’. Insanity, dark secrets, unnatural deaths and diseases are also lain at his feet. He occasionally is called the god of blight and the god of winter, though these titles were not used until the Imperial period. He alone among the 14 Gods has no temples within civilization, and while many people plead with the gods to protect them from Alamir, he receives no open worship himself in human society. Secret cults of madmen who worship the Tempter are occasionaly spoken of, however… Mythology: According to Old Myth, Alamir was the result of the wicked ur-god Durzir’s seduction of his own mother Magi. When the other early gods banded together to destroy Durzir, Alamir sided with his father. After Durzir’s imprisonment, Alamir went into hiding on the Earth. There, he mated with mortal women (and animals), bearing all sorts of monstrous young. After he had raised an army of his own children, he made war on heaven in what Otho and Simo called the Serpent War. He was defeated by the armed alliance of the other gods and went back into hiding, but not before ravaging Suphi – the result of this violent union were Olkhir and Antios. He frequently appears as an antagonist to the great mortal heroes of myth, though he is always defeated with the help of one of the gods. Unlike most of the other gods, he does not dwell in some supernatural realm above or below, but is said to wander the earth. Current Teaching: The divinity of Alamir was a problem for early theologians of Second World doctrine. They claimed that the gods became gods because of great virtue in their mortal lives, but Alamir seemed to flatly contradict this. The only possible explanation that they could come up with was that Alamir was in some way corrupted AFTER having become a god. The usual explanation is that some element of the Great Enemy of the First World had successfully embedded itself in Alamir, and that this happened in the fulfillment of prophecy: The Great Enemy cannot truly be destroyed until the Last Battle of the Second World, right before the advent of Paradise. Vievnan Animal Form: To the Vievnans, Alamir is the black rat, and emphasis is on his plague-bearing side rather than moral corruption. (Vievnans tend to see moral corruption has being solely the fault of the corrupt mortal, rather than a supernatural agent.) Ali The Tyrant Warlord, the Sun Queen Physical Description: Ali appears as a warrior-lady in resplendent red armor wearing a red, four-horned helmet, or as a noble queen in a red dress wearing a black crown. Like her sister Emiome, she is portrayed as being quite young – probably no more than 20. In either embodiment, she is seen carrying a flaming sword of great size. Symbology: The Sun Disk is Ali’s primary symbol, though her four-horned helmet and her flaming sword are equally prominent in art. Portfolio: Ali is primarily the sun goddess and the goddess of the summer season. Like her father Onaleus, Ali is also a political goddess. According to the faithful of Ali, she is the goddess in charge of maintaining the political order, of punishing criminals, and of raising armies and conducting proper warfare. Even in ancient times, however, charges were sometimes raised that the faithful of Ali had become more interested in the oppression of the underclass and maintaining the status quo than in ‘justice’. Mythology: After Oniwalu and his siblings had thrown down Durzir, he wedded Lia, his half-sister. By her, he had two daughters, Ali and Emiome, the Sun and the Moon. They were the first of the ‘second generation’ of divinities (those not born of Durzir and the other ur-gods). Throughout the mythology, she is a very stern, grim goddess, though brave and loyal. When some of the other gods feared during the Serpents War, she and her father Onaleus and her uncle Maxinir rallied them to victory. She is very concerned with the proper order of things – were she not, the sun would not rise and set in the careful pattern that it does. She infrequently appears in the myths, though she plays a large part in the great war epics and other songs of large battles and the martialling of armies. Current Teaching: Ali’s church teaches that she was a lieutenant in one of the great armies that rallied to defeat the Enemy at the end of the First World. When her subordinates and even her commander cowered in fear and would not advance, she charged ahead bearing the standard and urged them to follow. They teach that she alone of the 14 was actually killed by the Enemy prior to his downfall, but because of the intensity of her loyalty and valor, her spirit nonetheless survived to become one of the fourteen great deities. The Church of Ali these days is best described as an extreme right-wing, pro-Aristocratic political faction, though of couse they represent a religious (Divine Right of Kings) rather than a strictly political view on these kinds of matters. She is also much-worshipped by soldiers, who value her sense of loyalty and duty and the promise of great rewards for mortals who share those qualities. Vievnan Animal Form: Vievnan faith teaches that the Sun and the Moon are great Cats – Ali the Sun is the mountain-lion goddess. Anarina The Lofty Prophetess Physical Description:Anarina is portrayed as a severe, ageless woman with what we would call Egyptian features, dressed in a fine and modest white robe. Her left eye is missing, though her long black hair is usually hung in such a way as to obscure the socket. She usually is shown carrying a tome in each hand: the one in her left is the Kuros Phaldes, the Book of History which shows every event which has ever happened; the one in her right is the Kuros Osomonturon, the Book of Things Which Will Be. As time progresses, the one gets longer, and the other shorter. Other times, she carries a great scythe. Symbology:A single eye is the primary symbol of Anarina – open books, serpents, scythes and caves are also closely associated with her. Portfolio: Anarina is the goddess whose dominion is history, prophecy and fate. It is important to note (as Anarinans and Emiomeans frequently point out) that she has dominion over the couse of events IN Time, but she is not herself the goddess OF Time – this is Emiome’s domain. (The specificity of this distinction is an invention of recent, highly precise theology and not contained in the early myths.) She is also the goddess of secrets and hidden knowledge – many of the early Ekeusian natural scientists as well as more ‘modern’ researchers pray to her. She is worshipped by all people, but her priesthood is fairly small and confined to the prophets and a small network of non-prophetic clergy who support them. Their prophecies are often cryptic but (so far) have never been wrong. Mythology: Anarina’s frequent title is Tonanda, “Eldest Oneâ€. The title is an appropriate one, for she is unique in that she technically belongs to the generation of the ur-gods, being a sister of Durzir and a daughter of Magir and Magi. The story goes that after Durzir killed his own wife Namri for bearing him only girls (Lia, Myria and Suphi), he tried to seduce Anarina. The aloof goddess laughed at his clumsy advances, and in anger he put out Anarina’s left eye. The goddess had her revenge, however – it was she that gave council to Onaleus and his siblings when they plotted against and overthrew Durzir. In thanks, Onaleus ‘adopted’ Anarina into the family of the Gods. She does not appear usually appear ‘personally’ in the myths, acting instead through her various mortal prophets who quite frequently advise the heroes. The one exception is that she is always a vocal counsellor in any “Council of the Gods†scenes in the epics or the myths, and she always advocates for the ‘correct’ course of action. Current Teaching: Anarina is said to have been a prophetess who gave advice to the hero Onaleus and his companions when he quested and foresaw both the doom of the Enemy and the accession of the hero, his companions, and herself to godhood. Later, as the assault on the Enemy’s stronghold began, she appeared leading an army of great serpents and giant birds to join the battle. Her eye, the new stories tell, was put out by one of the Enemy’s chiefest lieutenants, whom she then cut to ribbons with her sickle. A story is told that while the rest of her peers created the world, she had no part in it. Haughty Anarina said “Since the End of this World is entirely in my control, it is only fair I let you control the Beginning.†Vievnan Animal Form: The Vievnans portray Anarina as a raven-goddess. Antios The Joyless Shade Physical Description: Antios appears as a grim-faced man with pitch-black eyes and hair, almost purely white skin, and dressed in drab clothing, usually including a cloak. He is almost always brandishing a dagger, and frequently he seems to be in a crouched position as though he is attempting to hide. Among the faithful, it is considered one of the highest blasphemies by the faithful to portray him smiling. Symbology: The primary symbol of Antios is the outstretched palm – ready to take what is his, adherents say. He is also associated with the color black, smoke, and daggers. Portfolio: Antios had a fairly sharp divide between the Old and the New mythologies in terms of his portfolio. He began as a fairly straightforward god of thievery and murder who after his birth joined his father in the ranks of the ‘evil’ deities. At an early date, however, a Church of Antios was set up – more of a philosophical school, really, but they adopted Antios as their mascot. They championed a philosophy of self-interest and indifference to the suffering inherent in this world, and they believed Antios was their forefather. So successful were they that the reforms of the Second World doctrine legitimized him as a hero, albeit a dispassionate one. Nowadays, legitimate temples of Antios exist in several nations. (There are plenty of thieves who still pray to this god under his older mantle, however). Mythology: According to Old Myth, Antios was born shortly after Alamir ravaged Suphi during the Serpent’s War. He and his brother Olkhir were initially welcomed into the family of the gods, but Antios was exiled when he attempted to steal Onaleus’s sword. Cast down onto the earth with his father, he too lurked like an evil spirit. He eventually is said to have taken refuge in the mountains, where he taught the first brigands, thieves, highwaymen and murderers their trade. The half-dozen or so references to assassins in the classical corpus refer to them as Sons of Antios. He is also seen as an antagonist in the epic cycle. Current Teaching: As mentioned previously, Antios’s image was completely altered prior to the Second World Doctrine becoming accepted. As such, when the gods were reinvented during this time, Antios was portrayed as a hero, a cunning rogue who remained stoic in the face of all the suffering that the Enemy created. It is said that by force of will, he resisted a killing-spell that the Enemy cast at him, then proceeded to distract the Enemy long enough for Emiome and Onaleus to land the fatal blow that ended the First World. Vievnan Animal Form: Antios is portrayed as the wolf-god amongst the Vievnans, who put more emphasis on his violent than on his ‘sneaky’ or ‘morose’ aspects. Bimpnos The Grinning Trickster Physical Description: In early art, Bimpnos is ambiguously portrayed as either a short man or a child (it’s hard to know which). In later art, he has become a gnome. He is a jovial deity – in recent artwork, he is always portrayed in brightly-colored clothing, often standing in the middle of a halo of blue and yellow light. He wears a cap flopped over to one side, always grins broadly, and sometimes leans over on a walking-stick. Symbology: Bimpnos’ primary symbol from antiquity has been a circle, though there is no explanation for the origin of this curious emblem. He is also closely associated with his hat, wands, and gnomes generally. Portfolio: Bimpnos is a trickster god and the god of humor, and mirth. He sharply contrasts with Ali, in that he represents the subversion of the normal social custom. He is also seen as the special protector of children, and his more ‘serious’ churches (there are few) actively champion the causes of the downtrodden. He is something of a hero to the lower classes, though they also pray and tithe in order to avoid his pranks. Though not exactly worship, he also has received notoriety as a sort of trouble-making spirit among the peasants: he’s blamed for everything from splinters to the accidental burning of a loaf of bread. (More serious catastrophes are the province of Alamir.) Jokes are under his domain, as are curious collections. Mythology: Bimpnos is curious in the mythology. Otho and Simo seem to have tried to omit him, not giving him any place in their elaborate and dignified creation myth. Pressure from the populace seems to have forced them to ‘let him in’ however, for he appears (albeit briefly) in the councils of the gods and other parts of their works. Because of their reluctance, there is no written record of Bimpnos’s cosmic origins – he simply ‘appeared’ at some point after the downfall of Durzir and the crowning of Onaleus. This mystery serves the Bimpnotians fine. Outside of the two Great Poets, a number of ‘lesser’ poems about Bimpnos have sprung up – he became something of a monster-slayer in the mythology, always appearing to rescue the village of such-and-such from the hideous this-or-that. Current Teaching: The current line goes that Bimpnos was a gnome in the first world and a prankster. He even went so far as to joke at the Enemy’s expense, laughing in the face of the ultimate peril and the most serious of circumstances. His more philosophical churches therefore say that the lesson mortals should take from this is that a good attitude and a sense of humor are the most valuable things that any man can possess. Vievnan Animal Form: Curiously enough, Bimpnos appears as the otter-god to the Vievnans. Eldon The Dread Judge Physical Description: Eldon is an imposing figure. His face, though flesh, is skeletally thin, and his eyes are dark. He dresses in the style of the finest royalty, but all of the colors of his clothes are grey and black. He is often portrayed with either four arms – two are flesh, but two are ethereal – or six arms (adding a skeletal pair.) Frequently, he is seen sitting upon a throne of onyx, from which he issues his judgements to the dead. Symbology: A silver coin is the primary symbol of Eldon – they represent the customary fee for passage to the underworld. His throne, skulls and other ‘dead’ things are frequently associated with him, as is the urn. Portfolio: Eldon is the god of law, contractual obligations, and agreements. He is also the god of judges and judiciary officials. But more importantly than any of that, he is the god of the dead. He sits apart from the gods in Heaven in the black netherworld below the surface of the earth below even the tunnels that the dwarves dig. (though unlike Hades, say, he has a seat in Heaven and does participate in some councils of the gods as well.) There, he personally judges each soul. The deceased must make a plea for himself, account the course of his entire life, and call to witness the mourning and sacrifices of his family and friends who still live. After hearing all this, Eldon sends the soul on to one of the various afterlives (see below). The clergy of Eldon take responsibility for the interment of physical remains, hear the grieving and the accounts of surviving family members, and accept sacrifices on the behalf of the deceased. Mythology:Though Onaleus’s wedded wife was Lia, he was a philandering god, following in the footsteps of his father. Shortly after his two legitimate daughters were born, in fact, he went and lay with Suphi, who bore him Xandos and Eldon, Youth and Death. Angry, Lia demanded that they both be cast down into the darkest pits of the Earth. Vivacious Xandos later won back a place in Heaven (see below) but grim Eldon came to like the dark. (He later was readmitted to Heaven after he took Lia’s side in an argument with Onaleus.) According to the Old Mythology, he sends souls on to one of four different afterlives – the very heroic go to be attendants at the feasts and banquets of the gods in Heaven, the virtuous live in a forest where they live comfortably and happily but not eternally blissful, the mildly wicked live in a city which is dreary but not torturous, and the very wicked are punished eternally with fire and other torments in the deepest bowels of the earth. In the myths, Eldon is seen as somewhat of a sarcastic god – he sometimes interjects in the accounts of the lives of the deceased to offer pointed commentary on the foolishness of their actions. Current Teaching: Eldon is said to have been a shade in the First World, a powerful spirit who raised from the dead to fight against the Enemy. A wizard, he is said to have raised up all of the dead of the First World with him to join the battle. According to Second World Doctrine, he will have a similar function at the end of the Second World. This new vision of the afterlife divides souls into three different groups. The very virtuous and heroic are sent to Heaven, where they prepare with the gods for the Last Battle. Those neither virtuous nor wicked are kept around Eldon himself – they must choose before the final days whether they will stand with the armies of Good or not. Wicked souls are still cast into a pit and tormented– they will escape during the Last Battle and rally around Alamir and the other forces of Darkness, only to be utterly obliterated. Vievnan Animal Form:Vievnans see Eldon as the bat-god, for they have long thought bats to be agents of death sent to collect the souls of the fallen. Emiome The Laughing Witch Physical Description: Emiome is portrayed as a beautiful girl only recently entered into womanhood, perhaps 17 or 18 years old. She has a slight frame and is always dressed elegantly, and in bright colors. Her hands are often aflame with magical power. Her hair is long and brown, her eyes wide, and her visage always smiling. She is frequently portrayed with Amrulir, a small fae dragon creature who is her companion. Symbology: Emiome’s primary symbol is the crescent moon. She is also associated with starlight, the night sky generally, fae creatures, and sapphires. (Most other gemstones, save Myria’s pearls, are associated with Suphi.) Portfolio: Emiome is the queen of night and the smiling goddess of the moon. She created the stars to honor mortal heroes and to delight her father the Lord of Heaven. She is also the major god of magic and spellcraft, though some casters honor Bimpnos or Olkhir. As moon-goddess, she is also the protector of maidenhood, and she has rejected many suitors, including her uncle Rholerex. She is the god of revelry, exultant poetry and wine, and has taken on an aspect as the goddess of freedom – several rebellious groups invoke her as their patron, though the ‘mainstream’ church denies their goddess would be involved with active rebellion and argue that the freedom in question is more spiritual in nature. Mythology: Emiome is the second-born of the younger divine generation, following shortly after her sister Ali. While her sister is stern and methodical, Emiome is free and capricious – though no less loyal. She invented magic, and she also invented joy. After the Serpent’s War had cast down Alamir, Emiome was the first to break into jubilant dancing and convinced the other gods to have a great feat in honor of the victory. She is serious when she needs to be, however – she fought alongside her sister with her newly developed magical spells during the war, just like the other gods. In the myths, she is frequently found helping out mortal heroes – she is second only to her aunt Myria when it comes to giving tokens and magical presents to help mortal heroes accomplish their goals. It’s worth noting that while Emiome is always joyful, she has an acidic wit and is just as capable, during many of the Council of the Gods scenes, of lashing out critically at those she disagrees with. Current Teaching: Emiome was a beautiful witch in the First World, adherents say. She was in control of a great guild of wizards (for magic was much more commonplace in the First World than in the Second). As the final battle with the Enemy approached, she raised an army of her sorcerous followers to join in the fray. It is even said that she helped Onaleus deal the final blow to the Enemy: while Antios distracted him, Emiome held the villain in place with a freezing cold magical ray, allowing Onaleus to land the killing sword-blow. Vievnan Animal Form: The Sun and Moon are cats to the Vievnans – Emiome the Moon is the leopard-goddess. Maxinir The Warrior Poet Physical Description: Even in human lands, Maxinir has almost always been portrayed as a dwarf. His beard, frequently braided, is a rich brown color but almost always blackened at the edges with soot. Usually, he is in war-gear (if not, he wears a blacksmith’s apron. He carries a hammer and an axe and wears a great helm with three horns. His hands are always covered in soot. Symbology: The hammer is the primary symbol of Maxinir – it is the symbol of his creative as well as his destructive potential. A horn of mead, the axe, and a well-cut gemstone are also symbols of his. Portfolio: Maxinar is a dwarf-god – the dwarves, in fact, believe that he is an embodiment of the dwarven father-god. He has dominion over mountains and stone, and over masonry. He is the smith-god, who forged most of the weapons used by the other gods. He is also dedicated to more pleasant crafts, having forged fine jewels for his nieces Emiome and Ali. He is the miner’s friend and has lordship over all precious metals. He invented beer and ale and has dominion over all alcohols save wine, which is given over to his beloved niece Emiome. He is one of the war-gods, embodying battles, personal valor and individual heroic feats as opposed to Ali, who is god of armies. Lastly, he is the god of epic poetry who taught Otho and Simo. Mythology: Maxinir is the only child of the union of Saros and Tithalia before his mother was seduced by Durzir. For a long time, he bore ill will towards Onaleus and Rholerex, blaming them for the sins of their father and he refused to join in their struggle against the tyranical king of heaven. It was only after Onaleus, under Anarina’s guidance, made peace with Maxinir that together they were able to slay him. Maxinir, in an act of penance for his earlier rage, made a shining suit of armor for Onaleus and forged a sword of divine metal. At several points in the epics, there are prolonged scenes of him forging a special magical weapon to give to a hero in battle. He is also specifically invoked by both Otho and Simo at the beginning of their poems, as he is the father of their craft. Current Teaching: Maxinir was a great dwarven warrior in the First World. As Onaleus and the others joined together to fight the enemy, Maxinir made great weapons and armor to help them in the battle. He also composed a poem, now known only to the divines, which recounted their various exploits. In the final battle, Maxinir lead an army of dwarves and cut down many ranks of the Enemy’s twisted legions, preventing them from coming to their master’s defense. Vievnan Animal Form: Maxinir is the badger-god to the Vievnans. Myria The Wandering Hero, the Sailor’s Friend Physical Description: Myria is variably portrayed. When her oceanly aspect is being emphasized, she is portrayed as a great, queenly woman with blue skin and wild green hair, wearing royal regalia liberally covered in pearls. Travelling, she is often pulled in a chariot driven by dolphins When her other aspects are being emphasized, she is a young, caucasian woman of perhaps 30 in light armor (formerly a breastplate, now usually mail). Her eyes are an oceanic blue in either guise, however. Symbology: Myria’s primary symbol is the dolphin. Other symbols include the horse, the sword and the pearl. Portfolio: Myria is the Queen of the Sea, and all rivers, lakes and streams owe fealty to her. The magical philosophers named her the god of Elemental Water, for while Onaleus brings thunder and lightning, he must petition Myria to unleash Paluros, the Rainbringer, whom she keeps as an attendant. Besides this, she is also the goddess of travellers, sailors, merchants, and commerce. All pious persons make a prayer to her before they begin to undertake a journey expected to last longer than a single day’s ride. She rules over horses and horsemanship, as well as animal husbandry. In recent times, she has become the goddess of luck and she is seen as the special patron deity of all those who call themselves adventurers. Mythology: Myria is one of the elder generation of gods, the middle daughter of Durzir and his lawful wife Namri. She alone of her sisters initially attempted to overthrow her wicked father, and once the revolt was fully underway, she was one of the three who fought most vehemently against Durzir. (The others are Onaleus and Maxinir.) In reward for her service, Onaleus gave her the choice of lordship over any aspect of creation she wished. She was enchanted with the depths of the ocean, and made this her choice. Though she has a seat in heaven, she attends to her brother and sister gods only when there’s a particularly pressing matter which requires her attention – most of the rest of the time, she maintains her own court at the bottom of the sea, and spends most of her time on Earth. She is the special patron of many of the great heroes, giving them favors and counsel. She particularly opposes Antios, and is particularly close to her niece, Emiome. Current Teaching: Myria was a wandering knight and a princess in the First World, who brought a long-oppressed people out of obscurity and forged a naval empire. In the final battle against the Enemy, she provided a fleet which blockaded his ports and prevented him from escaping by sea. While her sailors took care of this, she rode her horse into battle and single-handedly routed an army of demons the Enemy had summoned to his aid. Vievnan Animal Form: Myria is the horse-goddess to the Vievnans, who place more emphasis on her role as the protector of that animal than on her role as the Sea-Queen. Olkhir The Raging Sorcerer, The Peacecrafter Physical Description: Olkhir is portrayed as a tall man of elven features. His skin is a deep reddish color, and his eyes burn a bright orange or yellow color. He is almost always drawn in a sorcerer’s robes, clutching a magical staff. His most distinctive feature, however, is his left hand, which has been stripped of flesh and is completely skeletal. (In some of the more ‘peaceable’ churches of Olkhir, the flaming eyes have been toned down, but the skeletal hand and the deep red skin remain.) Symbology: The skeletal hand is the most common symbol of Olkhir. Other symbols include staves, scrolls and dragons. Portfolio: Like his brother Antios, Olkhir has a complicated portfolio. According to old myth, he was the god of suffering, misery, and pain. He is also a god of magic, ruling over dark powers rather than the gentle magic of Emiome or the chaotic magic of Bimpnos. He created dragons and many arcane monsters, and may have created demons. However, like Antios his church was seized early by a philosophical movement. This movement claimed that pain, suffering and the like were forces for good in the world, because they helped to purify the soul. Seeking to avoid sadness and pain was foolish, they argue. Instead, these emotions should be embraced. Volkir thus became the god of elegaic and mournful poetry as well. This gentler, if no cheerier, version of Olkhir has gained some acceptance in several countries, though cults to his darker side still exist. Mythology: Olkhir was the second son of the ravaging of Suphi by Alamir. Unlike his brother, Olkhir was never cast down from Heaven, because he never committed any sin against the gods. However, during the great wars of men, he frequently backed the ‘losing’ side and argued unsuccessfully with his fellow deities. Therefore, he grew distant from them and withdrew into his own tower in Heaven, seldom coming to meet with his brethren. He often appears in the mythology, sending various monsters and inconveniences to fight against mortal heroes. He sometimes goes to fight with the heroes himself, although he is always bested through some trickery or because the hero receives the help of a kindly god. He is very morose, and complains often. More than many, he is a jealous god. Current Teaching:The moderate Olkhirians teach that their god was a philosopher and a wizard in the First World. While the other gods-to-be went about raising armies and fighting the Enemy directly, Olkhir took a more indirect route. He roused the populace to action, preaching that the suffering they would endure in the process of resisting the Enemy would be a good thing because it would stifle complacency and force introspection. Through his teachings, most of the world turned against the Enemy and he lost much of his support base. The lesson of Olkhir is that not only those who fight evil with violence may be rewarded for their virtues. Vievnan Animal Form: Olkhir is portrayed most commonly as the dragon-god, though really he may be portrayed as any type of lizard or snake as well. Onaleus The Just Knight, The King Physical Description: Even now that he has been formally stripped of his title of King of the Gods, Onaleus retains a royal aspect. He is portrayed as a silver-haired man of a lean but powerful build, and he possesses a great pair of white feathery wings. He carries in one hand a golden-colored sword and in the other hand a lightning bolt, and he wears full armor (earlier a breastplate, nowadays usually full flate armor – both gold in color.) Symbology: Even though he has been ‘dethroned’ by the faiths, the primary symbol of Onaleus is still the crown, though the thunderbolt is arising as another powerful symbol. He is also associated with eagles, falcons and all other manner of noble birds, in addition to clouds and a golden sword. Portfolio: Onaleus has had his domain change a little over time. In an earlier time, he was the King of Heaven, with dominion over the other gods. He was also the god of lightning and of kingship. The magical philosophers associated him with the element of Air, as well. After the fall of the Ekeusian empire, he was ‘dethroned’ by the other churches (who were riding an anti-royalist sentiment at the time) and he became instead the god of courtly love, chivalry, knighthood, honorable combat, noble music, and noble values. He is in some way a counterbalance to Ali these days – while she represents pragmatic and oppressive politics, he represents more of an idealized mode of government. Mythology: Onaleus is the second son of Durzir’s tainted union with his brother’s wife Tithalia. From the start, he hated his father for the illegitimate fashion in which he had been born, and when his father killed his grandfather and assumed lordship, Onaleus began at once to work against him. Once he had unified the other deities, he overcame Durzir in a great battle and slew him personally, assuming lordship. He is the father by Lia of Ali and Emiome, and by Suphi of Xandos and Eldon. He is a philandering deity with many other children as well – in addition to his wife Lia and her sister Suphi, he also courted a number of nymphs and other semi-divine beings. Myria more than once had to intervene on behalf of one of her river spirits or lake nymphs who was receiving unwelcome attentions. A great number of the mortal heroes of the myths can also trace their lineage back to Onaleus having taken a liking to a mortal woman. At the end of the mythic cycles of Otho and Simo, however, Onaleus is tricked by Lia and is forced to swear a mighty oath that he will be faithful to her, one which the poets assure us he has ever after upheld. Current Teaching: Onaleus was a warrior in the First World, a member of a winged race which no longer exists and whose name is no longer rembered. He was a pious knight and the guardian of a temple of one of the great gods. He was wronged personally by the Enemy, and as a result he was the catalyst for the Enemy’s destruction. He travelled throughout the First World, never flinching from his quest, gathering the necessary resouces and allies to fight against the enemy. He led the assault on the Enemy’s stronghold, and raised a whole world to follow his banner. It was he, with the help of Antios and Emiome, who dealt the final blow that brought down the Enemy and the First World with him. The lesson that Onaleus’s church teaches is the tremendous power of perseverance and dedication. Vievnan Animal Form: Oniwalu is the eagle-god, the king of the skies. Rholerex The Ward of Nature Physical Description: Rholerex appears as a very tall man with wild brown hair blowing in all directions, interspersed with twigs and leaves. He wears a crown of oak, and in his hands he often bears a cornucopia and a scimitar. He has a distinctively fae or elven quality, and he is often accompanied by bears, wolves, and other large predatory animals. Sometimes, he is portrayed having a pipe in his mouth. Symbology: The wolf’s head is the primary symbol of Rholerex. He also is represented by the pipe, and by all manner of plants, trees, and wild beasts. Portfolio: Rholerex is the god of the wild. His are the swamps and the deserts, the mountains and valleys and all the terrain of the earth – but most of all, his are the forests. It is said he wanders the forests still, in the guise of a spirit or in the guise of an animal, protecting his charges from human exploitation. He has dominion over all trees and green plants that grow on the face of the earth, and also over wild animals; wolves and bears are particularly closely associated with him. Though it may seem paradoxical for the Treefather, his too is Fire, nature’s most destructive secret. So say the magical philosophers, anyway, and the clergy agrees with them. Rholerex is venerated by woodsmen and placated by peasants forced to collect timber to build their homes and feed their fires. He is also worshipped by the druid-cults, strange half-civilized men who spend half their lives in trances. Mythology: When Onaleus slew Durzir, he half-expected that he would have to fight against his own older brother, Rholerex, in order to claim lordship of heaven. It was a great surprise when Rholerex voluntarily gave control of the skies to his brother, instead requesting only that he be given control over the Earth. It was Rholerex who nurtured the Earth and cleansed its wounds after the ravages of the Revolt of Onaleus, and did so again after the Serpent’s War cut even deeper. He is an aloof god – although he is amorous and there are a few myths about him wooing a forest spirit or a mortal woman, he does not have many interactions with his brethren deities. (One noteworthy exception is a myth found only briefly in Simo which declares that he once loved and courted Emiome, only to be rejected by the virgin goddess. He hardly appears in the epic war cycles at all, except to protest the great injuries which wars bear on his charges and to urge peace. Current Teaching: Rholerex was a druid of the First World, who was sorely vexed when the Enemy wrought great destruction on the natural order of his World, and was driven to act when at last the Enemy even slew his own brethren, the fellow members of his order. Rholerex lifted up the trees and the animals of the earth, turning them to fight against the Enemy. When the very world itself was against him, how could the Enemy ever have prevailed? Vievnan Animal Form: Rholerex is the bear-god, and the Vievnans emphasize his less welcoming, more destructive aspects. Suphi The Great Mother Earth Physical Description: Suphi is always portrayed as an exceptionally comely and curvaceous woman. She is always portrayed naked – in modern art she has long dark locks which hang down to avoid offending the sensibilities of the viewer. She always wears flowers in her hair, and she is frequently seen carrying corn and other crops in her hands. Symbology: A stalk of corn is the primary symbol of Suphi. She is also represented by any number of images considered obscene in this more ‘sterile’ time, and by gemstones. Portfolio: Suphi is the Great Mother Earth. While Lia watches over marriage and Bimpnos over children, the actual miracle of birth is under the domain of the Mother. She guards over the fertility of the earth, too, and she is one of the most-entreated of the gods among the rural peasantry, for she controls their lives and livelihoods. From her original role as mother has arisen a second role, almost as important – she is the goddess with dominion over the sex act, over carnal passions and pleasures, and over love. In this aspect, she is much-prayed to by young suitors who desperately pray to win over the affections of a desired spouse. She is also associated with the element of Earth by magi. Mythology: Suphi is the oldest legitimate child of Durzir, the first daughter born to Namri. She is thus the oldest of the gods besides Anarina. She had an important part in the Revolt of the Gods – she lured Durzir into lowering his defenses with her seductive wiles while the remainder of the gods lay in wait to attack. After the ascent of Onaleus, she bore him (illegitmately) Eldon and Xandos, and after being raped by Alamir during the Serpent’s War she bore Antios and Olkhir. She also has a fair number of mortal lovers and is the parent of more demigods than any other divinity except for Onaleus. Aside from her role as parent, she is not very prominent in the major mythology. However, she was very, very important in a wide number of rituals performed by the ancients, and some of these spawned minor myths in order to explain the ritual actions. Current Teaching: By the time that Second World Doctrine was created, Suphi-worship had become focused entirely on her role as the matron of sexual delights and her earlier, more earthy and fertile, domains had been forgotten. The architects of the new religion attempted to rescue her from what they considered to be a ‘low’ use of such a venerable deity. They explained that Suphi had indeed been a prostitute in the First World, but that she had repented of her base profession when she met Onaleus. In one of the most blatantly mythological elements of Second World dogma, she is said to have spontaneously conceived and given birth to three great eagles which carried Onaleus and his companions into the heart of the Enemy’s country to confront him. Her deification is held up as proof that the woman’s place as the bearer of children is godly and righteous. Vievnan Animal Form: The Vievnans emphasize the fertility aspect of Suphi and downplay her role in romantic and sexual love. To them, she is the great cow-goddess. Xandos The Spirited Youth Physical Description: Xandos is always portrayed as a physically perfectly, well-muscled young man of twenty or so, with olive skin and medium-length black hair. He is sometimes portrayed with a short-trimmed black beard, sometimes with a clean-shaven face. He is dressed in huntsman’s leather armor. He almost always is portrayed carrying a bow. Symbology: The bow is the major symbol of Xandos. Flowers, the stag, and young men are all taken to be symbols of his. Portfolio: Xandos is the god of hunting and of archery. He is also the god of male beauty, of youthfulness, and of the maturation into manhood. In some cities, no man is considered to be an adult until he has been blessed by a priest Xandos. Athletics are in his domain, (the many great athletic festivals of ancient and modern times are dedicated in his honor) and he also is in contrast to the several wargods in that he is the god of peace-time, self-reflection and self-improvement. He is the god of the visual arts, particularly sculpture among them. As such, he is much prayed-to by artists who seek his divine inspiration in their works. Mythology: When Xandos and Eldon were born, Lia in her jealousy cast both of them down into the lowest pits of the Earth. While Eldon stayed there and forged a kingdom out of the souls of the dead, Xandos labored for seven years trying to return to heaven. At last, he was granted pardon and a seat among the councils of the Gods when he wove an elaborate garland of flowers for Lia and sought repentance for his father’s sins. After that, Xandos dwelt with equal frequency in Heaven and on Earth – during the springtime, in particular, he was thought to dwell on the earth and relish in the rebirth of the natural world, while fearing the power of Alamir he fled to Heaven during the winters. In the myths, he often challenges heroes who seem to be too proud to great contests of strength. Though he usually wins, occasionally he loses and heaps great accolades upon those who defeat him. Current Teaching: Xandos was an orphan, a mere youth in the First World, and yet he was one of the first to rally to Onaleus’s cause, and fought alongside the winged knight with equal vigor. The relationship between the two was very much like that of father and son, and Xandos protected his surrogate father from certain danger on more than one occasion. He is said to have engaged in single combat with the Enemy, grappling with him before the rest of his companions arrived and the battle proper began. Vievnan Animal Form: In Vievnan theology, Xandos alone has a purely human form. He is also seen as the creator of mankind in their eyes. Important ‘Secondary’ Gods Agria:Agria is the guardian of Heaven. She appears as a warrior-maiden in the Myrian style, adorned in breastplate and carrying a shield and a spear. She stands before the great silver gate which leads between the Earth and Heaven, which is sequestered in a very secret location somewhere to the North. She welcomes the souls of slain heroes to the feasting halls of the gods, and sounds the alarm whenever Alamir or one of his monsters draws too close to the gate. Lia: By all rights, Lia should have become one of the Great Gods. She was so to Otho and Simo. But when the great era of temple orders in early Ekeusian history began, she never formed a temple order. Her worship was too closely associated with Onaleus, and so she was ‘absorbed’ into his order instead. Lia is the goddess of adult womanhood, of the marriage rite, and of the hearth and home. She is also the goddess who looks over queenly behavior in much the same way her husband rules over kingly behavior. Milos: Milos is the Avenger, a vulture-like spirit. His origin is uncertain, but it is thought that he might be the offspring of Suphi. He serves the gods, scouring the earth looking for those who have committed grave injustices, so that they may never hide from the eyes of Heaven, nor may they no peace from it’s wrath. The vilest sinners, those who violate sacred rites, he torments personally. Paluros: Paluros is a close attendant of Myria and one of the chief stewards of her undersea court. He is also the Rainbringer, and when he wishes he departs from her court in a watery chariot and rides around the world, bringing rain to the crops and also learning news to bring back to Myria beneath the waves. Though Paluros is an independent deity and he receives his own prayers from peasants seeking a good season, it is said that Myria is able to restrain his movements if she greatly desires it, and for this reason during extreme droughts apologetic prayers are offered to the sea goddess that she might relent and send relief. Phanktir: Born of one of Onaleus’ liasons with a human woman, Phanktir is a celestial musician who plays and sings in Heaven to delight the gods. He is a minor figure, akin to Ganymede, and usually does not receive particular worship. He is important only for two reasons – because he is supposedly ent [ Edited Wed Jan 24 2007, 10:38AM ] My Setting: | ||
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The Old Oligarch, the Ardent Intellectual![]() [ Moat Cailin ] | This is a rough conceptual version of the new map I'm designing for Tasothilos. The basic relative layout will look like this, though the size, shape, etc of coastline is liable to change.![]() Color Key: The area in red will be the home to MOST of the kingdoms that dedicated Tasothilos readers have been exploring so far- Andozia, Sanceline, Ferrund, Vievna, etc. Most of these insular nations have been re-written as coastal continental kingdoms, though Miloa, Akmet and Philstaros (at least) are still insular. The grey area are the great mountain ranges - smaller ranges (not pictured) exist in the red area. The pink area is the domain of the great orc empire. A few other small nations of the various other races exist here as well, but the orcs are the dominant power. The big yellow area in the middle is a vast desert. Ever since first seeing Star Wars, I've had a fascination with desert culture, so one of the crucial parts of the remapping plan was to get a desert in the picture. Still no concrete idea what's gonna go here though. The light green area is the domain of Sakrtskaya. It's a LOT bigger now, but remember that Sakrtskaya is a convenient name for a number of feuding principalities with similar culture and religion, rather than an actual nation per se. The white area is tundra or sea that is dominated by icebergs. The remaining dark green areas are 'blank spots' on the map. I'll fill them in a little later. Edit: Taectenatl is located on a continent across the sea to the east. I'm currently planning to design at least 1 other major nation on that continent to rival Taectenatl. [ Edited Wed Jan 24 2007, 06:41PM ] My Setting: | ||
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A Túrin Turambar turún' ambartanen!![]() [ Cave of Ridges ] | I can't see the map. The deities remain very cool. I very much like how you've detached them from the original player characters that inspired them (which has been a gradual process, as I learned watching Tasothilos develop). I also like the new alignment-less version. Ali, in particular, has become much more ambiguous, which I like a lot. A question: am I correct in assuming that nothing in the "mythology" entries is considered canon anymore by the people of the Salabrian area? That the "Second World" story has completely replaced the stories of the Ur-Gods? Túrin Orden's Mysteries (my setting) hosted in website format thanks to the CBG Orden's Mysteries on the WotC boards ![]() "Then shall the last battle be gathered on the fields of Valinor. In that day Tulkas shall strive with Melko, and on his right shall stand Fionwe and on his left Turin Turambar, son of Hurin, Conqueror of Fate; and it shall be the black sword of Turin that deals unto Melko his death and final end; and so shall the Children of Hurin and all men be avenged." - J.R.R. Tolkien, The Shaping of Middle-Earth | ||
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| f_hayek |
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![]() [ Hall of Kings ] | Read the whole 'OOC: Some History of Tasothilos' post - very interesting to hear the human story behind a setting's creation. Thanks for posting it! I wish more worlds described the real-world aspect behind the setting. My setting: URL | ||
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| Kalos Mer |
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The Old Oligarch, the Ardent Intellectual![]() [ Moat Cailin ] | You are for the most part correct - the architects of the Second World doctrine tried to incorporate some of the most prominent parts of the mythology, rationalizing them as exploits of the gods in the First World, pre-ascension. However, the majority of the mythic corpus, most notably of course the creation of the world, was dismissed as superstition. It lives on now only in art and a few obscure 'pagan' sects. One significant exception is the Serpent's War, which survived in a modified form. In the 'new' version of the myth, the Serpent's War is not an already-evil Alamir rising from exile to challenge Heaven, but instead a formerly-cooperative Alamir revolting in an attempt to crown himself king of the Gods in place of Onaleus. The rest of the myth survives fairly well - he raises up an army of twisted creations from the Earth, is defeated and cast down by Onaleus. I'll try to host a smaller version of the conceptual map on the site rather than rely on Imageshack - it's become increasingly unreliable for me. As far as the OOC history goes, I think in general it's very helpful to know the framework in which the creator is constructing his world, and I believe that an OOC explanation of the project history is one of the best ways to do this. I'd encourage more people to make such posts so we know where they're coming from. The next three things I'm going to post, though not necessarily in this order: (a) I'm going to edit the earlier post which I reserved for Races of Tasothilos. As I explained earlier, I'm keeping the standard races in name and general shape for 'ease of use', but they're heavily modified statistically, aesthetically and (especially) culturally, so an overview will be helpful. Several of the races (dwarves and halflings especially) were never really detailed directly in the old project. (b) A more thorough overview of Second World Doctrine, as it was something that I never really explained before except in summary. (c) an essay on Magic in Tasothilos, updating and expanding on the role of mystical forces in a fairly non-mystical world. Once all that is done and some finalized version of the map is complete, I'll begin the long process of revising and updating nations from the old thread, though I'll intersperse some more new material so that old readers aren't just reviewing stuff they've seen before. My Setting: | ||
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| Túrin |
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A Túrin Turambar turún' ambartanen!![]() [ Cave of Ridges ] | Kalos MerYrmos Partikos (YP) - literally 'The Living Empire'Didn't you say earlier that Yrmos Partikos is genitive, which made the literal translation 'Of The Living Empire'? Túrin Orden's Mysteries (my setting) hosted in website format thanks to the CBG Orden's Mysteries on the WotC boards ![]() "Then shall the last battle be gathered on the fields of Valinor. In that day Tulkas shall strive with Melko, and on his right shall stand Fionwe and on his left Turin Turambar, son of Hurin, Conqueror of Fate; and it shall be the black sword of Turin that deals unto Melko his death and final end; and so shall the Children of Hurin and all men be avenged." - J.R.R. Tolkien, The Shaping of Middle-Earth | ||
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| Kalos Mer |
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The Old Oligarch, the Ardent Intellectual![]() [ Moat Cailin ] | That was the case based on an early version of the Ekeusian language which was essentially "Ancient Greek only I changed all the words." (It was actually, I believe, Yrmontos Partikou - the correlation to Greek is immediately apparent to anyone with any familiarity with the langauge.) One of the major developments (unseen in the threads because my linguistic musings are only of interest to a very limited group) of the past three years has been transforming a language that was phonologically, morphologically and syntactically almost identical to Greek into one that is phonologically almost identical and only has some morpho-syntactic influence from Greek - making it more my own langauge. The form of 'Yrmos Parthikos' is liable to change as the syntax of my Ekeusian becomes more evolved. I will assure you, however, that the abbreviation (YP) and the rough translation (something about the Empire being alive) will not change. My Setting: | ||
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| Tybalt |
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![]() [ Tower of Ecthelion ] | I'm very impressed by the mythology, which is one of the best I've ever seen. It genuinely has a mythical feel to it, particularly the creation and earlier myths. I like also how there is a consistent feel to all of it. One thing I'd like to see though is some sense of how the New and Old Faiths are actually practiced. le coeur a ses raisons que le raison ne connait point Note: Link to my current adenture path log URL | ||
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| f_hayek |
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![]() [ Hall of Kings ] | Haven't read through everything yet, but wanted to first say I couldn't agree more with your basic design principles: 1. Emphasizing consistent internal logic 2. Rarer magic 3. Medium-High Power I love the fantastical magical power that a character can achieve in d&d, but it's just always been difficult for me to conceive of a world where that kind of power is commonplace and to still have the world make some kind of sense. My setting: URL | ||
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| Kalos Mer |
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The Old Oligarch, the Ardent Intellectual![]() [ Moat Cailin ] | On Magic in Tasothilos Note : Magic is RareIn reading the following, it is possible one might get the impression that magic is a somewhat common occurrence in Tasothilos. This is not the case. While magic is in theory quite universally available, in practice very few harness it’s powers because it takes a great deal of time and money to do so. Further, the returns one gets for the investments are rarely sufficient to make the enterprise worthwhile. Most people’s encounters with magic are limited solely to untrained, very simplified Willing – the sort of thing brought on by stress that might just as easily be termed an ‘adrenaline rush’.As an exercise, I did some rough calculations: the human population of Salabrian region of the world probably hovers somewhere around 70 million in 1497 AP. I estimate that around 40,000 souls - less than one tenth of one percent of the population - have any use of magic beyond the aforementioned untrained Will. Of these 40,000, only perhaps 2,000 are 'professional', fully trained wizards of one tradition or another - this amounts to about 3 men in 100,000. In the Tasothilos setting, magic has a strangely variegated character. It is at different times dramatic or subtle, mechanical or philosophical. Provided he is clever enough and has the proper resources, a man from any walk of life may dabble in the mystic arts, and yet only the very strongest minds ever come close to mastery. In this brief essay, I shall set out the fundamental nature of Magic in Tasothilos and also summarize its most common manifestations. A Note on Native Terminology The Ekeusians produced the most thoughtful and prolific magical philosophers and practictioners that the world has yet seen. Therefore, when discussing magic it is common for Salabrians to use a lexicon of terms derived from the Ekeusian tongue, built up and refined by over two millenia of tradition. This language is rich and loaded with philosophical as well as technical vocabulary. This lexicon is complicated by widely overlapping metaphorical speech: magic is variously compared with the practice of art, with the exercise of the mind, and with the creation of poetry, among many other activities. Groups not influenced by Ekeusian tradition, however (other races like Elves and Dwarves are the most common examples, but also some of the more distant races of men like the Sakrtskayans, Ferrundar and Taecs) have vocabularies (and indeed, magical philosophies) entirely distinct from the common Salabrian versions. For that reason, in this article, I will use a number of more universal coinages from Greek on familiar, accepted models. Understand that these are strictly OOC terms, used for their convenience. Nobody in Andozia calls himself a Logomancer – he instead would speak of an athundrapir. A dwarf on the other hand would call the same man an Ahillak, the orcish term is mangiit, etc. The Nature of Magic : Out of Character :The following section is the ‘Ekeusian’ point of view on magic, and represents many dozens of generations worth of philosophizing and theorizing. It is not necessarily the view of other practitioners, and it is not even necessarily the ‘real’ reason that magic works – but it is an explanation consistent with observation (for the most part, though see the note below on "Magic Words".)At it’s most fundamental level, Magic is defined as a particular ability of the directed will to manifestly influence reality. The arcane philosophers of old played with this definition in a number of ways: indeed, Aphileus called any action undertaken deliberately, even something as mundane as shaping a ball of clay in one’s hands, a magical act. While the notion has a sort of romantic attractiveness to it, unfortunately it also blurs a useful, if arbitrary, line of distinction. For the more practical purposes of adventurers and other modern practitioners, magic is defined as the ability of an individual, with a concerted act of will, to achieve results disproportionate to his actions. The shaping of a clay object does not fall under this category – physical dexterity and skill is exerted in proportion to the quality of the craft. The production of a globe of fuel-less flame or a spontaneous burst of speed or strength are magical actions, on the other hand. The nature of this principle may seem to be somewhat obscured when one examines permanent effects or magical objects, but the arguments of philosophers down through the centuries have quite competently explained that these, too, are an expression of will. The will can be exerted unaided, or it can be directed and guided by ritual, incantation, or other accoutrements – though these different practices look wildly divergent, they all operate on the same fundament of directed will. Before discussing some of these different traditions, a few more general notes should be made:
Raw Magic: Willing : Out of Character :I’m not entirely satisfied with the term “Willing†– it replaces an earlier term “Channeling†which I feel is overused and not particularly appropriate to what’s being expressed. I am willing to entertain suggestions as to a better term.Also, the mechanics of Willing are the one part of the magic system still highly in flux. In the old system, there were simply a set of magical skills that PCs could purchase ranks in like any other skill. A skill-based mechanic is still what I’m working towards, but the specifics are not yet settled. Willing is the barest and purest of magical acts. To engage in Willing, the user simply focuses his mind on the effect that he desires, and forcibly ‘wants’ it into existence. If he Wills strongly enough, then the wished-for effect takes place. While it is somewhat simple in explanation, Willing is extremely difficult to execute. In addition to taking tremendous amounts of willpower, Willing is also physically exhausting to practice. The reason why some magically-minded individuals still use Willing is that it has the benefit of flexibility – in theory, literally anything willed for is possible. That said, all but the simplest of Willings tend to fail, simply because the visualizations of reality are so intricate, and the requisite mental strength so steep. Because the visualizations necessary for successful Willing are so complicated, there have been several attempts by philosophers and magicians over the centuries to develop techniques which break it down into more manageable pieces. The most prevalent of these is the Elementalist school founded by the philosopher-mage Minil, which teaches adherents to visualize their effect as a combination of the four primordial elements of Fire, Air, Earth and Water, and Will these into existence in the proper proportions. This school is very useful for combat wizards, for obvious reasons, and is widely applicable elsewhere, but it has its limitations. Other schools exist, with the second-most-prevalent being the Trinitarian school of Boraleus (which focuses on Willing that affects living beings in Body, Intellect and Spirit.) It should be noted that unassisted Willing, unlike some of the other forms of magic, is an all-or-nothing affair. If someone’s will is not strong enough to produce the wished-for effect, nothing happens at all. Logomancy Because the act of Willing is so difficult and so uncertain, many different ‘crutches’ were devised by the ancients to help provide mental focus and a certain predictability and regularity to magical exercise. (The collective Ekeusian term for all of these is panalar, ‘helpers’.) By far the most common of these is logomancy, or magic powered and directed by words. The logomancer creates magical effects by speaking aloud words which help to channel his mental energies in exactly the right way. There are two distinct forms of logomancy, one clearly older and more ubiquitous than the other. Ritual Magic is the older strain of logomancy, one which appears in nearly every civilized society to some extent or another. Ritual probably evolved from primitive prayers to the gods and religious rites – as people spoke aloud prayers, they found that certain formulas worked and produced results, and others didn’t. Over generations, careful experimentation produced a great body of magical formulas that work. (The formulas exist in theory for every language, though current societies tend to preserve the magical formulas of ancient tongues rather than experiment on modern languages to find new formulas.) Even though other forms of magic have since been discovered, Ritual is still used because it is capable of the most powerful effects, although it also is imperfect in its protection against the fatigue of Willing. When a group (and it is almost always a group, though a few less-powerful ‘solo-rituals’ exist) uses a Ritual, they designate a leader, who will actually execute the Willing. They then must recite a number of incantations, with each participant having an assigned duty and set of speeches. Most rituals involve elaborate dances and sets of gestures. Rituals are also alone among magic forms in that they involve required material components – these are usually consumed by fire or by participants, but sometimes they are reuseable. The average length of a ritual is about half an hour, though some go on for a day or more and a few are as brief as 10 minutes in their duration. At the completion of the ritual, the leader uses these aids to his concentration to perform the act of Willing, and the effect is achieved. (Because Ritual is somewhat imperfect, the leader is usually greatly fatigued by the effort.) Note : Magic WordsThe curious behavior of Magic Words seems to suggest that they have a life and power all their own – which is in some ways incompatible with the Ekeusian notion of Will as the true foundation of Magic. The magical philosophers have been struggling for many years to adequately explain these behaviors but so far have been unsuccessful.An alternative school of magical philosophy, one which regards Word and not Will as foundational to magical practice, arose in the 3rd century YP and had a certain vogue for about fifty years. It’s principle claim was that it could adequately explain the behaviors of Magic Words, but it stumbled itself when dealing with unassisted Willing and other types of magic. These words have two curious properties. First – when internalized and committed to memory, one of these spells exerts a great pressure on the mind, a mere distraction in most cases but dangerous to the sanity if one should attempt to intake a spell too complex. Indeed, a single simple incantation is generally enough to take normal man’s mind to its limit. It is only through a combination of natural genius and careful practice that one is able to expand the ‘capacity’ of one’s mind for spell-words. Fortunately, then, the second property of Spell-Words is that once uttered, they vanish from the mind of the utterer. The reason for this is variously explained – some say, for instance, that the Magic Words are actual crystalizations of the Will which are destroyed in speech in order to fuel the Spell. It is, however, iron-clad fact that once a Spell is cast, the caster must study (really, discover – see below) the words again. This magical language is so subtle in it’s pronunciation and form that it cannot be directly represented in writing. Instead, most spellbooks are in fact elaborate grammars and lexica, designed to reproduce the steps necessary to ‘rediscover’ the magical syllables each time the reader studies the text. (Some other methods exist for indirectly recording spells in books, and these will be discussed at a later time.) Arithromancy While Ritual and Willing are ubiquitous and Spellcasting was independently developed by several different peoples in Tasothilos, Arithromancy is a purely Ekeusian art. It is a brand of magic unsuited to flashy displays, unlike much of Spellcasting. However, in the arts of divination and (especially) of enchanting items, its power is unparalleled. Arithromancy grew out of the writings of a single author, Mathalir of Parmati, who published his work Observations sometime around 130 MP. The basic principle of the Observations is that in addition to physical mathematical laws, the universe also obeys a number of metaphysical and magical mathematical laws. By observation and calculation involving these laws, Mathalir said that it should be possible both to predict and to influence the outcome of future events. For nearly a century, the Observations was neglected by the magical community. Around 50 MP, however, the work was discovered by the archmage Onalanir the Great, who wrote and published his Commentary on the Observations – a work almost as comprehensive in it’s scope, and much clearer in it’s presentation, than the original. Onalanir was a dabbler arithromancy, no serious practitioner – but he is called ‘father’ (Mathalir is called ‘grandfather’) by many modern Arithromancers because he began the work of actually putting Mathalir’s formulas into practice Note : Sacred Geometry?Some of the ideas here are close in rough conception to Luminous Crayon’s Sacred Geometry. This is coincidental – even the geometric portions of Arithromancy are quite different from LC’s excellent system.The basic principle of Arithromancy is that there are particular signs and meanings in all numbers (and, through a process of Gematria, all letters), that these meanings are regular, and that by calculation predictions can be made on the basis of these meanings. At it’s origin arithmetic, in time Arithromancy benefited by the introduction of both algebra and geometry. The former teaches adherents how to manipulate mystical numbers to achieve some magical effects (on a generally subtler level than Spellcasters), and the latter is the foundation of the production of arithromantic magical items. Arithromancers are rare, even for magicians. Typically, one first trains as a logomancer and becomes quite adept at that form of magic before learning anything of Arithromancy – for this reason, Arithromancers are awarded special honor and recognition in magical community. (Non-practitioners find both groups equally esoteric.) Lyramancy Least, and youngest, of the three Major Arts is Lyramancy, the practice whereby a musician may magically influence the minds of his fellow men. Since ancient times, men of the Salabrian Sea have known that music has strange power to influence men’s hearts. Some of the early natural philosophers even catalogued the effects of various chords and keys upon the spirit. But Lyramancy as an actual form of magic was not discovered until around the year 550 AP – making it an art less than a millennium old. Lyramancy is perhaps the subtlest of all magic. It has no ability to affect external reality in any way – it’s sole power resides in the influences it can have upon the minds of men, elves and other intelligent beings. A practicing Lyramancer is a musician who carefully tunes his instrument and studies the effects that various notes have upon their listeners. While he plays, he concentrates his Will on his audience, choosing whatever notes harmonize best with his intentions. The combination of his tunes and his words both weaken the resistance of his audience and increase his own concentration, so that he can actually change the minds of men. Lyramancy does not allow a practioner complete control over his targets in any way. He is only able to bring about slight changes – an implanted mood, a changed opinion, or a temporary unmindfulness, for instance. Although slight, combined with a skill at non-magical bargaining and manipulation, lyramancy can give the adept user great influence. Lesser Arts While Logomancy, Arithromancy and Lyramancy are the three most well-known forms of ‘aided’ magic, there are a few other, Minor Arts that deserve at least passing mention while I’m writing on the subject of magic. The elves practice a form of alchemical magic based on the combination of plant ingredients – though weak in combat terms, applications of this art have made their forests grow quite tall and their fields provide quite plentifully. Dwarves are said to have a form of magic that involves the manipulation of fire, earth, stone and metal. Finally, there are two different (known) forms of necromancy practiced in Algarlin. The Old Western form of necromancy is as old as Ekeusion, but has recently become much more common owing to the necromantic lords of Nidiata. The Eastern form of Taectenatl focuses on the power inherent in the blood of sacrifical victims, both human and animal. [ Edited Wed Jan 31 2007, 12:52PM ] My Setting: | ||
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No, the bananas ARE the pirates![]() [ Leavetaking Stone ] | Interesting to see someone else try to tackle the whole "this isn't the first world" idea. I like the idea of honoring your prior players/work by incorporating them, as well. Themes Social class is often a theme in literature, but you don't see it in many campaign settings. "language, literature, history and myth" - three of my favorite things! And one, not so much. Though I have worked with language a fair bit in a prior setting. Still, it would be interesting to see what you do with it. …I have gone to work generating vocabularies and grammars of a number of the languages in the setting, particularly for the purpose of consistent naming/ The mythography I've indulged in so far is among my proudest work on the setting, even if it has no actual crunch value.Tolkien would be proud. Points for this. I've only done something like this in that one prior setting, and it sounds like you have more detail in mind than I really did. …The importance of numbers and numerologyI'm curious to hear exactly what an arithromancer is. Discovery - always fun. Rare magic: Medium-High Power: I was going to give this a , but your explanation sounds all right.Powerful Churchs: Yay for making religion important with gods doing stuff all the time!Mechanics Not really something I'm real into anymore, but I'll have a look. Gnomes are aquatic? I'd have to say you're better off just making a new race. It sounds to me like you may be keeping the name gnomes just for the sake of keeping the name. Perhaps I am mistaken; however. I'd at least be curious why you went this route. Being an earth-spirit is kind of part of the definition of a gnome, so...Just like you wouldn't suddenly decide a fire elemental was the going to have the traits of an air elemental, like being made of air...But, prove me wrong. Maybe you have a great reason. Interesting class settup. I like the tiers. New alignment system has promise, though I'm one that'll almost always come down in favor of no system and just letting people be people. Actually, your conception of magic sounds vaguely like mine for Kishar. Glossary Glad to see someone else keeping a glossary It should be standard for any setting that introduces many concepts outside the norm or new terms Pantheon You've got a well-developed pantheon and mythos. I admire that. You mention elsewhere 14 gods (I didn't stop to count). Did your campaign really have 14 players? That's a BIG game. "Distant gods" - again I like the OOC insight into the development of the characters. It's a great insight into the campaign. Map The image does not appear at all for me. Magic The sidebar is helpful in determining what is meant by rare. I like that touch. You've put a lot of time in this. It looks good. Also, it's a nice divergence from the typical style one sees. I like the scientific edge of arithromancy. It sounds very different (in many ways) from the ideas of magic I use for Kishar, but also with some significant similarities. You're idea of lyramancy is cool, too. Overall I'm glad I read this, it's a good start and you have my encouragement. Again, kudos for the preservation of an old world/party in spirit. But I have a question: what made you decided to drop the archipelago format (one post seemed to indicate you once had this format and backed away from it)? I always thought that was a great format for a roleplaying setting. I actually made much of Kishar like this for this reason. ![]() | ||
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| Kalos Mer |
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The Old Oligarch, the Ardent Intellectual![]() [ Moat Cailin ] | I'm currently working on the races post, which I expect will be updated tomorrow evening. But I thought I'd take a few minutes to respond to recent questions/comments.TybaltI'm very impressed by the mythology, which is one of the best I've ever seen. It genuinely has a mythical feel to it, particularly the creation and earlier myths. I like also how there is a consistent feel to all of it. One thing I'd like to see though is some sense of how the New and Old Faiths are actually practiced. Consistency in the myths is something that evolved almost on its own - my early conception of the gods were fairly *inconsistent*, but as I've worked on the project over the past couple years, they've grown more and more mythologized as they've drifted a bit from their original souce material. As far as the modern practice of religion, that deserves a megapost all it's own, so I won't really cover it here. In summary, though, small groups of ordained priests run the different temples and are exclusively dedicated to their own god, while the vast majority of people worship all 13 'legitimate' deities at different times. (Eldon right after a death, Olkhir when in a time of great personal grief, Suphi when they want the crops to grow, etc.) This hasn't even changed all that much across the Old/New faith, though an near-total abandonment of animal sacrifice was one of the major changes between the two. f_hayekHaven't read through everything yet, but wanted to first say I couldn't agree more with your basic design principles:1. Emphasizing consistent internal logic 2. Rarer magic 3. Medium-High Power I love the fantastical magical power that a character can achieve in d&d, but it's just always been difficult for me to conceive of a world where that kind of power is commonplace and to still have the world make some kind of sense. I too have a certain fondness for the 'fantastic' elements, but I share your sentiments on sense. It's one of the most difficult parts of my designing - keeping things fantastic enough to be interesting while 'keeping it real.' Phoenix KnightSocial class is often a theme in literature, but you don't see it in many campaign settings.It's position in Tasothilos is largely coming from my literary and historical background. …"language, literature, history and myth" - three of my favorite things! And one, not so much. Though I have worked with language a fair bit in a prior setting. Still, it would be interesting to see what you do with it.One of the goals for this incarnation of Tasothilos is to give more attention to factors of playability - after all, Tasothilos is designed to be a setting which people can game in. However, I am at heart a scholar rather than a game designer, so I think you will be pleased with much of the stuff I post. …Rare magic: Medium-High Power: I was going to give this a , but your explanation sounds all right.Powerful Churchs: Yay for making religion important with gods doing stuff all the time!I think part of what might inspire a reaction in some people to Medium-High Power is a confusion over what exactly I mean by that. As a label, it's ambiguous, after all. To clarify a little - I roughly divide d20 play into 6 categories of power. Levels 1-4 are low-level, 5-8 medium low, 9-12 medium, 13-16 medium-high, 17-20 high, and 21+ (naturally) epic. The 'power level' of a campaign world is the power level of the world's major movers and shakers. Forgotten Realms, for instance, is arguably an Epic-level world by my designation, while Eberron (to my understanding, I haven't taken a close look at it) is roughly a medium-level world.Medium-High power is less a reflection of play than it is of the 'background'. The power-level of individual Tasothilos campaigns can be tailored to suit the desires of the individual group. …Gnomes are aquatic? I'd have to say you're better off just making a new race. It sounds to me like you may be keeping the name gnomes just for the sake of keeping the name. Perhaps I am mistaken; however. I'd at least be curious why you went this route. Being an earth-spirit is kind of part of the definition of a gnome, so...Just like you wouldn't suddenly decide a fire elemental was the going to have the traits of an air elemental, like being made of air...But, prove me wrong. Maybe you have a great reason.Aquatic isn't quite the right description of Tasothilos gnomes - they build their homes partially in water, and are adept at swimming and holding their breath long periods. (Emiome's player calls the concept 'beaver gnomes'.) But in many ways, they are close to their core rules version, especially in being very close to the natural world, and a fondness for practical jokes and humor (toned down, hopefully, to the point where it does not become an annoyance.) Like I said at the beginning, I'm working on the races section right now, hopefully when that goes up you'll see why I see fit to keep the original name despite several changes of a mechanical and aesthetic nature. …New alignment system has promise, though I'm one that'll almost always come down in favor of no system and just letting people be people.The VVV system is being written in such a way as to make the first two Vs strictly optional (though recommended). The only part that's integral to several Tasothilos mechanics are Villainy points - and the guidelines for what merits a Villainy point will be quite exact. …You mention elsewhere 14 gods (I didn't stop to count). Did your campaign really have 14 players? That's a BIG game.The campaign, like I said, ran for 4 years. During that time, many players joined and many left (sometimes very quickly - Snoop Frody Fro, the halfling 'bard' best forgotten, lasted two weeks.) Further, many players had more than one character during the run of the thing. I no longer have a comprehensive list, but I'd say there were at LEAST two dozen different PCs that appeared at one point or another during the game's run. That said, usually the number who showed to any given game session was around 6-8 - still large, but much more manageable. [quote]I have a question: what made you decided to drop the archipelago format (one post seemed to indicate you once had this format and backed away from it)? I always thought that was a great format for a roleplaying setting. I actually made much of Kishar like this for this reason. Several reasons:
Basically, the inner sea format has all of the features of multi-island format that appealed to me and none of the inherent disadvantages. Thank you, Tybalt, f_hayek and Phoenix Knight for responding - please feel free to ask any more questions that might come to you as you read. My Setting: | ||
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| Kalos Mer |
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The Old Oligarch, the Ardent Intellectual![]() [ Moat Cailin ] | Attempting to include the (again, very rough) map as an attachment - can people see this? If so, here's the color key again for your convenience: Color Key: The area in red will be the home to MOST of the kingdoms that dedicated Tasothilos readers have been exploring so far- Andozia, Sanceline, Ferrund, Vievna, etc. Most of these insular nations have been re-written as coastal continental kingdoms, though Miloa, Akmet and Philstaros (at least) are still insular. The grey area are the great mountain ranges - smaller ranges (not pictured) exist in the red area. The pink area is the domain of the great orc empire. A few other small nations of the various other races exist here as well, but the orcs are the dominant power. The big yellow area in the middle is a vast desert. Ever since first seeing Star Wars, I've had a fascination with desert culture, so one of the crucial parts of the remapping plan was to get a desert in the picture. Still no concrete idea what's gonna go here though. The light green area is the domain of Sakrtskaya. It's a LOT bigger now, but remember that Sakrtskaya is a convenient name for a number of feuding principalities with similar culture and religion, rather than an actual nation per se. The white area is tundra or sea that is dominated by icebergs. The remaining dark green areas are 'blank spots' on the map. I'll fill them in a little later. Taectenatl is located on a continent across the sea to the east. I'm currently planning to design at least 1 other major nation on that continent to rival Taectenatl. ![]() My Setting: | ||
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| Túrin |
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A Túrin Turambar turún' ambartanen!![]() [ Cave of Ridges ] | Woohoo. I can see the map. Is that the North Pole up there? And why is Sakrtskaya suddenly so far away? As for Taectenatl, will they still have variants of the Ekeusian deities in their pantheon? How are you going to explain this? I loved your post about magic. Lost of stuff is explained flavourfully without taking away from the inherent mysteriousness. In particular, I like how you handled your people's thoughts on magic philosophically (with lost of opposing schools, without a decisive argument ever definitively settling a dispute) as opposed to treating it more definitive, one-sided and really, scientific. Elementalist Willing sounds a lot like evocation, and Trinitarian Willing sounds like enchantment. Will there be a school of Willing corresponding to each school of magic we know from D&D? Is Arithomancer actually more different to achieve game-mechanically (actually requiring Logomancer ability, perhaps), or is this purely in terms of flavour? How close is Lyromancy to the spells bards can cast? Is elven alchemical magic still used as an explanation for their good crops and hence their easier lives? Túrin Orden's Mysteries (my setting) hosted in website format thanks to the CBG Orden's Mysteries on the WotC boards ![]() "Then shall the last battle be gathered on the fields of Valinor. In that day Tulkas shall strive with Melko, and on his right shall stand Fionwe and on his left Turin Turambar, son of Hurin, Conqueror of Fate; and it shall be the black sword of Turin that deals unto Melko his death and final end; and so shall the Children of Hurin and all men be avenged." - J.R.R. Tolkien, The Shaping of Middle-Earth | ||
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| Kalos Mer |
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The Old Oligarch, the Ardent Intellectual![]() [ Moat Cailin ] | It is the North Pole, or at the very least the arctic circle. I'm not quite sure how far north I want the continent to extend; I will settle this before finishing the map. Sakrtskaya and Taectenatl were moved so far away because they are the two most culturally distinct of the nations of Tasothilos and I wanted logical reasons for maintaining those cultural distinctions. Sakrtskaya is still accessible (there are small trade-routes that run through the desert, where ambitious Salabrian merchants pay off the strange local guides in order to get safe passage) but not quite as easy. This is the geographical equivalent of cutting Sakrtskaya off from the Myrian Road network of currents in Tasothilos '1.0'. It had always been my intent to have the Taecs worship deities that Salabrians claimed were Ekeusian derivates. As with many things, whether these actually ARE warped Ekeusian deities or whether they are simply natively grown divinities is obscure. The Salabrian explanations for the connections, though, will likely involve things like ancient mariners who got lost, landbridges now sunk, etc. I'm glad you liked the post about magic - it was specifically my goal to give AN explanation of how magic works without giving THE explanation, if you know what I mean. On the nature of Willing, I haven't quite settled on the number of schools, but I know that it won't be quite a one-to-one correspondance and there probably won't be more than ~4 'major' schools. Elementalism, for instance, covers Evocation but also Transmutation, while Trinitiarianism covers enchantment but also necromancy, healing, etc. The Arithromancer, in my current conception, may well become a Master Class (see the hierarchy of classes above.) If not, it will be a series of feats that a magus can take - so yes, they will be mechanically different. While use of Arithromancy will not strictly require abilities with Logomancy, it will be the general rule that most Arithromancers start out studying word-magic, or at least Willing. Very few otherwise 'mundane' individuals suddenly take up Arithromancy. Lyramancy is a very limited brand of magic. It has some relation to the 'bardic music' class ability, but it is carefully relegated to only those types of 'spells which directly influence the minds of men. Inspiration, Distraction, Incitement to Violence - these are all well within the realm of Lyramancy. It also is going to work on a much subtler scale than other kinds of magic. Elven alchemical/'druidic' magic is still the explanation for their particularly abundant harvests and relatively effortless agriculturalism. --- Thanks for your questions as always, Turin. You help me cover all the angles. My Setting: | ||
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| Phoenix |
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No, the bananas ARE the pirates![]() [ Leavetaking Stone ] | You mention that magic is rare because most people don't want to invest the time and energy? Two questions on that: 1) Does that mean that people are fairly accepting of it? I ask because in many rare-magic settings, people fear magic. 2) You seem to indicate that it is more common among elves (at least the agriculture stuff). It would make sense to me that it would be more likely to be worth the time to learn for any long-lived race. I suppose the question, if there is one, would be, shouldn't it be significantly common among among long-lived races, if time is the only issue? ![]() | ||
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| Kalos Mer |
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The Old Oligarch, the Ardent Intellectual![]() [ Moat Cailin ] | Well, saying that magic is rare 'because most people don't want to invest time and energy' was a bit of an oversimplification on my part. There are many other factors that go into the rarity of magic-users:
With that said, as to your questions: Phoenix Knight1) Does that mean that people are fairly accepting of it? I ask because in many rare-magic settings, people fear magic. 2) You seem to indicate that it is more common among elves (at least the agriculture stuff). It would make sense to me that it would be more likely to be worth the time to learn for any long-lived race. I suppose the question, if there is one, would be, shouldn't it be significantly common among among long-lived races, if time is the only issue? 1) A big ‘That Depends’ is the answer here. When talking about the literate, the educated, and the nobility, magic is less feared. Many of the more powerful monarchs know of a wizard that they can consult in times of need, though only the Andozian Empire amongst the human lands maintains the position of Court Magician. For city-folk, too, magic is a little less feared. Among the rustics, however, magic is generally quite mis-understood, and therefore feared. Witch-burnings and the like do not occur (except in Plaspont, but that’s another story…) but a known magician is going to be hard-pressed to win the allegiance and help of most peasants. 2) Among the elves magic is held to be more commonplace, although the elves have an incredibly strict caste system outlining who is allowed to use magic and who is not. Since time is not the only issue, it is not *generally* the case that longer-lived races have higher occurences of magic-users, though. The dwarves of Tasothilos live almost as long as the elves, and yet magic-use among them is rarer than among humans. [ Edited Sat Feb 03 2007, 06:28PM ] My Setting: | ||
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Orden's Mysteries

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If I missed it already, that's because I only got to the third post or so of this thread before posting.
I can't wait for the pantheon.

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, but your explanation sounds all right.











(for a 






