Eh. I would like it if it tagged the modified charms.

As it is, not only there are charms changed without marking, but some of those changes are baffling.

(Look at Bluewinds version of Armor-Penetrating Fang Strike, that ignores all soak and Hardness instead of just armored soak and a few points of hardness.)

Irked rewrite is way better.
 
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Yeah, that's still a bit too organized for me.

One of the things I hated, hated, hated in the raksha splatbook was the fucking shinma. As far as I'm concerned, if you head out into Pure Chaos, you haven't just abandoned things like linear causality and semi-objective reality, you've abandoned basically every concept that humans are capable of understanding and dived headfirst into Azathoth's unknowable maw. The things that churn in the furthest edges of that realm cannot be described in any fashion we understand, for it was the Primordials who built Creation and provided all of those concepts, and the denizens of deepest Wyld are not of them.

As far as I'm concerned, any being even vaguely like the shinma would die in moments if it tried to hang out in the Wyld, because trying to introduce an entity of purest Platonic definition to that place is like forcibly introducing matter and antimatter. Having the Primordials' defining difference to all other creatures in the Wyld be the fact that they can't change their essential selves, that they contain a set of truths that they hold to be self-evident, that is just a better narrative explanation for how meaning arose from meaninglessness.

It explains why the Primordials weren't happy in the Wyld, it explains why Creation and raksha don't get along metaphysically, and it creates a more coherent and elegant narrative. Raksha become formerly truly alien others who have irrevocably sacrificed what they were and tried to build themselves anew from the Primordials' leftover ideas. Even they couldn't really tell you why they came through the gate, why they chose to come to Creation, because they've fundamentally altered their minds and souls to be able to properly understand Creation, so now they can't conceptualize their former selves except on the basest and most instinctual of planes.

Hell, even the Unshaped are still tainted, if only indirectly, by Creation's ideas and conceptual strictures; the difference is that they did their best to retain something of what they were, at the cost of being stranger, more alien, less well-adapted to survival in their new habitat. Perhaps they become pale shadows of the Primordials because that's the best way they can think of to try and escape complete contamination - imitating the only example they have of beings that could sort-of-process both forms of reality.

Raksha shouldn't be acting like pop culture fey, served fresh from the finest of tepid unoriginal fantasy novels. Small groups of raksha could certainly form for various reasons - protection, trying to assemble a bigger narrative than any of them could pull off alone, some strange confluence of their assumed identities pulling them together - but a species-spanning set of opinions, values, and norms? Even Oramus would call bullshit on that.

You want to imagine raksha who've built a "culture" for themselves, try for The Phantom Tollbooth, not Deliria. Actually, just go find a copy of The Phantom Tollbooth and read it, it's really good and you could totally throw in the Demons of the Mountains of Ignorance as an avant-garde militant cabal of raksha attempting to weaponize the Creation-born's own metaphors against them.
To be honest, I don't really know how this is an answer to me - you can have pretty much all you describe, the unknowable maw of Azathoth and whatever explanation you like for Primordial origins, and still end up with the way I describe raksha. Because the thing is?

I don't care about Pure Wyld. I mean, I like that it exists, it's a neat bit of setting concept. Telling people that if you wander far enough from the world all order and reason is lost, that's cool. It also doesn't matter. It is literally designed to be unplayable, because you actually need something to have causality and rules to play them in a game. Oh, a group of Solar protected by Charms can use some bullshit Wyld-portal to transport themselves into Pure Wyld and start shaping it, but at that point the whole thing is that you are imposing rules on this incomprehensible chaos. Otherwise it literally useless from a gameplay standpoint.

So, you can imagine whatever the hell you want in pure Chaos. What I'm concerned about is the edges of Creation, the playable place. This is where the shaped raksha hang out - because they have taken form and too much Chaos is actually hostile to them now, and because there are bigger and stranger things than them in the more chaotic parts that threaten them. So, nobility in exile. This isn't because they are a community that has universally decided to advance on Creation as one group - it's because they are the raksha, the Wyld is the Wyld, and so it pushes them towards Creation unless they want to be eaten by monsters. It's a movement done by small individual groups (or vast conquering hordes) in various points of Creation, not a cohesive unit decision. But it's still happening. Because raksha don't live long in the Deep Wyld.

And when they arrive in Creation, occasionally they find surviving stragglers of the Balorian Crusade who had a pretty sweet gig going on for the past eight centuries and who don't take lightly to these newcomers, causing conflict.
 
On the Primordial's control over gods, I remember one reason for the Exalted having free will was so that the Primordials couldn't order the gods to make the exalted stand down. This obviously implies that the Primordials could (and probably did try) only for the exalts to ignore the command.

This power was flipped on its head by the surrender oaths, as the Infernals book describes the Yozis giving GSPs free will for the exact same reason. So I imagine that the Yozis no longer have any direct command over the gods except for the "do no harm" geas which is inbuilt to the gods rather than an external authority.
 
I don't care about Pure Wyld. I mean, I like that it exists, it's a neat bit of setting concept. Telling people that if you wander far enough from the world all order and reason is lost, that's cool. It also doesn't matter. It is literally designed to be unplayable, because you actually need something to have causality and rules to play them in a game.
Same, actually. I... think either I misread something, or you did, or we both did, or...?

What I'm concerned about is the edges of Creation, the playable place. This is where the shaped raksha hang out - because they have taken form and too much Chaos is actually hostile to them now, and because there are bigger and stranger things than them in the more chaotic parts that threaten them. So, nobility in exile. This isn't because they are a community that has universally decided to advance on Creation as one group - it's because they are the raksha, the Wyld is the Wyld, and so it pushes them towards Creation unless they want to be eaten by monsters.
Actually still on board, more or less. See, I actually like the idea of animal-analogue Wyld entities, intermediate creatures that are more than just Wyld robots but not as developed and conceptually adept as the average raksha; mostly, because it gives me more room to fiddle around with the entire conceit of what raksha are, metaphysically.

There's a couple different directions you could go with that. First off, the idea of them being less competent at weaving coherent tales to hide behind, so their facades are metaphorically misspelled and missing crucial lines of text. As a result, their behavior and appearance tend to be just plain off from what they wanted, almost like an in-universe version of a glitched-out NPC.

Instead of a vicious hunting wolf that feasts on the blood of men, the Wyld Beast forms as a shuddering, vaguely hound-shaped mass of black fur and sulfurous mist, tearing down stone structures and somehow "drinking" them through squirming tendrils of its own vomited-up intestines - because not only are its perceptions of Creation's rules incorrect, it then bungled the attempt to create a story to sustain itself with, so now both are riddled with mistakes and logic errors.

Another Wyld Beast, attempting to hide behind the mask of a dashing traveler and his horse, emerges through the gate more or less like what it was aiming for... except that its saddlebags don't open, they're just canvas-textured masses of flesh on either side of the horse body, and the "gloves" its rider body "wears" are just its own overly leathery-looking hands, complete with fingernails if you look close. When the rider body speaks, its voice comes from the horse body, and the horse body's neighs emerge from the rider body.

Alternatively, they aim low, try to pass themselves off as "a traveler" or "a deer", or something similarly innocuous. Maybe they're trying to make it easier to ambush prey, maybe they're actually just clever enough to realize that more complex stories just don't work out right, but whatever the reason, the results are equally flawed.

On the one hand, Wyld Beasts deliberately choosing a bland, uninteresting self can be devilishly hard to pin down; their fabricated existence is so banal that it simply slides off of mortal minds without making an imprint, like trying to remember a single blade of grass in a field. Essentially, they crudely replicate the Arcane Fate of Sidereals, albeit through radically different methods and with less potency.

The downside is that proper raksha avoid such forms for a reason - that same boring quality that lets the Wyld Beast use it like an invisibility cloak also rasps painfully at their inner self like a straitjacket, constricting unpleasantly whenever they try to act against the humdrum story they've woven around themselves.

Likewise, 'boring' and 'powerful' don't often go hand in hand, making this second category of Wyld Beast almost painfully reliant on ambush and a quick kill, because they don't have the raw strength or skill to overwhelm an aware opponent, and every hostile move they make pushes them closer to being crippled by their own fraudulent self-identity.

Your opinion?
 
Same, actually. I... think either I misread something, or you did, or we both did, or...?


Actually still on board, more or less. See, I actually like the idea of animal-analogue Wyld entities, intermediate creatures that are more than just Wyld robots but not as developed and conceptually adept as the average raksha; mostly, because it gives me more room to fiddle around with the entire conceit of what raksha are, metaphysically.

There's a couple different directions you could go with that. First off, the idea of them being less competent at weaving coherent tales to hide behind, so their facades are metaphorically misspelled and missing crucial lines of text. As a result, their behavior and appearance tend to be just plain off from what they wanted, almost like an in-universe version of a glitched-out NPC.

Instead of a vicious hunting wolf that feasts on the blood of men, the Wyld Beast forms as a shuddering, vaguely hound-shaped mass of black fur and sulfurous mist, tearing down stone structures and somehow "drinking" them through squirming tendrils of its own vomited-up intestines - because not only are its perceptions of Creation's rules incorrect, it then bungled the attempt to create a story to sustain itself with, so now both are riddled with mistakes and logic errors.

Another Wyld Beast, attempting to hide behind the mask of a dashing traveler and his horse, emerges through the gate more or less like what it was aiming for... except that its saddlebags don't open, they're just canvas-textured masses of flesh on either side of the horse body, and the "gloves" its rider body "wears" are just its own overly leathery-looking hands, complete with fingernails if you look close. When the rider body speaks, its voice comes from the horse body, and the horse body's neighs emerge from the rider body.

Alternatively, they aim low, try to pass themselves off as "a traveler" or "a deer", or something similarly innocuous. Maybe they're trying to make it easier to ambush prey, maybe they're actually just clever enough to realize that more complex stories just don't work out right, but whatever the reason, the results are equally flawed.

On the one hand, Wyld Beasts deliberately choosing a bland, uninteresting self can be devilishly hard to pin down; their fabricated existence is so banal that it simply slides off of mortal minds without making an imprint, like trying to remember a single blade of grass in a field. Essentially, they crudely replicate the Arcane Fate of Sidereals, albeit through radically different methods and with less potency.

The downside is that proper raksha avoid such forms for a reason - that same boring quality that lets the Wyld Beast use it like an invisibility cloak also rasps painfully at their inner self like a straitjacket, constricting unpleasantly whenever they try to act against the humdrum story they've woven around themselves.

Likewise, 'boring' and 'powerful' don't often go hand in hand, making this second category of Wyld Beast almost painfully reliant on ambush and a quick kill, because they don't have the raw strength or skill to overwhelm an aware opponent, and every hostile move they make pushes them closer to being crippled by their own fraudulent self-identity.

Your opinion?
It's an interesting concept and it can make fodder for some pretty nice and/or scary encounters, I can say that much. It's not really how I'd use the fae but at this point I can't really get into a full extended explanation of how I would prefer to handle the raksha - it would be very long-winded, only really relevant to myself, and also my time is currently limited.

I'll say that the idea of ambush-predator fae is something that I think should be used with restraint. Creation is shock-full of animals, mutants, elementals and demons that can serve as lurking predator killing stray villagers in one point. The raksha are more interesting when they have to play to their whole "soul-sucking vampire" schtick that sets them apart, by adbucting rather than killing and having demented domains where they unravel the substance of mortal souls through means grand and petty, beautiful and terrible.

So then heroic parties can take up arms and enter their domain ready to obtain the release of their loved ones whether through strength of arms or by paying a terrible price, and depending on whether or not they are protagonists they can succeed or join the feast as a new course.
 
Okay, I have made a Exalted Quest, one that kinda follow a Solar as he, along with a Sidereal and some Dragon-Bloodeds that was forc-- err, "persuaded" into joining them, go and do the one thing that no one in Creations would expected.

Conquering/Uniting the world!

Its called The Second Usurpation by the way.
 
The conversation has moved on somewhat, but I think the big problem about people trying to "revise the Lunar concept" is how many times it simply comes back to integrating them more heavily into the Wyld, even though that is possibly one of the most tertiary-interesting aspects of their type and ignores the parts where they exist Comparably but in Opposition to its metaphysics and advance. It also puts kind of an unreasonable weight on events taking place in/around the Wyld, despite Creation being the majority of where all the Real action happens in the setting. Sidereals don't base all their powers around having access to Heaven despite living/working there, so I don't see any reason to divorce Lunars from having a solid connection either. They don't need to be literally from Outside Creation to be Outsiders, they just need to swing that Outsider-ness to defy "how Creation works" in a way that creates a compelling Celestial niche.

So keeping that in mind, my suggestion is this: Lunars as Creation's own raksha, story-focused powers in a more understandable and centralized Exalt form, ascended up from humanity to meet and match the strange narrative horrors from beyond the rim of the world as equals. The raksha mimic the stories they see in Creation, but Lunars are the mirror pushing back those derivative narratives by creating vibrant and unexpected stories, as literally Fabled Heroes embodying the chaos within the world that is drawn out of the unreal substance of the Wyld. The story of her life is written across her body in moonsilver tattoos, giving her significance and stability as a life which Matters. They turn figments into real things, like the world they arise from, and impossible dreams into achievable things. In this sense, alternate forms and Shapeshifting are the familiar made unfamiliar by becoming manifest metaphors within a more narrative-centered Lunar powerset. When a Full Moon is swift like a hawk, she is swift as a hawk, and when impassive like a sturdy oak tree, it means she becomes impassive and sturdy as an oak tree.

The reason for the Spirit Shape becomes a more integral character subject, because it is making a nutshell statement about who the Lunar is, and the shorthand terms used to define her. The easiest of these is using anthropomorphization for the purpose, because at their core, Lunars are still humans and not alien magical beasts. As humans we look for things akin to ourselves, and can anthropomorphize animals more easily than we can a wooden chest or a boulder, and characterize them using feelings and expressions similar to ours. Having the heart of a lion, the cleverness of a fox, or the slipperiness of an eel is what forms the basis of that character and becomes the foundation to add more exotic form-metaphors, such as sprinting like the wind (as the wind) or slouching like a pile of rocks (as a pile of rocks).

If Sidereals are about Planning/Foreseeing and Solars are about Action/Success, then the Celestial niche of the Lunar is Plot Advancement, and forcing it to move on their own terms. They are master trackers and investigators not by pinpointing the target or solving the crime, but by being certain just where that solution can be found. They don't create answers out of thin air, or instantly achieve their aims with incredible success, but conclude there must be an answer to find in the first place. She may not find what she wants, but she will find something useful to forge ahead. In combat she cheats the system by finding loopholes, locating unforeseen weak points and exploiting context by approaching the battle aware of the sequence of events she is involved in, and finds ways to see the storytelling formula at work and shatter expectations. She knows of the ambush ahead not by superhuman hearing or advance notice, but because of course there would be an ambush ahead.

Her powers exist to set up or re-frame challenges in understandable ways, and preferably align with a shape she possesses or a skill she or others can wield to knock it down. No thing, entity, or event exists around her for no reason, simply as a plethora of Chekov's Guns to bring at a moments notice. It was undoubtedly a Lunar who first posed the question of whether the Primordials could be slain as all living creatures can, and through it allowed the Exalted host to present a threat with very real and deadly implications for ending the War. The Usurpation was a tremendous loss to the Lunar host as the story they had built around the unimpeachable greatness of the First Realm came crashing down, and they fled to the furthest lands to bolster themselves once more on crafted tales of triumph. Many surviving Elders refuse to let go of the past and have condemned themselves, living out grand tragedies of their own designs against the Scarlet Empire until it finally consumes them.

Where a Lunar finds truck with the raksha and the wyld, it is by becoming living icons as Balor did during his Crusade, and sweeping all their side-stories into a coherent epic-narrative beneath her, whether that be as a legion of thralls at her beck and call, or a sprawling rogues gallery of enemies to face off against. But they don't live within the wyld, because it is still a place very much foreign to them, and the disjointed and nonlinear sequences of its stories challenge even the greatest among them to draw a thread of coherence between. If anything, it is a way-station and a resource, where a Lunar can wield her powers to Impose a story where there is none, unlike reacting to the stories Creation presents her with, allowing her to train herself and others, locating tools, knowledge and skills she desires, define them as real and bring them back into Creation whole, where they can be used to better effect.

If Lunars are supposed to show off the varied and surreal elements of the wyld in Creation, they should display the depth of the wyld IN Creation, using Creation, and presenting the most effective means for unlocking Heroic Narratives and bringing everyone along for the ride.
 
so what's the solar charm spread looking like now?

I have no idea. I just got into Exalted when 3e was released.

Honestly, it's pretty amusing watching you guys tear into each other about edition changes, because I have absolutely no stake in it at all. I think that 3e is pretty good, and don't have anything to compare it to, so I find your discussion engaging academically, and I occasionally get ideas for my own games.

Please don't start another argument though. It is annoying for everyone else.
 
Ahem. Backer charms availible for public consumption.
We're having a Lunar flame war here. It would take a literal miracle to distract us from that...

The blessing of the Unconquered Sun unlocks the potential within each of his Chosen, allowing their heroic skills to become expressions of divinity. More than any other Exalted, the Charms of a Solar express who she is and what shape her legend will burn into the world.

This book contains over 80 new Solar Charms embodying a range of concepts and stories dreamed up by players of Exalted and meticulously crafted and balanced for inclusion at any and all tables.

Fire an arrow and let it become a waiting judgment upon the wicked. Unleash a sword stroke that can overwhelm the blade of Heaven itself. Train your loyal beast companion into an unstoppable colossus. Effortlessly seed the battlefield with inspiring words alongside arrows and blades. Empower your spirit familiar with the light of your anima. Tame a hurricane with your music. These miracles and more may be found within.
 
Honestly most of the charms look pretty good, but that Master and Commander method sail charm can go fuck right off. (That's the one where the backer wanted a Picard Maneuver charm). Or at least the little lecturer about charms that came after it.
 
The Solar-Lunar fusion Charm is called out as overpowered, but it actually looks weak to me. The bonuses don't seem to outweigh the loss of an action per turn.

Thoughts?

Eh. I would like it if it tagged the modified charms.

As it is, not only there are charms changed without marking, but some of those changes are baffling.

(Look at Bluewinds version of Armor-Penetrating Fang Strike, that ignores all soak and Hardness instead of just armored soak and a few points of hardness.)

Irked rewrite is way better.

Tagging the modified Charms would be kinda silly, since an actual majority of the Charmset was changed deeply. This is a very different animal from what Irked made.

Anyway, if you've got objections to the changes you should tell BlueWinds. I was doing that up until I was banned, and she was always happy to receive the critique. I like to think I made the rewrite better.

I don't find the AFPS change baffling, incidentally. Charm needed a bit of extra strength, and it needed to be clearer in its effect against QCs. Might be a bit too strong on withering attacks, though; when I get around to commenting on Snake Style I'll say so.
 
Honestly most of the charms look pretty good, but that Master and Commander method sail charm can go fuck right off. (That's the one where the backer wanted a Picard Maneuver charm). Or at least the little lecturer about charms that came after it.
I'm still on the fence about the book, so I don't know what you're referring to. What is this Master and Commander Method, and what was the lecture?
 
Hrm, question:

Are there any good resources for Dragon King names? I've skimmed through the Scroll of Fallen Races a time or two and haven't found any.
 
I'm still on the fence about the book, so I don't know what you're referring to. What is this Master and Commander Method, and what was the lecture?


It's a pretty cheap buy and for what its worth I think if your interested in Exalted, the book s well worth picking up, at least in PDF form.

Master and Commander Method is one of the Sailing Charms. It was MEANT, based on what the backer wrote in, to model the Picard Maneuver from Star Trek: The Next Generation...but it did it with mixed results. The Maneuver, in ST, was using warp travel to confuse an enemy by making him think your at Position A (which the enemy 'attacks' when you have really used FTL to get to Position B, and are about to attack.

As for the lecture, it was basically the tone while explaining the charm as its written that annoyed me. It was just a bit condensing when reexplaining that in 3E charms are not things but codifications of what a Solar is actually doing (using their inhuman skill etc)

Somebody can probably explain what went down with that charm and the backer better than I could but yeah people had heard about this charm even before the backer charms were released to backers.
 
The Solar-Lunar fusion Charm is called out as overpowered, but it actually looks weak to me. The bonuses don't seem to outweigh the loss of an action per turn.
As if such a trifling thing as losing an action could hope to temper the dread power or tarnish the awesome majesty of such a being. None can resist the radiance of the Sun augmented by the elegance of the Moon.

Imagine an Appearance 11 T. Rex with Solar Brawl and Resistance charms. Even better: don't.
 
So I've been sitting on this for months, maybe a year now, and I'm finally just- gonna post what I have and then move on. She's rough, and I feel like I could jazz her up a bit more, but overall I'm happy.

[Rough Draft]

Rhevahtri, From Which Rage Rises
Demon of the Third Circle, Ninth Soul of Cecelyne

There is a place in the Endless Desert that is holy to all who hold to the laws of Cecelene. It is a range of mountains, and the great expanses of sand shift fitfully under the pressure of molten glass and inevitable cataclysmic rage. In the caldera of the tallest peak there is a fathomless pit of ever-flowing azure obsidian, and upon that is a monastery of painfully inoffensive white stone.

This is Rhevahtri, Third Circle Demon and ninth soul of the Endless Desert. Not the monastery, but the mountains of solid and liquid azure glass. Rhevahtri is also a woman, of sublime, fluid curves and literally searing beauty. Much like how glass grows opaque when heated, she is a lustrous figure with a hot-glowing azure core surrounded by transparent skin of cooler glass upon that. Even her long hair and very clothes are of glass, touching the ground and cooling into a rippling carpet of sacred color.

As per her title, Rhevahtri is the rage and fury of Cecelene, but it is a fitful, intermittent wrath. Like Cecelyne's anger, hers is catastrophic in its fullness, but sudden and mercifully brief- a instantaneous and unmistakable lashing out immolates sprawling expanses of sand.

And there is much in the Demon City that angers her, which in turn angers her further.

Rhevahtri does not enjoy her fury, no matter how cathartic it may feel at the moment. Instead she dreads her rages, knowing she can raise a new glass mountain in the span of a day, or drown fiefdoms in molten glass. Her monastery-home is refuge against all that upsets her- hopelessly austere, it is devoid of adornment and affectation save for musicians and their instruments, for Rhevahtri can only enjoy the sound of music unabashedly. Even at her most controlled, her tantrums brings down her own sanctuary, and it must be rebuilt time and again.

Her Second Circles and the legions of servants who attend to her needs do so via sightless messenger or are blinded themselves, temporarily or permanently as circumstances dictate. In this way she also receives word of her vast holdings- endless vaults of tribute and pledges of favor and support from lesser demons, all begging to appease the rage of Cecelyne and perhaps win the mercy of her inattention.

In all other ways, she finds the workings of the Demon City detestable, but not for their subject matter. She is a Demon Prince, and her tastes are strange to those of Creation as hers is to a mortal king. She instead is reminded of futility, of the lack of change and growth in all that is of Malfeas. There is room for greatness in all things, and it is wasted endlessly on lurid excess and pointless machinations.

But despite that, she has hope, and perhaps that is her own worst failing.

Holding such vast wealth makes her free with her spending, sinking fortunes and cashing myriad favors into thousands of projects. Galleries and museums all across the Demon City bear the mark of her favor, and there is no greater patron of the arts in Malfeas than Rhevahtri, at least to her mind. Many prodigious Serfs find themselves receiving such benevolent attention during their trials of Citizenship.

And she will never lightly walk in those halls, speak with those artists or enjoy their works, for to do so risks destroying them all in her fury. Every so often, she does muster up the courage to brave the city, riding a great palanquin-beast that shields her from the riot of the streets. Blind First Circle Demons attend to her robes, ensuring the least amount of holy trailing glass is seen by those who should not.

Like other Demon Princes, Rhevahtri cultivates numerous contacts in Creation both legitimate and clandestine, for her wealth is welcomed by those who recognize it. By the same token, she is of the Demon City, and her accounts are watched carefully for corruptive manipulation. Regardless, she acts as patron to great works even in Creation in public or in secret.

Lastly, Rhevahtri risks much in smuggling the finest, greatest examples of demon creativity to conservatories all across Creation. Yozi cults loyal to her or her Second Circles protect these works... but the tastes of Mortals and Gods are perhaps behind the times, or they simply have no appreciation for the classics. So like in Malfeas, Rhevahtri has lost countless masterworks to censorship, natural disaster and foul propaganda.

Rhevahtri is summoned most frequently for her ability to raise volcanoes of molten glass beneath a sorcerer's foes. Other times, she is bound as a companion or to arrange for trade or business. Vanishingly little pleases her more than to be consulted upon works of art or music. No summoner has ever found a more gracious critic of the arts.

Motivation: To enjoy the finest and grandest arts of all

AN: The goal was a 'patron of the arts' 3rd circle who could be engaged with by favor trading.
 
Oramus, the Dragon Beyond the World

Ancient and abhorrent, the greater mass of Oramus' self lies chained within his own wings upon the seventh layer of Malfeas. His granite scales are specked with many coloured gem-scars, and when his wounds reopen omen weather rolls out to scourge the rest of the Demon City. Around him, the brass and basalt of Malfeas has broken down to form a blasted heath where stony grey gorse and heather grows wild. There, his dreams spill out into the world and madmen gather to dance and play piping tunes to accompany his greater chorus. Comets and celestial phenomena are called from stranger realms to slam into the landscape, subjecting it to a constant drumbeat of impacts.

But this is not the only manifestation of the Entelechial Chorister within the Demon City and he can be found hanging from spires which jut from the side of Qaf and within a lead-lined music box in the depths of Metagaos. Distance and size means even less to him than to the other Yozis. Some say Oramus is brother to the Shadow of All Things. There is certainly a kinship, for they are both creatures of transgression. Yet the Ebon Dragon betrays even himself and that is the one thing that Oramus can never do. The only constraints he accepts are the ones he imposes on himself, but such restraints hold him fast. If he were not trussed up within his own wings, then he could slip forth from Hell and shatter the Surrender Oaths - but his wings define the boundary between the possible and impossible and thus Oramus is caught in the borderlands between the two states.

The princes of chaos remember him in terror and cannot bear to raise their hands against Oramus, for it was through Oramus that Time, Shape and Death entered that-which-is and foreshadowed the rise of Creation. The Wyld remembers him with the same fear it recalls Adrian. The Dragon Beyond the World is a creature of dreams, but his dreams are not the fantasies and glamours of the fae. No, he is a horror beyond whimsy, a creature of cold cosmic truths whose dreams perceive things that were not, are not and never will be. The bleak solidity of his sleeping visions draws others in with unwanted enlightenment that scars minds, leading others to call them mad. Indeed, he has an affinity for the mad, but only because his knowledge fits more easily into minds that have been broken open.

Ennui consumed him long before he was chained, and his jaded nature makes him seem self-restrained compared to the excesses of the other Yozis. Perhaps that is so, for he only takes joy in music and dance. He has tasted all other vices ten thousand times and more and found them wanting. Broken and bound, Oramus cannot dance as he once did. None now living, save the Incarnae, can say whether the Exalted did this out of malice or necessity. To alleviate his pain, therefore, the Entelechial Chorister plays the chords of the cosmos. He was always one of the most skilled musicians among the Primordials, and now in his crippling only Malfeas may equal his skill with music.

Sometimes the other Yozis will gather around the Dragon Beyond the World and dance to his otherworldly piping, revelling in the visions he brings and forgetting their torment. Such songs were not meant for lesser beings, and the astral melodies of Oramus blasts minds with unwanted revelations or strikes them dead with cosmic truth. There is no malice in Oramus when ten thousand serfs convulse from a lesser aria of his drifting through the Demon City. It is his nature, nothing more.

Demesne associations: Heaths, cratered terrain, auoras, comets, omen weather, choirs, gnarled plants, eroded landscapes, symphonies, shattered granite, crippled birds, pipes and flutes, the number seven, the first letter of alphabets, madmen, broken legs, transgression, Temperance, ennui, extreme age and the elderly, unreal creatures, fallen stars

Manse characteristics: high vaulted ceilings, granite, multi-coloured gemstones, monoliths, occult formulas, hidden truths, good acoustics, observatories, empty ballrooms, divining pools, mad servants, aged servants, rains of bloods and frogs
 
Vanishingly little pleases her more than to be consulted upon works of art or music. No summoner has ever found a more gracious critic of the arts.

Motivation: To enjoy the finest and grandest arts of all

AN: The goal was a 'patron of the arts' 3rd circle who could be engaged with by favor trading.
Hah. Keris would like her. :D
 
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