Breaking the Status Quo [Fantasy]

Before we touch the dial again, we might want to find something to strap ourselves to. If we had any concept of what a "seatbelt" was, I'd say "like a seatbelt," but we probably don't.

But for now,

[X] Read The Book of Soul Arts
 
Before we touch the dial again, we might want to find something to strap ourselves to. If we had any concept of what a "seatbelt" was, I'd say "like a seatbelt," but we probably don't.

But for now,

[X] Read The Book of Soul Arts
No, you do know what a seatbelt is. After all,
You're used to the modern world. For all it's flaws, it's not a bad time to live in, and, what's more, it's all you've ever known.
this skeleton is not someone from a fantasy world.
 
Snip Seven
[X] Read The Book of Soul Arts

Snip Seven:

You should read this book. It might contain secrets to your new body's origins, or maybe you can figure out what's going on.

And besides, you aren't feeling up to exploring right now. A nice relaxing sit-down would probably be best.

You stumble over to the table in the center of the room, still a little off-balance from that rollercoaster before. Being careful to avoid touching the dial in the center of the table, you slump down into the nearest chair. Well, more like a throne, being made out of some kind of stone, and seemingly being more an extension of the floor than furniture.

But you're not here to ogle furniture. You lean back in the chair and bring out the book. Now that you have time to examine it, you notice little details that you hadn't before. It seems to be made out of some kind of leather, and the title is written in a style that you'd associate more with a horror story. The book itself isn't very thick, so you suspect that it's probably more an overview of the subject than an actual compendium on it.

Well, whether it's a textbook or a pamphlet, it'll still have more information than you currently know. You open it up and begin to read the contents.



Soul Arts, colloquially known as 'magic', are an animating force… they can only be used to grant life-like qualities to inanimate objects, or increase life-like qualities in that which already lives… over time, the essence of life that is crucial to the act of enchanting decays… releases energy into the environment…

While this book contains quite a bit of interesting information, none of it stands out too much to you. Until you come to the last section.

NECROMANCY

The title of the section is unusual compared to the others. While they had been written in such a way as to only stand out a bit more than the normal text, this one practically screams at you. Which is lucky for you, considering it seems to be the section that pertains to you most. You eagerly dig in.

While this author does not condone the act of necromancy, this author cannot help but include what information about it is known, in the attempt to increase the public's general ability to deal with necromancers and their creations. To preclude any assumptions to the contrary, all undead beings still adhere to the general behaviors exhibited by enchanted objects and phenomena. To review, this author will briefly address these behaviors.

First, the enchantment lasts until the life's essence is depleted to either a preset point, or to the point that there is no longer enough essence to power it. Second, the essence slowly decays over time, and this process can be sped up with strenuous activity or damage to the physical container. And third, the complexity of the enchantment inversely correlates to the enchantment's natural duration.

However, necromantic creations have several features that most enchanted objects do not. They have an instinctive desire to destroy all things that contain the essence of life that are not connected to their "network". Any magical creation or life form that is not directly or indirectly controlled by their necromancer is a valid target to these beings. They also possess the ability to absorb life's essence from that which they destroy. This provides a simple method for a necromancer to lengthen the natural duration of their creations: mass murder.

Another difficulty with the absorption ability of necromantic creations is their apparent ability to increase their own enchantment's complexity. Undead have been known to, after sufficient energy, change forms into another form of undead, one far more powerful than the one they previously assumed. This does, however, decrease their natural duration again, due to the increased complexity of their magic. No undead has ever been observed to revert to a form less powerful than their current one.

Finally, advice on fighting the undead. This author cannot, in good conscience, advise anything of the sort. When encountering undead in any number, this author instead advises retreating and contacting a practitioner of the Soul Arts. Such people are the only ones capable of consistently defeating undead in any situation.

Please note that not much information can be guaranteed about undead, due to the fact that a skilled necromancer could conceivably develop a new form of necromancy with different properties. However, most occurrences of necromancers use a variation of this basic form of necromancy, as it has been the work of generations of practitioners. It is difficult to improve upon.


Well… that's certainly concerning. If you don't kill things… you will die? You don't know how much time you have until you run out… but you don't feel like you're about to run out soon. And maybe you can just subsist off of undead and enchanted objects?

You aren't really sure what to do.

[ ] Explore the next room.
[ ] Spin the dial.
[ ] Write-in.

-15 minutes
 
I'm not super happy with this chapter. It feels like a huge infodump. I feel like I could have handled it way better, but I'm really not sure how. It kinda seems like a cop-out to just summarize everything, but if I don't then it feels to bulky.

Oh well. I'm sure someone will yell at me if I got it wrong, this being SV and all.

And the next snippet might be a little later than usual. I'm going to be at a wedding for this weekend.
 
[X] Explore the next room.

This explains the urge to fight and kill. But does not explain why emotions attached to the act were important.
 
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Snip Eight
[X] Explore the next room.

Snip Eight:

You need to do something, anything. You stand up and close the Book of Soul Arts. Maybe you can find something small to… eat? You wonder if that's even the right term.

After that time spent just reading, you feel much less dizzy. You can even walk around without stumbling now. Using your newly recovered abilities, you make your way over to the still-closed door in front of you. Upon reaching it, you push it open, revealing the room beyond.

It's the largest room you have seen so far, with a multitude of doorways lining the walls. Six, to be exact, including the one you just came from. All of them have had the doors removed except for the one you already passed through. The whole place is well-lit, with liberal amounts of torches placed everywhere, but there is no other sort of decoration.

On the same wall as the way back to that elevator-thing is a simple doorway with nothing to mark it as special. The room beyond it appears to be some kind of dining hall, though it is completely empty. The room is a bit small, and it doesn't seem to have any decorations besides the plain stone table and chairs in the center of it.

Directly to your left is a pair of doorways. One seems to lead to a smaller room, with a blockaded doorway on the other side, but with no other apparent significance. The other doorway leads to a very small room, almost closet-sized, with a single stone pedestal placed at the other end. A massive black stone tablet is covered in chains that hold it in place. The sheer amount of chains is absurd, making it near impossible to make out any details of the tablet.

On the wall across from you is a single archway. It leads to a completely empty room with another doorway on the other side of it. You can't tell what's in the next room, though. All you can see is one of the walls of the room. There's nothing apparently significant about it, but you feel your eyes being subtly drawn to it.

To your right is a room that doesn't seem to be lit by torchlight. Instead, it has characteristics more like the sun than fire. It doesn't flicker, it's less red, and it's brighter. Your vision into that room is blocked, however, by a massive pillar that seems to take up most of the room. It's covered in what appears to be random scrawlings. Some of the carvings seem to glow from within, with blue, red, and green light scattered around with no apparent pattern. The pillar feels like the massive doors from way before, comforting and empowering at the same time, but to a much lesser extent. You want to touch it.

You really want to touch it.

It's almost calling out to you…

Maybe you should…

[ ] Enter a new room.
[ ] Pillar room.​
[ ] "Plain" room.​
[ ] Tablet room.​
[ ] Blockade room.​
[ ] Dining room.​
[ ] Go back.
[ ] Rest.​
[ ] Spin the dial.​
 
Snip Nine
[X] Enter a new room.
[X] Pillar room.​

Snip Nine:

That room with the pillar… you wonder why it looks like it's lit by sunlight. And you want to know why the pillar looks so comforting. You decide to investigate it closer.

You walk closer to the room, making sure to peer in before you fully enter. Seeing nothing too suspicious, you enter, still wary. The room appears quite cramped with the massive pillar in the center, which takes up most of the room. The only entrance to the room appears to be the way that you entered. The room itself, while not very wide, is extremely tall. Looking up, you see that it stretches up several stories, maybe two or three, with a skylight at the very top. The pillar stretches all the way up to the ceiling. You can just barely see the edge of the sun framing the pillar, like it does the moon during an eclipse. That must mean that the current time is somewhere very close to noon.

Examining the pillar, the main fixture of the room, reveals a slight depression on the side facing you that vaguely resembles a handprint. Basically, it seems that placing your hand on that spot might activate something. Perhaps, you think, it might open up an exit? Of course, you aren't really that optimistic, not after what's happened so far, but it might help, as unlikely as it is.

You decide to examine the room before doing anything stupid or reckless. Circling the pillar reveals some places where it looks like the pillar was attacked. In several places, the pillar is marred by gouges and cracks. At first, you dismiss them as more of the random carvings that cover the pillar all over, but then you notice a few little details. These ones are a different shape from the rest of the carvings. The gouges are straight and sharp, and the cracks are jagged and chipped, but the rest of the carvings are curvy and worn. The regular carvings also almost unnoticeably glow in a variety of colors, but the wounds do not.

Why would someone waste their time attacking a random pillar, you wonder? And why would they give up? Is this thing maybe important?

Still lacking answers to your questions, you return to the front side of the pillar. It's massive bulk seems to promise to protect you, no matter what. You aren't sure where you're getting this idea from, but it's obvious… somehow. Despite being an inanimate pillar, it still communicates an intent to protect you. Which implies that it is not an inanimate pillar.

That hand-shaped depression tempts you, but you know that it would be a gamble. You'd have to hope for an outcome that isn't directly detrimental to your continued existence. You could just… leave. But that would definitely not get you anything you want.

[ ] Go back.
[ ] Dial room.​
[ ] Rest.​
[ ] Spin the dial.​
[ ] "Plain" room.​
[ ] Tablet room.​
[ ] Blockade room.​
[ ] Dining room.​
[ ] Activate the pillar.
[ ] Stay still (Within touching distance).​
[ ] Stand back (Just out of spear distance).​
[ ] Remove yourself from the premises (Behind the doorway).​
 
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