Alarune, the Rose Thorn Sword
Artifact X
Whip-form Daiklaive, Light Weapon, Slashing, Melee, Disarming, Flexible, Grappling, Reaching.

Let's see here, probably has evocations for separation, evocations for extension...

I'll probably hammer it out a bit more later.
 
That chick looks Scandanavian. If she's seriously supposed to be a bride of Ahlat from habourhead that's way worse because it's Whitewashing.

Man, you've got some interesting notions about what Scandinavian people look like. You can have light-skinned middle easterners/africans. She's a little bit lighter than, say, Bassem Yousef, but it looks to me like she's in the ballpark (you are accounting for the fact that the lighting from the fiery spear makes her seem fairer than normal?).

Regarding Jack's sword, it might just be an artifact 1 sword that is holy and unbreakable, I'm not sure if it has any actual powers beyond that.

Also to anyone wondering, Jack's sword was very strong and sharp. and also the only weapon capable of harming Akuma. No other powers.

At the very least, there's also the bit about it not being able to harm the innocent. There was that one episode where Aku snatches it from him and stabs him repeatedly with it to no effect.

I wonder if it'd be able to harm him now, after what we've seen the last few episodes...
 
Which was... my point? That a recurring problem with commissioned artists is that sometimes they will whitewash the characters you ask them to draw, even when you tell them not to.
I remember a little anecdote about this;
One of the artists was requested to make a picture of Yu-Shan and was given the single instruction of "make lots of flying and airborn vehicles, but do not use airships" and the picture they drew was nothing but a group of airships.
Here is the thing about freelance artists and art-direction, from someone who knows a lot of them and how they operate: You get what you pay for, and the accuracy to the source material comes from the amount of Direction you give. The first sounds obvious, but it comes down to getting the person who does the things you want to be the artist doing those things. This doesn't happen as often as you think it would, and that is how you get a lot of Bad tabletop art, from lowballing high-concepts at artists who cannot normally do those things, simply because it is easier on the art budget than getting the guy you need.

The second half of that means establishing a working-relationship between the client and the artist based on communication, that they have all the information they need to complete the project well, because artistic skill does not give someone the ability to discern meaning and intent out of dollar bills. An artist who "goes rogue" knows they are burning a bridge with a publishing client if the work is rejected, so they are Exceedingly less apt to do these things deliberately, because published work IS your resume for future clients. If you don't get in the book, or if you get in the book and your work is regarded by people who interact with that book to be Bad/Incorrect, that's not good resume material.

Many artists who work for a living can't afford to do an extensive amount of prepared research on what you are commissioning them for, especially very complex setting aesthetics, unless it is something they are already interested in (such as ascended fan-artists already familiar with the material, like Kiyo), or the subject happens to sync up really well with their typical output with minor tweaks (like most of UDON's 1e work). This is why a lot of projects start with a style guide or art-bible, in order to make sure they have something considerable they can plop in front of a prospective artist and go "these are the characters we need, this is the thing they should be doing, in a place like this" which helps enforce overall consistency and fills in any info-gaps where the artist might need to outright make shit up. "Artist notes" don't really cut it the majority of the time, and you see this even on the low-end level of everyday hobby artists who refuse to work without some visual references supplied, and raise their prices the more you leave up to them to design by hand.

Thing is, Exalted (and most RPGs like it) doesn't really have an art bible, so much as a wealth of coincidentally-relevant one-offs. There are inklings of one way back in 1e, as can be seen in the Making Of Exalted material, but its questionable how much that was adhered to throughout 2e and into Ex3, given the huge shifts in not just the artists working on the books, but how WW approached them. In 1e, White Wolf was very much working with a lot of their pre-existing artists from the WoD lines, and commissioning out artists who they felt captured the kind of "anime action" and exotic things they wanted to see emerge in Creation, which is where you get UDON Studio alongside Melissa Uran and Sophie Campbell and others. WW were "hands off" as far as art-direction went, because there wasn't all that much to be hands-on about, given even the artwork was pulling a lot of effort to flesh out what the setting was like in ways the text could not. It was inspiration material, where there was nothing Too weird that it seemed like a sticking point, even given 1e's notoriously inconsistent art quality issues.

This is how you see the more famous "artists going rogue" stories from early 1e, like the invention of the Djala because Sophie Campbell kept including strange small painted-people in her works, and the team thought they were interesting enough to give them a coherent "look" and purpose. 2e took another direction with this entirely but tried to keep the same attitude, as many of the more standout artists of the line began to use the word-of-mouth they gained to get bigger projects, more publishing options, and outgrew the meager art-budgets that White Wolf was willing to allocate. UDON couldn't make callbacks anymore, as they were juggling too many comic series to do simple book covers, until finally White Wolf signed them on to make a comic for the line itself. As a result, the overall art direction started going more cheaply, pulling in more grab-bag sorts from places like Deviant Art and focusing more of the art they were getting on Signature Characters. Despite lacking an art-bible, they had considerably more visual material for these guys to hand off when they needed an inset, so making it Dace punching a man in the jaw was easier for everyone involved.

This point became less about fleshing out what The Exalted team were doing with Creation, and more replication of what material they Had, which meant there was also now ways to portray it Wrong. Its where you start to see weirdness creep in at greater degrees because of the lingering "hands off" attitude of "letting artists just make art," because of the inexperience of various artists they called on (there are several color pieces in the 2e Core which are a mess of Photoshop filters and bad color-use, because they commissioned a color piece from an artist clearly more well-versed in monochrome or black and white), or outright breaking established aesthetics due to poorly-conveyed ideas (Corebook Octavian and Mask of Winters looking nothing like they previously had, for example. I support Jon Rokk's other work as an artist, but the Jadeborn section of Fallen Races has an Artisan in a vacuum-sealed lab coat pouring over a chemistry set like something out of a 50s scifi-movie, and it could Not be more visually out of place. See also the proliferation of heart-panties wherever Kiyo is given free rein).

And thus we get to Ex3, which is arguably a very Pretty book, but is fairly scattershot with its illustration material. It veers wildly in quality and execution of the subject matter (the infamous 40 Cakes piece among them, and Kajack Uses Google Image Search), and oftentimes barely gets across that you are looking at Creation and the Exalted, because so much of that is largely indistinct fantasy art with very few of the aesthetic hallmarks of the line supporting it. The fault here lies primarily with the people in charge of getting the art to make the book, and not doing their jobs to make sure the art was of the kind they needed, done the way they wanted, from the people best suited to be making that art.

The idea that freelancing artists hold so much power in the artist-client relationship is one thought up entirely for the purpose of blame-shifting when the art ends up not being what they wanted, despite having all the available tools to make sure of it.
 
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Man, you've got some interesting notions about what Scandinavian people look like. You can have light-skinned middle easterners/africans. She's a little bit lighter than, say, Bassem Yousef, but it looks to me like she's in the ballpark (you are accounting for the fact that the lighting from the fiery spear makes her seem fairer than normal?).





At the very least, there's also the bit about it not being able to harm the innocent. There was that one episode where Aku snatches it from him and stabs him repeatedly with it to no effect.

I wonder if it'd be able to harm him now, after what we've seen the last few episodes...

Also, as far as the 'Holy' thing goes, you can play it one of two ways. Either Samurai Jack exists in a world where that's basically the only weapon with that keyword in existence (totally likely, actually), or it's especially, startlingly effective at it.

But most of what he does is him, I think? Like, I don't think the 'effortlessly cuts through steel robots' is meant to be 'wow, that's a cool sword' but more 'Wow, Jack's a badass.'
 
Man, you've got some interesting notions about what Scandinavian people look like. You can have light-skinned middle easterners/africans. She's a little bit lighter than, say, Bassem Yousef, but it looks to me like she's in the ballpark (you are accounting for the fact that the lighting from the fiery spear makes her seem fairer than normal?).

I guess she could be sorta a berber looking person given she's a red head, but I feel like it's a bit odd given previous Bride of Ahlat art was depicted like:

I'm honestly going to continue to assume it's just random art, especially given her spear seems to be on fire with essence.
 
Man, you've got some interesting notions about what Scandinavian people look like. You can have light-skinned middle easterners/africans. She's a little bit lighter than, say, Bassem Yousef, but it looks to me like she's in the ballpark (you are accounting for the fact that the lighting from the fiery spear makes her seem fairer than normal?).





At the very least, there's also the bit about it not being able to harm the innocent. There was that one episode where Aku snatches it from him and stabs him repeatedly with it to no effect.

I wonder if it'd be able to harm him now, after what we've seen the last few episodes...
Good call. Missed that.
 
Maza

Rising from the shallow waters of the South West, Maza's peaceful appearance belies the human misery that fills it. Nine in every ten of its fifteen thousand inhabitants are slaves snatched from the Far South and brought to this volcanic island to grow sugarcane, chillies and onions. The teardrop-shaped island has a land area of around two thousand square kilometres. The lords of this place are of the Raraan Ge, and their pirate fleets and trading vessels are rich and prosperous from the profits of their isle. Still, the despot is mad, the lords decadent, and tension simmers and waits for a chance to erupt - much like the central volcanos.

Government and Economy

Maza lies on the trading routes from the Deep South, and its sugar and spices reach Nightsea Isle and An Teng. The capital has extensive distilleries and rum is brewed from the local sugarcane as a higher value export good. These same trade routes are how it acquires new slaves, for the death rate from overwork and the wyld-tainted monsters that lurk around the central volcanos means that a constant flow of new workers is required.

The Despot of Maza, Yulin Rena III, rules from his capital at Mer Ranu. Twelve years ago he fought off an attempted invasion by the Steel Dragon Society, and since then he has spiralled down into a circle of paranoia. He suspects his lesser nobles of working with the Society, with the Lintha, and especially of consorting with other lords of the Raraan Ge. His stone citadel - once a great temple to a forgotten god of the First Age - is patrolled by mercenaries because he does not trust his own family and he insists that no one is permitted to wear clothes in his presence for fear that they may be hiding a blade or poison. Even the priestesses of the goddesses are not exempt from his paranoia.

After the Despot had his own daughter impaled and left out for the Sweet Ladies, the nobility abandoned the capital. The once lavish banquet halls of the palace are deserted and the nobles do not enter his presence save when they are obliged to. Instead, they revel on their own estates. Their power there is comparable to princes in other places, and as long as the Despot does not suspect them of treachery then they may do what they wish. Law enforcement utterly lies in their hands, along with responsibility for keeping their slaves under control - and failure to do so is one of the things which will certainly rouse the Despot against them. The lesser nobility competes to be seen as the most decadent and self-indulgent because Yulin does not suspect those who waste their fortunes on fripperies. What might have once been a falsehood has become real, though, and in their dissolution some of the lords of Maza have made pacts with dark powers.

The third pillar of politics on Maza are the priestesses of the Sweet Ladies, who oversee the placation of the sugarcane goddesses whose favour the island relies on for its wealth. Chosen from among the surplus daughters of the nobility, it is their responsibility to ensure that the goddesses get the blood they desire in return for keeping the soil rich and driving away insects and bugs. The priestesses wear long robes and veils, concealing the scars from their offerings, and their temple stinks like a butcher's in the heat of the tropical island. It is these women who offer the hearts of chosen slaves to the fields and to keep the volcanos quiet.

Military Strength

With so many slaves around, the vast majority of the free men and women of Maza are trained to fight. The fear of a slave rebellion is the main preoccupation of the lords, and so they insist on surrounding themselves with armed soldiers who can prevent any uprising. However, because of this while on paper the number of men under arms available is impressive, in actual fact very few can be used. The constant threat of force is required to maintain order and the losses that Maza took fighting off the invasion of the Steel Dragon Society has left them perilously weak against an uprising.

The pirate fleets of Maza are not comprised of free men or women. Instead, they are a mix of foreign mercenaries and yamet slaves. The yamets are the bastards of Mazan lords, taken from their families at birth and raised on the docks and on ships. They are taught to see themselves as a breed apart from the common slaves, and are the most brutal enforcers of the nobles. Yamets ape the dress styles of their fathers, swaggering in brightly tied cloth and proudly displaying their weapons. Though they are slaves, they keep a share of anything they plunder and may be granted land by the lords. They are treated with hate and contempt by many of the low-born free Mazans, for they are given more freedom and more license by the nobles than poor free men.

The Slaves

Slaves from across the Far South West wind up on Maza, with little regard for the precise island of origin. As a result, most speak tribal tongues that widely differ from one each other. The lords of Maza reinforce this, deliberately mixing up slaves based on their appearance in the hope that this will prevent rebellion. Slaves penned together will seldom be able to speak to each other in their native languages. A profusion of pidgins and creoles can be found on various estates, mixing Firetongue with all kinds of tribal languages.

Most of the slaves here are used in crop harvesting, largely growing sugar cane and spices for export or more prosaic crops for domestic consumption. Both coca leaf and marijuana are grown for consumption by the slaves - the latter is given to keep slaves placid when not working, and the former to stimulate them for hours of work under the hot sun. Almost all slaves are owned by the nobility and employed on the estates. Though lowborn free Mazans might own a servant or two, they are far outweighed by the agricultural workers. The slaves owned by the lowborn tend to be treated better than the farm workers - through necessity and the cost of replacing them more than any cultural difference.

The original slaves on Maza were the native population, enslaved when the Blue Monkey Shogunate seized the island in RY 201. The ideal climate conditions for the growth of sugarcane led to the establishment of plantations. However, the sparsely populated island proved entirely inadequate for providing the workers for it, and as a result the mass import of slaves from 'barbarian' tribes began. Few traces of the original Mazan culture exist, save for a few songs and slave-taught curses that have been carried down the years.

Only the yamet janissaries are permitted anywhere near a boat. A vessel would be the sole means of escape from the island, and any slave seen onboard is given to the Sweet Ladies. However, the theory is rather harder to enforce, and poor freeborn fishermen provide the most common means of escape for slaves. Many South Western tribes are masters of sailing, and some slaves build outrigger canoes in secret, launching off at night in sizable escapes. Because of this there are ex-slave populations on many of the surrounding islands. These escapees remember and hate Maza, and many Mazan vessels know to watch for raids or cut anchors when close to an island of strangers.

Outlanders on Maza

The way in which an outsider is treated on the island entirely depends on their appearance. Mazan culture is descended from remnants of the Blue Monkey Shogunate, and as a result the nobility have an almost obsessive desire to appear sophisticated and cultured in front of people from 'superior' cultures. Anyone from the Realm, An Teng, or other 'civilised' nations will likely find themselves invited to dine with one noble or another and if they are pleasing company may find themselves with an invitation to one lavish party or another in a country estate. Such Mazan hospitality of course relies on the outsider abiding by certain standards of behaviour, and offending their beliefs or condemning their actions is the fastest way to get a Mazan noble's hackles raised.

Outsiders who resemble any of the ethnicities commonly bought as slaves by the Mazans will find a far less warm welcome awaiting them. At best they will be treated as someone who does not exist. If someone assumes them to be a runaway slave, however, attempts will be made to recapture them. As a slave is not permitted to speak in their own defence, they will belong to whoever claims them with no way to speak in their own defence. Such a poor soul best hope they have friends who will speak for them in the tribunal called to establish ownership.

The Sweet Ladies

A trio of sugarcane goddesses - Aza, Maru and Zala - rule over the spirit courts of Maza with piercing long-nailed claws. All must refer to them as the sweet ladies, for addressing them by name draws their ire. The nobles of Maza know where their wealth comes from, and the sweet ladies demand blood on the fields or else they blight the crops with biting insects and beetles. Each noble estate has its own shrine to the ladies. The goddesses have packed the local spirit courts with their prodigious broods, forcing out other gods, and a vast and rambunctious divine clan rules the spiritual affairs of Maza, hunting down and stringing up ghosts and demons, and shackling elementals.

Many of the ladies' children and grandchildren have turned their ears to the prayers of the slaves. Most merely accept their worship in return for petty miracles. Some, however, have more sympathy for the suffering masses and act to foment rebellion and hide the secret slave-cults from the eyes of their matriarchs. Many of the escapees from Maza give thanks to divine providence which let them slip their bonds or left their watchers distracted by a bad meal.
 
It might be interesting to have a level five artifact that can either provide significant benefits for an entire society or can be used up to guarantee an individual Exalts as a Dragonblooded. The artifact could act as the seed for the story of a conflict between the civilization that wants to keep the artifact in order to reap the long term benefits that it provides and the individuals who want to gain the vast power of Exaltation in order to benefit themselves.

You could set up the same dynamic without bringing Exaltation into it, and without making "heroic bloodlines chosen by the great dragons" into "whoever drank the right drink".

I mean, there's no shortage of other awesome things that an Artifact could do for an individual.
 
Man, Keris might literally explode when she finds out about this place.
Keris: "Calesco. Vali. Deal with this."

*shortly thereafter*

Calesco: *walks into the Despot's audience hall fully robed and veiled*
Calesco: "Oh yes. You don't like clothes that can conceal weapons, do you?"
Calesco: *drops the lies that hide her angel-form*
 
What happens after that? I would assume that actually improving the situation on the island and resolving the social problems that so offends Keris's nascent morality would require a lot more effort than simply killing the highest levels of the political leadership. Will Keris stay on the island in order to take on the long term responsibility of actually making meaningful changes or will she simply leave and allow the island to either return to the horrible status quo or fall into chaotic infighting that is even more destructive?

The Island of Maza seems like a perfect way to introduce the question "And Then What?" that is so often ignored in traditional fiction and fairytales. The obvious solution of killing the "Evil" Despot may seem really appealing as a noble act that will solve all the problems on the Island but it will ultimately do nothing to address the economic, social, and political factors that combine to strongly incentive the injustices so pervasive in Maza.
 
The Island of Maza seems like a perfect way to introduce the question "And Then What?" that is so often ignored in traditional fiction and fairytales.
It would be, except for how that got introduced three arcs ago and Keris is currently trying to juggle the "and then what"s of impulsively joining the Hui Cha, her pregnancy with akuma twins, repairing the Baisha, creating the coadjutor-spell for Orabilis and externalising her souls as demon lords - to name but a few. She's actually - unsurprisingly - running into the problem that she wants to do or has committed to doing more things than she actually has the time and autonomy to tackle. She'll probably just leave Maza (and southwestern slavery in general) to Calesco and Vali and hope for the best as far as post-slavery consolidation and societal reformation goes.

Though it's worth nothing that the two of them might be alarmingly subtle and sophisticated about what they do to and for it.
 
Sounds to me like the two of them might end up pitting themselves against the local spirit courts. After all, the sugarcane is the basis of the island's economy, and the slaves are the basis of sugarcane farming...so anything that mucks with that directly threatens the powerbase of the Sweet Ladies,
 
Sounds to me like the two of them might end up pitting themselves against the local spirit courts.
I believe it is canonical that either very few Terrestrial gods or none at all are above E5. Given that Calesco is an E6 long-range archer and Vali is an E6 close-range brawler, this means that any spirit court that decides to take them on is going to have a very bad time.
 
stalled out on writing an update so have some edgy as fuck demons instead

Khvarenah, Winter's Rain
Seventeenth Soul of the Shadow of All Things
Demon of the Third Circle


Society would not be possible without sacrifice. The high could not rule without some measure of acceptance from the low. "This is my duty," says the soldier sent to fight on distant fronts, and he thinks to himself of honor and devotion to his lord and his hard-earned coin. "This is my station," says the farmer tilling hardened land, and she thinks to herself of tradition and family and the generous bounty of the earth. "This is what's right," say the noble, the priest, the minister, the mother. "This is good."

"This is things as they should be."

And so, secure in their service, they shut their ears and close their eyes and bind their hearts against the suffering of others. Against the wretched lives of the exploited, the abused, the dispossessed; those broken and ground beneath the wheel of their great civilization. "Be grateful!" comes the chorus-cry, on shrill tongues and strong arms. "Know your place!" History's victors place their boots on the back of their lessers and call it just. Their lessers place their boots on the backs of the least and call it deserved. And the least suffer because that is what the least do. That is what the utterly powerless are for.

"Oh, but what if, what if" Khvarenah whispers from the dark, his voice as soft as a lullaby, "what if you could change all that?"

In Malfeas he is the storm that forms in the shadows beneath the Ultimate Darkness and lingers in his wake. The coolness of the Dragon's induced night giving rise to coal-black clouds and ink-like rain. Lurid lightning arcs and flashes between his titanic thunderheads, granting definition to the hurricane's mass and revealing it for the vast, protean beast it truly is. His body is a seething maelstrom of ever-shifting monstrosities: electric headed hydra collapsing into saber fanged wolves and dappled jungle cats. Expanding into flocks of shadowed carrion crows and black water clawstriders. Beneath it all the terrifying suggestion of some antediluvian behemoth, some fallen colossus from an antique age. Once formed he crawls -or perhaps slithers- between the shells of Malfeas as he pleases. A strange nebula that blots out stars with his passing. When he manifests on a layer his freezing downpour lashes the towers and spires of the Demon City, dripping and flowing into the foundations. The thirsty cup their hands and drink of the ashen water, grateful for the respite; the wise abstain for Khvarenah is possessed of a perverse fecundity. A twisted fertility. His deluge erodes the domains of other Unquestionable into mud and darkling forest and corrupts the flesh of their serfs. Trickling through their dreams, collecting in their throats so that they may sing of his glories. When Ligier is roused to wrath and casts forth his blazing spears there Winter's Rain falls as well. Spreading beneath the vast, billowing clouds of ash and debris. Be this the product of an ancient concord, a calculated insult, or careful flattery only the scholars of Hell may say.

His favored form for interacting with the varied peoples of Creation is that of a saurian creature. Limbs clad in oil black scale, angled snout tipped in a wicked, hooked beak; a rich mantle of feathers sprouting from his scalp and cascading down his back. Obsidian piercings decorate his flesh, beaded with raindrops and flashing in the reflected light of electricity. His skin smeared with yellow dust designs and wrists and ankles and neck bound in black bells that echo with thunder. About his waist he wears the traditional paper loincloth of a Dragon King high priest and, indeed, in this design may be seen many echos of that once great race. It is said when the Unconquered Sun turned his face from Creation several of the surviving enclaves turned to the worship of a new, powerful god of night and magic. Spilling blood down stone steps his name and etching his form in the walls of their temple-complexes.

Yet at other times he he may appear as a young man clad in the garb of a Shogunate noble. His skin pallid and his dark hair plastered to his scalp. Soaked from head to toe, his eyes reflecting only the endless storm of his larger being. Black water trickling from his sockets like tears.

Notes and Abilities: In Creation or Malfeas the touch of Khvarenah stains. He is a contamination, a spiteful mutation of the natural order. Plants grow wild and crazed in his shadow and where his waters gather in great quantity symbiotic beasts are born. Poisoned roots which might one day yield a terrible fruit for his followers. He is patron of witches, an instigator of coups, and a saint of bloody-handed regicide. Able and willing to lend his blessings to all such things. Scavengers such as foxes and jackals are sacred to him as are apex predators like clawstriders and jaguars and he will, at times, attempt to seduce away their relevant gods. Winter's Rain is a great occultist, knowledgeable regarding many of Hell's hidden histories and deeply buried secrets. Orabilis views him with careful suspicion and rightfully so.

Should he be summoned into Creation he would seek to seal away the Sun from the world. Engineering an eternity of rain; a new hellscape populated by powerful cults and pallid, predatory beasts. Winter's Rain may escape his prison when a royal line is utterly extinguished in the span of a single night and the state falls to chaos. His clouds form over the gutted palace and the wind keens, heralding the coming storm.

Khvarenah and the Althing: Khvarenah's inclusion in the initial Reclamation was contentious at best. Souls belonging to the Shadow of All Things are, by definition, eminently untrustworthy and Winter's Rain more than most. Yet his defense on the grounds of obvious self-interest was well argued and his fellow Souls took up his cause on his behalf. In the time since it would appear as if the wary hand extended was well rewarded: a number of Infernals have benefited from his tutelage and his cults spread wide.

Perhaps this was unwise.

Khvarenah despises his sibling-souls; beyond reason, beyond restraint. His hate a sickening, slow-curdling thing that suffuses his very being. When the Yozi surrendered they shed pieces of themselves. Carving away virtues and vices and staunch convictions so that the whole might live. And the Seventeenth before him was so selfish, so stubborn, of course he would be given to the blades of the Host; such a noble sacrifice made on his behalf. It shouldn't matter but Winter's Rain still sees it. Still dreams of it. And, at last, with the advent of the Infernal Exalted, he will act on it. There will be a new sort of revolution within the Drinker at Night's Spring. With the aid of his Exalted allies he will hunt down and consume the Dragon's hidden fetich. Usurping their seat as the heart of the Ultimate Darkness.





Sarvar, the Fog-Wreathed Maw
Expressive Soul of Winter's Rain
Demon of the Second Circle


It is sometimes said that Creation is without true judgement. A wicked man might prosper and a good man might be punished and the world goes on, uncaring and indifferent. It is sometimes said that there is no real justice to be found in the Universe. How could there be? So many suffer, every day, at the hands of unjust authorities. If there are celestial watchmen they must surely be asleep. If there is some cosmic judge who would reward virtue and punish sin then surely they must be corrupt beyond all imagining. But, surprisingly, this is not in fact true. This is known because Sarvar exists.

And he hates you.

He hates you with all the gentle tenderness of your lover, your dearest friend. He hates you for what you are, for what you've done, for what you've failed to do. For your petty vices and your hidden sins. Your great failures and little cruelties. He hates you because you are special in some way, exceptional, unique. Because you live while they died. Because you exist while they suffer. Because you did not know, you did not care, and in so doing you damned them all.

Nothing is supposed to persist between Yozic incarnations. Should a Pantheon collapse then the new Mythoi that forms is a new being. A mutilated, horrifying being to be sure! But new nonetheless. Should an Unquestionable perish then whatever creature forms from the aftershock should lack all continuity. They should remember nothing, have no connection. A tree that grows from the belly of a corpse is not the dead man's son. A Third Circle birthed from the demise of a predecessor is not the predecessor reborn.

And yet Khvarenah remembers. And yet Sarvar exists.

He appears swathed in a cloak of glistening shadow. Towering over lesser creatures, hood pulled low. The front lays unbound, baring flayed flesh and obsidian bone. Red, raw meat, every glossy tendon, every sinewed cord on display. His eyes cannot be seen but the pressure of his gaze may be felt. His build is humanoid and yet his mouth is too large for the proportions he evokes: naked teeth curling up and around the sides of his skull. In one flensed, skeletal hand he clutches the haft of a giant spear, the blade itself more a blunt, bloodstained slab of metal than an actual weapon. Shimmering fog spills from his feet and oily chains clink and clatter, unseen in the depths. Any who cross his path are taken, dragged to his demense within Malfeas. A ruined, mist-soaked city-scape where inner ugliness is made manifest. Where the specters of the mind confront the living body. It is not enough that you are punished, you must understand why. You must see yourself as he sees you. And you must atone.

Those few who come to terms with the darkness are allowed to leave unmolested.

Notes and Abilities: The only limits on Sarvar's predation are his current power (which is formidable) and his interest (which is nearly boundless). In Malfeas he is a mythic monster, a behemoth of speculated but unknown origin and rumored to be responsible for the disappearance of a number of demon Citizens. While he rules only a sliver of a single shell much of the surrounding territory has been evacuated, inhabited by only the desperate or the foolhardy. His single-minded intention frightens even his greater self who has painstakingly obscured the connection between the two with powerful sorceries lest his own intentions be betrayed and he be called to account. Necessitating that Winter's Rain masquerade as his own Expressive Soul (a small, mischievous, foxlike being with avian and reptilian features) to uphold the deception.

Noble or wicked, sorcerers do not summon Sarvar. Only the unwise and then only once for the Fog-Wreathed Maw does not discriminate, cannot be made to discriminate, and will, inevitably, direct his attentions to his summoner and those they hold dear. Only the truly pathetic are sometimes spared his wrath and he may be seen, on occasion, watching the masses of shadowed-things that emerge when the Dragon's shadow passes. Motionless and inscrutable.

When a small community commits a shared evil act and hides the secret, burying the wretched truth so that none may know, Sarvar may slip his bonds on the next new moon and persist for a month. In that time he will drown the township in mist, isolating them from the rest of the world, and initiate the process of penance. Those who do not escape before the month ends are dragged below. The town left behind; a tainted, shadowed monument.
 
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stalled out on writing an update so have some edgy as fuck demons instead

Khvarenah, Winter's Rain
Seventeenth Soul of the Shadow of All Things
Demon of the Third Circle


Society would not be possible without sacrifice. The high could not rule without some measure of acceptance from the low. "This is my duty," says the soldier sent to fight on distant fronts, and he thinks to himself of honor and devotion to his lord and his hard-earned coin. "This is my station," says the farmer tilling hardened land, and she thinks to herself of tradition and family and the generous bounty of the earth. "This is what's right," say the noble, the priest, the minister, the mother. "This is good."

"This is things as they should be."

And so, secure in their service, they shut their ears and close their eyes and bind their hearts against the suffering of others. Against the wretched lives of the exploited, the abused, the dispossed; those broken and ground beneath the wheel of their great civilization. "Be grateful!" comes the chorus-cry, on shrill tongues and strong arms. "Know your place!" History's victors place their boots on the back of their lessers and call it just. Their lessers place their boots on the backs of the least and call it deserved. And the least suffer because that is what the least do. That is what the least are for, for the least have no power.

"Oh, but what if, what if" Khvarenah whispers from the dark, his voice as soft as a lullaby, "what if you did?"

He speaks to the weak, the lost, the forgotten. To the street rat huddled beneath a rain-swept stoop. To the sole survivor of the violated village. To the social darling fallen so far from favor. He seeks those possessed of a particular, peculiar hunger. A drive to reclaim their dignity piece by bleeding piece from the world that abandoned them. In the darkness of their dreams he comes to them. In the shadow of midnight rain he teaches them and shows them the path to become something more than merely mortal, something other than only human. These beauteous akuma are branded with his sign, their souls sculpted into forms pleasing to his eye. Turned loose by their bound master to largely act as they will. To avenge themselves in whatever manner they see fit. For in all things the Yozi may excel, but humans have a creative genius for tragedy all their own. And such novelties please him. And such ends gratify him.

In Malfeas he is the storm that forms in the shadows beneath the Ultimate Darkness and lingers in his wake. The coolness of the dragon's induced night giving rise to coal-black clouds and ink-like rain. Lurid lightning arcs and flashes between titanic thunderheads, granting definition to the hurricanes mass. Drowning sound in rolling thunder and the drumming of the deluge. His freezing downpour lashes the towers and spires of the Demon City, drips and flows into the foundations. The thirsty cup their hands and drink of the ashen water, grateful for the bounty; the wise abstain for to imbibe of Khvarenah's essence is to become his creature. A darkling thing native to his rain-soaked world. When Ligier is roused to wrath and casts forth his blazing spears there Winter's Rain falls as well. Spreading beneath the vast, billowing clouds of ash and debris. Be this the product of an ancient concord, a calculated insult, or careful flattery only the scholars of Hell may say.

At times he appears as a monstrous, saurian beast. Limbs clad in oil black scale, angled snout tipped in a wicked, hooked beak, and a rich mantle of feathers sprouting from his scalp and cascading down his back. Obsidian piercings decorate his flesh, beaded with raindrops and flashing in the reflected light of electricity. His skin smeared with yellow dust designs and wrists and ankles and neck bound in black bells that echo with thunder. About his waist he wears the traditional paper loincloth of a Dragon King high priest. Indeed, in this design may be seen many echos of that once great race. Apocryphally, when the Unconquered Sun turned his face from Creation several of the surviving enclaves turned to the worship of a new, powerful god of night and magic. Spilling blood down stone steps his name and etching his form in the walls of their temple-complexes.

At other times he goes as a young man clad in the garb of a Shogunate noble. His skin pallid and his dark hair plastered to his scalp. Soaked from head to toe, his eyes reflecting only the endless storm of his larger being. Black water trickling from his sockets like tears.

Notes and Abilities: In cultures which he Khvarenah is known, by name or impression, he is inextricably linked to perversions of the natural order. A patron of witches, an instigator of coups, and a saint of bloody-handed regicide. Able and willing to lend his blessings to all such things. Scavengers such as foxes and jackals are sacred to him and he will, at times, attempt to seduce away their relevant gods. In disposition Winter's Rain is identified as a spiteful trickster (a classification with more than a grain of truth) and a great occultist. Knowledgeable regarding many of Hell's hidden histories and deeply buried secrets. Orabilis views him with careful suspicion and rightfully so.

Should he be summoned into Creation he would seek to seal away the Sun from the world. Engineering an eternity of a rainswept world, populated by powerful cults and pallid, predatory beasts. Winter's Rain may escape his prison when a royal line is utterly extinguished in the span of a single night and the state falls to chaos. His clouds form over the gutted palace and the wind keens, heralding the coming storm.

Khvarenah and the Althing: Khvarenah's inclusion in the initial Reclamation was contentious at best. Souls belonging to the Shadow of All Things are, by definition, eminently untrustworthy and Winter's Rain, the embodiment of the Dragon's spiteful selfishness, more than most. Yet his defense on the grounds of obvious self-interest was well argued and his fellow Souls took up his cause on his behalf. In the time since it would appear as if the wary hand extended was well rewarded: a number of Infernals have benefited from his tutelage and his cults are ever efficacious.

Yet if the truth were known he would have been barred without question for Khvarenah despises his kindred. In ages past, when the Yozi were first imprisoned, his previous incarnation was slain to ensure the Dragon's imprisonment. A needed, necessary sacrifice made on his behalf. While the current Seventeenth Soul bears no apparent ill-will a slow, smouldering fury lingers in his being. A sickening anger cultivated over the centuries. At last, with the advent of the Infernal Exalted, Winter's Rain feels that his time has come: through his research he believes he has uncovered a mechanism by which a Fetich may be usurped. And now he quietly seeks the location of the Ebon Dragon's hidden heart, discretely gathering Exalted accomplices to aid him on his endeavor. Intent on cannibalizing his sibling and usurping their position in the Yozi's hierarchy.


Sarvar, the Fog-Wreathed Maw
Expressive Soul of Winter's Rain
Demon of the Second Circle


It is sometimes said that Creation is without true judgement. A wicked man might prosper and a good man might be punished and the world goes on, uncaring and indifferent. It is sometimes said that there is no real justice to be found in the Universe. How could there be? So many suffer, every day, at the hands of unjust authorities. If there are celestial watchmen they must surely be asleep. If there is some cosmic judge who would reward virtue and punish sin then surely they must be corrupt beyond all imagining. But, surprisingly, this is not in fact true. This is known because Sarvar exists.

And he hates you.

He hates you with all the gentle tenderness of your lover, your dearest friend. He hates you for what you are, for what you've done, for what you've failed to do. For your petty vices and your hidden sins. Your great failures and little cruelties. He hates you because you are special in some way, exceptional, unique. Because you live while they died. Because you exist while they suffer. Because you did not know, you did not care, and in so doing you damned them all.

Nothing is supposed to persist between Yozic incarnations. Should a Pantheon collapse then the new Mythoi that forms is a new being. A mutilated, horrifying being to be sure! But new nonetheless. Should an Unquestionable perish then whatever creature forms from the aftershock should lack all continuity. They should remember nothing, have no connection. A tree that grows from the belly of a corpse is not the dead man's son. A Third Circle birthed from the demise of a predecessor is not the predecessor reborn.

And yet Khvarenah remembers. And yet Sarvar exists.

He appears swathed in a cloak of glistening shadow. Towering over lesser creatures, hood pulled low. The front lays unbound, baring flayed flesh and obsidian bone. Red, raw meat, every glossy tendon, every sinewed cord on display. His eyes cannot be seen but the pressure of his gaze may be felt. His build is humanoid and yet his mouth is too large for the proportions he evokes. Naked teeth curling up and around the sides of his skull. In one flensed, skeletal hand he clutches the haft of a giant spear. The blade itself more a blunt, bloodstained slab of metal than an actual weapon. Shimmering fog spills from his feet and oily chains clink and clatter, unseen in the depths. Any who cross his path are taken, dragged to his demense within Malfeas. A ruined, mist-soaked city-scape where inner ugliness is made manifest. Where the specters of the mind confront the living body. It is not enough that you are punished, you must understand why. You must see yourself as he sees you. And you must atone.

Those few who come to terms with the darkness are allowed to leave unmolested.

Notes and Abilities: The only limits on Sarvar's predation are his current power (which is formidable) and his interest (which is nearly boundless). In Malfeas he is a mythic monster, a behemoth of speculated but unknown origin and rumored to be responsible for the disappearance of a number of demon Citizens. While he rules only a sliver of a single shell much of the surrounding territory has been evacuated, inhabited by only the desperate or the foolhardy. His single-minded intention frightens even his greater self who has painstakingly obscured the connection between the two with powerful sorceries lest his own intentions be betrayed and he be called to account. Necessitating that Winter's Rain masquerade as his own Expressive Soul (a small, mischievous, foxlike being with avian and reptilian features) to uphold the deception.

Noble or wicked, sorcerers do not summon Sarvar. Only the unwise and then only once. The Fog-Wreathed Maw does not discriminate, cannot be made to discriminate, and will, inevitably, direct his attentions to his summoner and those they hold dear. Only the truly pathetic are sometimes spared his wrath and he may be seen, on occasion, watching the masses of shadowed-things that emerge when the Dragon's shadow passes. Motionless and inscrutable.

When a small community commits a shared evil act and hides the secret, burying the wretched truth so that none may know, Sarvar may slip his bonds on the next new moon and persist for a month. In that time he will drown the township in mist, isolating them from the rest of the world, and initiate the process of penance. Those who do not escape before the month ends are dragged below. The town left behind; a tainted, shadowed monument.

0/10, not enough pyramids.
 
Yet if the truth were known he would have been barred without question for Khvarenah despises his kindred. In ages past, when the Yozi were first imprisoned, his previous incarnation was slain to ensure the Dragon's imprisonment. A needed, necessary sacrifice made on his behalf. While the current Seventeenth Soul bears no apparent ill-will a slow, smouldering fury lingers in his being. A sickening anger cultivated over the centuries. At last, with the advent of the Infernal Exalted, Winter's Rain feels that his time has come: through his research he believes he has uncovered a mechanism by which a Fetich may be usurped. And now he quietly seeks the location of the Ebon Dragon's hidden heart, discretely gathering Exalted accomplices to aid him on his endeavor. Intent on cannibalizing his sibling and usurping their position in the Yozi's hierarchy.

Noh: "... do I point out that I was prepared to fight to the death and it was the other fuckers who chained me to force us to surrender and it was his bastard of a predecessor and Baaji who devised the plan of surrender?"

Noh: "Of course not, that would involve telling the truth."

Noh: "But I think I'll thwart his plans and blight him today."
 
So, given the description of Maza, it sounds like the dead version of the island would be a very nasty threat should a shadowland ever open there. The murder of a culture and most of its people coupled with the enslavement of the few remaining inhabitants seems like the kind of thing that would produce a very angry echo of the place in the Underworld.

Might even be an interesting conundrum for having to deal with the dead in a less immediately hostile manner. One thing any ghosts might be interested in would be teaching any surviving descendants about the pre-invasion Mazan culture, which would provide another basis for unity among the slaves as they adopt it. If you really want to fuck with Keris, you could even have a non-hostile Abyssal, of the "I am an Exalt who speaks for the dead" sort, be active on the island trying to help the Mazan ancestors rebuild their society among the ranks of the slaves.
 
Yeah, Maza is basically just built to be a place that a young circle of Exalts can tip over fairly easily - but which is much harder to put back together with just mortal level skills. The entire society is built around being a slave-based export economy that sells people sugar and buys slaves. The slaves are grabbed from all across the Southwest and don't even speak the same language. Even in the case when you successfully lead a slave revolt, the people they sell sugar to will care.

But on the other hand, it's also totally set up so your South Western Exalt PC can either have Exalted escaping there or have family who were taken, and then you can go lead your own Haitian Revolution.

And then bring in Exalt social-fu and bureaucracy-fu, and force Jeferesono Tomasa to acknowledge your free republic.
 
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